• Korean Institute of Interior Design Journal
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• v.15 no.3 s.56
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• pp.56-64
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• 2006

Human Being is being that have the reason as well as body, and first liaison consists through this body justly with outside. The essence of environmental problem such as today can speak that is a harmful traces for health that leave in air, water, soil that pass body. Actual nature is 'Ecological nature', that is necessary for human life directly in survival and offer the integrated relations with harmony. This grafting of principle, that is a construction for architecture and interior architecture in environment furtherance, is required. This is not a subject of usefulness and contemplation, but essential approach the cogredience, that is forming connection directly with nature, is required. Therefore, this research does Questel about 'Nature epistemology, which nature and human's relation can be integrated by alive practical relation. Through this, the Relatedness of 'Natural environment and construction surrounding' is accomplished 'the whole unity' and this research wish to investigate basis that a actual human work's environment can be completed as 'Ecological nature'.

• Journal of Korean Philosophical Society
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• v.116
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• pp.1-31
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• 2010

This Article studies a meaning of geometrical-mathematical spatial idea in the source of modern theories of space. Modern theories of space elucidated a relation of human and space through the geometrical terms; point, line, plane and extension etc. Descartes and Newton identified space as a natural realty, Leibniz and Kant elucidated space as a subjective idea or form. It is the result of modern spatial theories that space is lied nearly in human. In the meaning of natural space, space is empirically unfolded with a shape of measuring in front of human's eyes. In the meaning of cognitional space, space is a method or subjective cognitional form that human understands nature and constitutes world. Modern theories of space would be divided into four patterns. In Newton's theory space is absolutely prior to things. In Leibniz' theory space is a co-existence order of Monads. In Descartes's theory space is identified with extension. In Kant's theory space is cognitional form of subject. They all are confronted with each other in the source of space. In their confrontation they reflected on the relation of human and space in their own standpoint. We classify their particularly differential concepts of space into natural space and cognitional space. And then we analyze a difference of spatial meanings, and then investigate foundations of meaning of modern theories of space. On the one hand they are become to the source of alienation of human from space. But on the other they are contributed to get space familiar with human through a wakening for the correlation of human and space. The natural space indicates that with measurable shape space is extended really in front of human's experiential eyes. But the cognitional space elucidates that space is only a subjective idea or form with which human understands nature and constructs world. In the former it is embossed that space is independent to human, and is able to be measured and to be treated according to natural raws. In the latter it is evidenced that space is not separated to human, and that space is not without human, and a correlation existed between human and space. Humanist ideal is declared in them. It was a declaration of human sovereignty to nature. But this declaration is caused to alienate human beings from space.

• Archives of design research
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• v.19 no.4 s.66
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• pp.71-80
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• 2006

Collaboration has become essential in the product design process due to internationalized and specialized business environments. This study presents a real-time collaborative 3D design workspace for distributed designers, focusing on the development and the evaluation of new interaction techniques supporting nonverbal communication such as awareness of participants, shared manipulation and tele-presence. Requirements were identified in terms of shared objects, shared workspaces and awareness through literature reviews and an observational study. An Augmented Reality based collaborative design workspace was developed, in which two main interaction techniques, Turn-table and Virtual Shadow, were incorporated to support shared manipulation and tele-presence. Turn-table provides intuitive shared manipulation of 3D models and physical cues for awareness of remote participants. Virtual shadow supports natural and continuous awareness of location, gestures and pointing of partners. A lab-based evaluation was conducted and the results showed that interaction techniques effectively supported awareness of general pointing and facilitated discussion in 3D model reviews. The workspace and the interaction techniques can facilitate more natural communication and increase the efficiency of collaboration on virtual 3D models between distributed participants (designer-designer, engineer, or modeler) in collaborative design environments.

• (The)Korea Educational Review
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• v.23 no.1
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• pp.35-56
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• 2017

This study is to examine the effects of gesture based interface and display methods to make an effective virtual learning environment. The gesture based interface can provide interactive interface to make objects in the virtual learning environment by generating natural movement of users' gesture. This natural functionality leads users to apply natural movements as they do in real actions. Because of the natural user interface, the gesture based interface is expected to maximize learning outcomes. This study examined how the gesture based interface can be used when a head mounted display is applied for a virtual reality learning environment. For this study 44 colleagues students were participated. Two display methods (head mounted display vs. monitor) and two interface (gesture based interface vs. joystick) were tested to identify which might be more effective. The study was applied to different learning tasks which require different levels of spatial perception. The dependent variables are three constructs of virtual presence (spatial perception, immersiveness, and realness) and task completion time and recall tests. This study discussed potential disadvantages of gesture based interface while it showed positive usages of gesture based interface.

• Lingua Humanitatis
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• v.8
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• pp.39-58
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• 2006

In Hegels Wissenschaft der Logik wird die Idee als Leben des Begriffes, objektive Vollendung und Einheit von Subjekt und Objekt bezeichnet. Die Idee ist die Einheit von Begriff und dessen Existenz und des weiteren die "allgemeine Bedeutung des wahren Seins". Die Idee ist nicht die Namensgebung einer Abstraktion der Sache als abstrakte Sache oder einer reinen Form, sondern 'das Werden zum Diesem' oder 'das Diese' des konkreten und realistischen Objektes 'Dies hier und jetzt'. Auf einer solchen logischen Bestimmung beruhend, behauptet Hegel in seiner ${\ddot{A}}sthetik$ die Gleichheit zwischen "$Sch{\ddot{o}}nheit$" selbst und der "Idee der $Sch{\ddot{o}}nheit$". "Das $Sch{\ddot{o}}ne$ selbst" ist gleichzusetzen mit der "Idee der $Sch{\ddot{o}}nheit$" und wenn die Idee in einer bestimmte Form hineinpasst, wird dies das Ideale genannt. Hier liegt der Grund, weshalb wir die Idee als Begriff, Begriff des Daseins oder Einheit des Objektes bezeichnen $k{\ddot{o}}nnen$. Die Idee ist die Einheit von Begriff und dessen $Realit{\ddot{a}}t$, jedoch ist die dominierende Kraft der Einheit der Begriff. Die Idee ist die $Totalit{\ddot{a}}t$ der subjektiven Bestimmung und nur das Werk dass mit dem Begriff passend Einheit und $Objektivit{\ddot{a}}t$ hervorbringt, ist wirklich $sch{\ddot{o}}n$. Umgekehrt gesagt bedeutet diese Aussage, dass etwas wirklich $sch{\ddot{o}}n$ ist, wenn dies zu dem Begriff passt, und dass das genau zum Begriff passende ist mit dem Begriff gleichzusetzen ist. Wie bereits $bewu{\beta}t$, hat Kant die $f{\ddot{u}}r$ den kognitiven Begriff verantwortliche bestimmende Urteilskraft und das ${\ddot{a}}sthetische$ Urteil treffende reflektierende Urteilskraft, differenziert. Im Gegensatz dazu $erkl{\ddot{a}}rt$ Hegel die Beziehung zwischen Sein und Denken, Dasein und Begriff, Begriff und Idee mit dem Blickpunkt dass das $Verm{\ddot{o}}gen$ und die Funktion der Urteilskraft selbst eine grundliegend auf Reflektion beruhende Bestimmung ist und eine auf Bestimmung beruhende Reflektion ist. Nach dieser Logik entsprechend $f{\ddot{u}}hrt$ er die Beziehung zwischen der $sch{\dodt{o}}nen$ Sache und $Sch{\ddot{o}}nheit$ zusammen. In dieser $Erkl{\ddot{a}}rung$ verwirft Hegel Kants Begriffe wie Urteilskraft und Geschmack, und verwendet vorwiegend die von seiner Lehre vom Begriff auftauchende Begriffe. Die Zielsetzung dieser Arbeit ist, den Satz in Hegels ${\ddot{A}sthetik$ "Das $Sch{\ddot{o}}ne$ ist die Idee des $Sch{\ddot{o}}nen$" auf den Grund zu gehen. Um dieses Ziel zu verfolgen, wird das epistemologische $Verh{\ddot{a}}ltnis$ zwischen Dasein und Begriff, das logische $Verh{\ddot{a}}ltnisas$ zwischen Begriff und Idee betrachtet.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• The Journal of Korean Philosophical History
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• no.38
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• pp.303-328
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• 2013

The purpose of the present article is to understand moral instruction through Ethics written by Spinoza and enable the implications drawn from its understanding to give shape to lesson plans. In his representative book titled Ethics, Spinoza speculates ultimate substance from the metaphysical perspective and converges it into ethics. The ultimate substance, which is a cause of itself, refers to immanent cause of all things that have numerous attributes as essence. All things in nature develop the substance and exchange influence among individuals at the same time. A human in the influential relationship perceives things based on one's beneficialness and assigns moral words of good and evil. However, a human, who is a mode of substance, should escape from morals that are superficial, relative, and objective, in order to realize nature. Becoming a more complete human requires going through moral imagination in reality but going beyond the imagination ultimately. Moral instruction premises the moral imagination of a student who exists as a mode; meanwhile, it is a study to escape from the influence of moral imagination. Good and evil arise from the limitation that an existing human has, but if a life is to preserve the necessity of ultimate substance, moral instruction can be defined as the processes of alleviating the influence that hinders a human's nature from being realized. Giving shape to this processes with the basis on the Spinoza's epistemic argument, moral instructional texts can be composed of stages to form more adequate moral ideas about moral subjects gradually and cumulatively. The moral instruction like this expects moral awareness which is relatively perfect than the present moral imagination. Furthermore, with the teaching and learning like this sustained, it is expected that ultimately the limitation arising from sensible perception can be overcome to approach the realization of a human's nature.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.87-99
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• 2009

This research is an introductory study that hopes to interpret the cultural scenic landscape by analyzing Korea's mountains, streams, topography, color, light, human behavior, and more based on real landscape paintings. It places its purpose on understanding our intrinsic cultural scenic landscape by investigating the changed topography and the differing life patterns caused bythe active national land development after the modern era. With Seoul, which is now difficult to find images of its past, and the surrounding areas of the Han riverbed, the interpretation related to its original topography, landscape, climate, weather, and human behaviors was observed while the main focus was placed on the climate of the perception held by people regarding Mt. Geumgang and other ranges which are not fully opened to the public yet. In order to comprehensively analyze the figures of features and appearing landscapes including color, light, and more, it was described through the concept called climate. Hereupon, the real landscape paintings by Gyunjae(Jeong-Seon), mainly bearing features of existing Korean mountains, wereutilized as visual historical material. However, not having all his works, other pieces with representative characteristics were utilized such as "Gyeong-Gyo-Myeong-Seung-Chup(a painting with picturesque sceneries around old Seoul)" and "Hae-Ak-Jeon-Shin-Chup(a landscape painting including even the spirits of the seas and mountains)" which contain the regions' distinct scenery. As a result, the old cultural scenic landscapes of Korea are regarded as containing diverse mountains and where the conceptions of the treatment of mountains were reflected.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.221-226
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• 2006

원격 3차원 디자인 협업 환경이란 원거리에 있는 디자이너들이 3차원 모델을 함께 동시적으로 다루는 협업 환경으로서, 제품 개발 프로세스의 비용과 시간을 단축하는데 매우 중요한 역할을 한다. 그러나 이에 대한 연구는 아직 미비한 실정이며 기존의 연구들도 2차원 데스크탑 환경에 제한된 문제점이 있다. 따라서 본 연구는 새로운 협업 환경의 제안을 통해 지리적으로 떨어진 디자이너들간의 3D 모델에 관한 원활한 협업을 촉진하는 것을 목표로 한다. 본 연구에서 제안한 증강현실 기반의 원격 3차원 디자인 협업 환경은 3D 모델의 공유를 위한 회전 원반(turntable)과 상대의 위치 및 제스처 정보를 제공하는 가상 그림자(virtual shadows)로 구성된다. 동시적으로 회전하는 회전원반은 물리적인 매개체로서 가상물체와 실제 세계를 자연스럽게 연결하는 동시에 상대의 실재감을 높인다. 가상그림자는 가상물체 주위로 보여지는 사람들의 손과 팔의 움직임을 시각화하여 공유하는 것으로, 상대의 위치뿐 아니라 지시, 제스처 등 행동에 대한 인식이 지속적으로 이루어지게 한다. 프로토타입을 제작하고 사용자 평가 실험을 실시하여 3차원 모델을 검토하는 단계에 그 유용성이 있음을 확인하였다. 데스크탑 환경의 모델링 툴에 익숙한 사용자들은 실제 공간에서 가상물체를 조작할 수 있음에 긍정적인 반응을 보였고 회전원반과 가상그림자의 제공은 태스크 수행의 정확도를 높이며 협업을 촉진하는 결과를 보였다. 본 연구는 환경적 제약으로 원활하게 이루어지지 못했던 3D 모델에 관한 원격 협업에 의사소통의 장을 마련하고 이를 촉진시킨다는 점에서 그 의의가 있다. 본 환경에서 제시한 상대방과 협업대상물에 대한 심리적, 물리적 공유 감을 증대시키는 방법들은 3D 모델에 관한 디자인 협업에서 확장되어 다른 원격 협업을 지원하는 데도 적용될 수 있을 것이다.

• Journal of the Korean Society of Earth Science Education
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• v.15 no.3
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• pp.354-372
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• 2022

The purpose of this study is to explore the philosophical position of various scientific theories based on the scientific worldviews for science education. In addition, it aims to expand science education, which has usually dealt with epistemology and methodology, to ontology, that is, to the problem of metaphysics. It can be said that there exists a physical realism, traditionally defined as a strong determinism of the metaphysical belief. That is fixed and unchanging objective scientific knowledge independent of our minds, which was established by Newton, Einstein and Schridinger. What can be seen in the natural laws of dynamics can be called 'mathematicization'. Einstein also shook the traditional views to some extent through the theory of relativity, but his theory was still close to traditional thinking. On the contrary, to escape from this rigid determinism, we need anthropomorphic concepts such as 'possibility' and 'chance'. It is a characteristic of the modern scientific worldviews that leads the change of scientific theory from a classically strong deterministic thought to a weak deterministic accidental accident, probability theory, and a naturalistic point of view. This can be said to correspond to Darwin's theory of evolution and quantum mechanics. We can have three types of epistemological worlds that justify this ontological worldviews. These are rationalism, empiricism and naturalism. In many cases, science education does not tell us what kind of metaphysical beliefs the scientific theories we deal with in the field of education are based on. Also, science education focuses only on the understanding of scientific knowledge. However, it can be said that true knowledge can bring understanding only when it is connected to the knowledge of learned knowledge and the learner's own metaphysical belief in the world. Therefore, in the future, science education needs to connect various scientific theories based on scientific worldviews and philosophical position and present them to students.