From Silla’s smile to AI
GYEONGJU, South Korea—Before I even set foot in Gyeongju, I had already been told that it was special.
A friend taking her master’s degree at Korea University told me that the city is a “hot” place among local university students. At first, the word made me panic. Seoul was already sweltering at 32 degrees Celsius in late August. How much hotter could Gyeongju be?
I found out quickly that “hot” is a term that Koreans use to describe something trendy. It’s a curious word to refer to a city often described as an “open museum,” where traces of the ancient Silla Kingdom still shape the landscape.
It’s a place where royal tombs rise into perfectly aligned grassy mounds in the middle of the city. Bulguksa Temple—recognized as a World Heritage Site by the United Nations Educational, Scientific and Cultural Organization—draws visitors with its intricate stone pagodas and centuries-old Buddhist halls.
Global spotlight
Gyeongju’s recent appeal may well be fueled by its turn in the global spotlight, as the city prepares to host the Asia-Pacific Economic Cooperation (Apec) Leaders’ Meeting from Oct. 31 to Nov. 1 this year.
It has already played host to one key event: on Aug. 27, it became the backdrop for Apec’s High-Level Dialogue on Cultural and Creative Industries (HLD-CCI), which opened with representatives from 20 member economies, including the Philippines.
“Until now, we have discussed agendas like digital economy, trade and energy. But now, it seems that we recognize the economic value of the cultural industry,” Minister Chae Hwi-young of the Ministry of Culture, Sports and Tourism (MCST) tells the international press.
He adds that this is the first time that the world’s largest regional economic cooperation is addressing the cultural and creative industries as new drivers of regional growth.
“So on top of that, we believe that this will be a great opportunity to become a platform for cultural cooperation among Apec member economies,” he says.
That emphasis on culture is reflected even in the logo of this year’s Apec. The emblem features the Roof-end Tile with Human Face Motif—more poetically known as “Silla’s smile”—a relic from the ancient kingdom.
“We have an abundance of cultural heritage, for example, Bulguksa Temple and Seokguram. So the cultural and creative industries are a bridge connecting the economy and culture. We believe that this is well-represented in Gyeongju,” says Chae.
With its theme, “Cultural and Creative Industries: New Horizons for Prosperity,” the dialogue unfolded in three themes—Connect, Innovate and Prosper—designed to shape the future of the sector.
In a joint statement released by the representatives of HLD-CCI, and chaired by MCST, they agreed to connect by revitalizing cultural exchanges and promoting tourism.
The second theme, innovate, delves into more sensitive ground. The economies recognize the advances in digital technologies, which include artificial intelligence (AI) pushing the boundaries of creativity.
“We acknowledged the impact of AI on cultural sector jobs and creators’ rights, and agreed on the need for collective attention and efforts to protect those rights,” says Chae.
Two speakers were invited to share their expertise with the representatives and the press. Kwon Hansl, “One More Pumpkin” director and the grand prize winner of the inaugural Artificial Intelligence Film Festival last year, pushes for the use of generative AI.
“I wanted to be a more competitive director and creator in the future. At first, I was interested in CG (computer graphics) production, but then I got interested in technology. In the first half of 2022, I made an image with AI. In the second half of 2023, I was able to make a video,” says Kwon, noting the speed of how the technology has developed.
Kwon likes how AI democratizes filmmaking. Film creation is not limited to professionals anymore. Kwon likens it to using a smartphone. It is an unstoppable force and it needs to be openly talked about on how to use it safely and integrate it naturally into our lives.
AI voice technology production firm Supertone CEO Lee Kyo-gu talks about the potential of AI as a tool in the industry.
“I want to put an emphasis on the fact that our AI technology is not replacing the creativity of artists; rather it is a tool that allows them to really enhance and to expand their competencies.”
He cites as an example the “Mask Girl” series, where two actresses were utilized to present a character who had undergone drastic plastic surgery. Their tech was utilized to maintain consistency in the tone and range of the actresses.
Driver of the future
Lee, however, says that the most important role of the government is to put up regulations so that AI and traditional creators can coexist with each other. It is a curious turn for South Korea, a country that has already mastered the export of soft power through K-pop, K-drama and K-films.
The question now is whether they can also successfully make AI-generated content as their next cultural export.
It’s not a far-fetched thought, especially since Gyeongju was chosen as the venue precisely for this balance. The city’s ancient ruins sit side by side with its industrial neighbors. Just a 30-minute drive away is Pohang, home to steel giant Posco, as well as EcoPro, which drives South Korea’s push for sustainable batteries.
Finally, for the third theme of prosper, Chae explains a continuous dialogue among the members for cooperation in the future.
“Many showed interest in sharing Korea’s know-how in cultural content. There was also strong interest in expanding exchanges through cooperative projects. We will continue these discussions, actively,” he says.
The message of this year’s dialogue is clear: culture is not only a record of the past but also a driver of the future. The challenge now lies in how carefully that path is trodden—how the economies can ensure that innovation strengthens, rather than overshadows, the heritage it seeks to carry forward.
