• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.220-221
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• 2004

• The Mathematical Education
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• v.42 no.2
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• pp.121-135
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• 2003

This article retrospects the developmental process of the psychology of learning and its' influence on mathematics education. At the end of the article, brain-based learning science is introduced to examine its possibility to improve the psychology of learning mathematics. Behaviorists points of views such as Skinner, Guthrie, and Gagne were summarized to discuss the influences on the learning and teaching of mathematics. Gestalt' theories and Constructivism are also included in the discussion of developmental process of learning psychology. In elaboration of the brain-based learning science, recent research findings and the possibility of it's impact on mathematics education were discussed. Since mathematics itself is the most abstract subject it could be more challenging to identify the teaming process of mathematics compared with other areas. The possibilities of identifying the teaming process of mathematics are cautiously anticipated with a help of new paradigm.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.119-128
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• 2022

According to Gestalt theories of perception, this paper studies Japanese-style character design combined with ghost culture. This article sorts out the character design elements of the Japanese mobile game "Onmyoji" in China, and then analyzes the design from the perspective of psychology through Gestalt theories. The form is felt through the systematization of the whole rather than the parts, confirming whether the small design elements of the character can be perceived as the whole story.

• Archives of design research
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• v.17 no.2
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• pp.383-392
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• 2004

Analysis on Kandinsky's Work as a Case Study of Art Therapy. This study attempts to analyze a work of W. Kandinsky, who placed great emphasis on the relationship between the form and the color of an object, from the viewpoint of art therapy. Most papers related with fine art work analysis approach it from the aesthetical point of view and there are few attempts to interpret art works in terms of art therapy. This study tries to present a new angle to the studies of art therapy Practiced up to now and research is made on its potentiality. With an analysis on the relationship between human psychology, and color and form that convey visual language, research is made on the feasibility of art therapeutic methods through the approaches based on color psychology, Gestalt theory and perception psychology. The final purpose of this study is to apply the results to the development of illustrations, education program for children, and educational instruments and toys that will promote children's healthy emotional growth based on the color psychology and the form psychology of human being. As an initial study, a piece of Kandinsky's work, titled ' CERCLES DANS CERCLE', is analyzed as a case study of art therapy both from theoretical standpoint and from the viewpoint of art therapy. Through this effort, it can be utilized as a new case study of art therapy that will influence human emotion positively and lead to healthful emotional catharsis.

• Journal of architectural history
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• v.15 no.2
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• pp.39-54
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• 2006

Focusing on the emergence of the basic course in American schools of architecture, in particular Gyorgy Kepes' courses at MIT, this paper studies the transformation of architectural pedagogy during the years after World War II. Kepes centered his architectural pedagogy on the picture plane, which was to function as the primary media for applying the principles of Gestalt psychology, that is the identification of the whole and its parts and the reciprocity between the internal human organism and the outside world. Kepes hence introduced a set of unconventional visual practices that were not readily assimilated to architectural conventions. Paralleling the establishment of the basic course, MIT also formulated a functionalist and spatial pedagogy with its two initial design studios, courses 4.721 and 4.722. These studios shared the notion that architectural design evolved from the inside toward the outside, an idea that took hold not just in the pragmatic environment of MIT's studios but also in conservative academic programs as well as in popular magazines, picture books, and exhibitions for the consumer public. The architectural surface became inseparable from the objects of art, furniture, and design, all of which were to be the generators of space. Hence, during the 1950s, the architectural surface provided a specific locus of intersection between the visual fundamentals of the basic course and the working principles of architectural design. Kepes, however, had by this time become disillusioned with architecture's potential as the medium of unity. Though he maintained the Gestalt logic of identity, he expanded it toward the goal of grander synthesis of society and consciousness freeing himself from the constraints of disciplinary instruction. In the case of Kepes, the mediating role of the picture plane was foregone in a regressive turn toward a primal, innocent, and direct experience.

• Archives of design research
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• v.13 no.3
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• pp.7-16
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• 2000

Aesthetics undertakes important roll in design as a competitive factor. The importance of aesthetics can be found in experimental aesthetics, Gestalt psychology and design related literatures. These literatures suggest that, besides the importance of aesthetics, many other aesthetic factors would affect consumer reaction(recognition, emotional reaction, meaning), but the study is still in insufficient condition. Hense, this study tries to give a guideline -'how to design symbols'based on the apprehension of what kind of design is well recognized(correct recognition), gives positive emotional reaction(affect) to customers, and moreover, what sort of aesthetic factors affect these reactions by analyzing existing symbol designs.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.1036-1040
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• 2009

Totem culture is a basic culture in all countries. A totem is any supposed entity that watches over or assists a group of people,such as a family,clan,or tribe.(Merriam-Webster Online Dictionary and Webster's New World College Dictionary, Fourth Edition).Totems support larger groups than an individual person. In kinship and descent,if the apical ancestor of a clan is nonhuman,it is called a totem. Normally this belief is accompanied by a totemic myth. And for the ages past,many totems for family. clan and tribe merged in one or two which comes to be a totem culture. We can know many things from the totem of our Ancestors.

• Journal of the Korean Society of Costume
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• v.44
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• pp.104-116
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• 1999

This study was intended to make an inquiry into the effect of lines, shapes and colors (achromatic colors) as apparel design elements on the perceptions of facial size, brightness and shape through an empirical research based on the theories of visual perception and optical illusion that have been studied in Gestalt Psychology, which becomes the basis of apparel design principles. It was shown that the facial size was influenced by the collar size, the degree of neckline cut, and the thickness of the trimming line. The white scarf with the white jacket made the face look darkest while the black scarf with the black jacket made the face look brightest. When the neckline had the characteristic of the line contrasted with the facial shape, the oval-shaped face was perceived to be the most ideal. When the facial shape and the neckline shape were similar, the facial shape was perceived to be more highlighted.

• Journal of Digital Convergence
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• v.13 no.11
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• pp.481-491
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• 2015

This research has verified the efficacy of character education course in Liberal Art Curriculum in accordance with the objective of K Women's University of which is the 'mind sharing through mindfulness, SMART human resources development'. Most of the content of character education is organized aiming to promote values of "appreciation". The subjects are experimental group and control group, of which are 229. Research methods were t-test of between groups. The effects of the course have shown that the experimental group students were higher on the level of connectedness sub-scale in Gestalt Contact Boundary Scale than those of the control group students(t=2.323, p = .021). Although the 'character education' course increased connectedness, but it no positive effect on mindfulness skill and self-esteem. This results showed that character education course is effective to promote mind sharing and connectedness in part. It was discussed about a way of further refining course contents and the need to reflect educational philosophy of the K Women's University.

• Journal of Science of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.