• Journal of the Korean earth science society
• /
• v.30 no.1
• /
• pp.127-140
• /
• 2009

The purpose of this study was to explore the characteristics of children's interactive learning focusing on the Vygotsky's ZPD (the zone of proximal development) in a natural history museum as a representative free-choice learning context. We focused on the understanding of peer dyadic discourses and data were collected from 13 peer groups of children (3rd and 4th graders) who were videotaped all conversations occurred as they visited around the exhibits with no predetermined path. The transcribed data were analyzed by the developmental level of ZPD system and the discourse within an ADL (an actual developmental level) was overwhelmingly common in the conversations between child-child dyads. The representative discourse by discourse types were parsed according to three constructs of ZPD. Children formed the intersubjectivity through semiotic mediation such as conversations and exhibits and ended up with the similar situation definition. In conclusion, the details of discourses of the most impressive dyad were looked into focusing on the scientific concept. The study implies that a natural history museum becomes a meaningful resource to offer a deeper understanding of the nature of children's learning as an informal learning setting.

• Journal of The Korean Association For Science Education
• /
• v.27 no.9
• /
• pp.832-847
• /
• 2007

The purpose of the study was to analyze and interpret parent-child dyadic discourses in depth with emphases on the ZPD system in a museum, an informal learning setting. Second graders and their parents from Seoul and its environs were voluntarily participated in the study. Data were collected from the museum documents, the photos of exhibits, and the video recordings of dyadic discourses at and between exhibits. The documents and the photos were analyzed to investigate what the topics, medium and goals of the exhibits were. The video recordings were all transcribed and analyzed to understand what and how they talked to each other through the lens of the ZPD system; situation definition, intersubjectivity, and semiotic mediation, The results of the study consisted of two parts. First, it showed that parent-child dyadic discourses were categorized in four: (1) within the actual developmental level; (2) in the zone of proximal development; (3) toward the potential developmental level; and (4) out of developmental level. The most common categories were the dyadic discourses within the actual developmental level and in the zone of proxima I development. Second, the representative cases in each categories were described and interpreted to understand the nature of parent-child dyadic discourses. It can be concluded that we gained some important understandings of an intrinsic attribute of parent-child discourses in a museum, an informal learning setting. Based on the results of the study, it can be suggested that museums make efforts to cultivate the affordance of exhibit environment to promote visitor's learning.

• Archives of design research
• /
• v.16 no.4
• /
• pp.413-422
• /
• 2003

In the early 20th century, the efforts for design standards for industry and the new aesthetic of Functionalism began from the Deutcher Werkbund, an English German Association of Craftsmen. In the similar vein, the Bauhaus, founded in 1919 at Weimar, provided the definition of Good Design, as a contemporary concept, that combines art with technology. From 1950 to 1955, the modern usage of the term 'Good Design' was derived from a series of exhibitions and consumer education programs conducted by the MOMA(Museum of Modern Art, New York). The mission was to bring modern design to the attention of the general public. From the second half of the 20th century, many specialists in different areas, such as designers, manufacturers, enterprises, and scholars, began to give various definitions of 'Good Design'. That's why it could be interpreted and applied to unique and various methods by them. Meanwhile, Rams and Norman argued that the Good Design has to be not only considered within function, aesthetic, technology, etc, but also interpreted from both the physical and psychological point of views. Accordingly, this study tried to find out the historical investigation and the definition of Good Design in detail, and to figure out that the user-centered design from both physical and psychological approaches is eventually synonymous to 'Good Design'.

• The Journal of the Convergence on Culture Technology
• /
• v.1 no.2
• /
• pp.1-19
• /
• 2015

The history of modernization of Korea is divided into two folds of the colonial era in the 20's and the economic development era in the 60's. Most of the spaces built in the process of modernization were public spaces developed by the drive of the government. These spaces of modernization are functionality-oriented public places of production and at the same time, and they are the spaces of national power to symbolize the identity of national authorities. Along with changes in the society, modern spaces were reduced down to monument buildings without functionality and this requires new definition to renew the identity of modern spaces. Small stations, power plants, mines, warehouses, abandoned factories, and etc... the study has paid attention to the process of changing thought, one of the main characteristics of modernization, the relations of modern concepts projected in the spaces, framework of modern society, and placeness in the process of framework building and relations of people in the spaces with video records on the process of rebuilding new identity of modern spaces and memories of the spaces. The relations of modern spaces and memory were explored in < Seoul Station > while the relations between modern spaces and records and place identity were explored in < Onyang Folk Museum > and < Okpo Shipyard > respectively. In the relations between space identity and memory in each space, the ironic relations of power in modern spaces (placeness) and personal narrative (memories) were explored with oral narrative and video footage.

• Journal of Conservation Science
• /
• v.35 no.5
• /
• pp.470-479
• /
• 2019

The objective of this study is to identify the reason behind the expansion of exhaust holes and inhalational holes through high-definition filming and measurement of The Gilt-bronze Incense Burner of Baekje. In the proposed experiment, based on the original data obtained after a precise three-dimensional (3D) scan of the said incense burner, the precision replica and the commercial replica of the incense burner were subjected to a 3D scan. The overall shape and detailed patterns were subsequently compared with the original data. Furthermore, the incense-burning experiment was conducted according to the sizes and opened or unopened states of the exhaust and inhalational holes by employing the precision replica of the actual real relic for examining the internal structure of the lid and for studying the sizes and locations of the smoke holes. The results indicate that depending on the sizes of the exhaust and inhalational holes, the lower-line air intake holes can cause incomplete combustion in the incense burner. Depending on the opened or unopened states of the exhaust and inhalational holes, the phoenix air exhaust holes and upper-line air exhaust holes play a primary role in releasing the smoke, whereas the lower-line air intake holes play a primary role in smoke inhalation.

• The Journal of Art Theory & Practice
• /
• no.2
• /
• pp.169-190
• /
• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of the Korean earth science society
• /
• v.39 no.4
• /
• pp.388-400
• /
• 2018

The purpose of this study was to explore the nine components of computational thinking (CT) practices and their operational definitions from the view of science education and to develop a CT practice framework that is going to be used as a planning and assessing tool for CT practice, as it is required for students to equip with in order to become creative problem solvers in $21^{st}$ century. We employed this framework into the earlier developed STEAM programs to see how it was valid and reliable. We first reviewed theoretical articles about CT from computer science and technology education field. We then proposed 9 components of CT as defined in technology education but modified operational definitions in each component from the perspective of science education. This preliminary CTPF (computational thinking practice framework) from the viewpoint of science education consisting of 9 components including data collection, data analysis, data representation, decomposing, abstraction, algorithm and procedures, automation, simulation, and parallelization. We discussed each component with operational definition to check if those components were useful in and applicable for science programs. We employed this CTPF into two different topics of STEAM programs to see if those components were observable with operational definitions. The profile of CT components within the selected STEAM programs for this study showed one sequential spectrum covering from data collection to simulation as the grade level went higher. The first three data related CT components were dominating at elementary level, all components of CT except parallelization were found at middle school level, and finally more frequencies in every component of CT except parallelization were also found at high school level than middle school level. On the basis of the result of CT usage in STEAM programs, we included 'generalization' in CTPF of science education instead of 'parallelization' which was not found. The implication about teacher education was made based on the CTPF in terms of science education.

• The Research Journal of the Costume Culture
• /
• v.25 no.6
• /
• pp.787-803
• /
• 2017

The purpose of this study is to reestablish the innovative and experimental designs of Rei Kawakubo by considering and analyzing the flow on the avant-garde nature of her design collection from 1981 to 2017. Design trends such as the art trend, silhouette, color, and expressive technique showcased in Rei Kawakubo's collection from 1981 spring/summer to 2017 spring/summer were examined through precedent studies, books, internet materials, and the avant-garde expressive nature of her designs appearing in modern fashion. Additionally, this study considers the definition of avant- garde and analyzes the expressive nature of Rei Kawakubo's 137 works from the Comme des Garcons collection, exhibited in New York's Metropolitan Museum of Art. As a result of this examination, the avant-garde expressive nature seen in modern fashion was classified into the following themes: historicity, de-structure, exaggeration, intermixture, and surrealism. As a result of reclassifying these characteristics according to historical flow, the historicty, intermixture, and de-structure appeared in the 1980s, while intermixture, exaggeration, and de-structure appeared in the 1990s. More recently, historicity, intermixture, and de-structure appeared in the 2000s, and intermixture, de-structure, exaggeration, and surrealism appeared in the 2010s. The present study is significant in providing theoretical material for the more innovative and various design development in diverse domains while helping to define and understand the avant-garde expression through Rei Kawakubo's collection.

• The Korean Journal of Archival Studies
• /
• no.40
• /
• pp.61-93
• /
• 2014

One of the reasons behind the surfacing of such issues is because the record does not exist and even if the records remained, it is because they are not being properly managed. In Korea, National institutions in the field of visual arts, currently there are no archives that manage only the records for the visual arts as an independent institution, and the reality is that the National Museum of Archives is still in the beginning stage as well. This study has conducted a research on the records collection strategy and the management of the record information of an author who is the creator of the visual arts as a starting point of the visual arts. For this purpose, the definition of visual arts and the concept of an author covered in this study will be examined and the types of documentary that may occur in the field of visual arts were analyzed. In addition, the history of an author is its personal record thus a personal history and private archive have been examined. Based on this background, the cases on the personal record and the management of the record information of domestic and foreign authors were analyzed and the implications were derived.

• The Korean Journal of Archival Studies
• /
• no.20
• /
• pp.151-212
• /
• 2009

Museums are producing new value and being redefined as places that reproduce context, as the process of globalization are being reflected in museum activities. The new additional functions and roles to the traditional mission of museums allow artworks to find potential functions of art archive and meseum. At the same time, the public has faced originality and aura of an artwork by viewing the physical subject. However, with the appearance of a new digital object, the initiative of viewing has moved over from the artwork to the hands of the public. Now, the public does not go to the museum to see an artwork, but has started to adopt to an opposite paradigm of bringing the artwork forward to the screen. Therefore, they are not satisfied any longer with just seeing an artwork, but demand more information about the artworks and reproduce it as knowledge. Therefore, this study aimed to find types and characteristics through definition and range selection of art archive at this point where the value of art archive is enhanced and systematic management is required, and to present record management methods according to art archive structure and core execution function. It especially stressed that the basis of overall art archive definition was in an 'approach' paradigm rather than a 'preservation' paradigm, and embodied various application methods of digitalized art records. The digital object of an artwork was recognized as the first materialization of an actual artwork, and the digital original of an artwork was presented as the core record. Art archive managed under physical and intellectual control were organically restructured focusing on digital original copies of artworks, which are the core record in a digital technology environment, and could be provided to users in forms of various services that meet their demands. The beginning of systematic management of such art records will become a first step to enhance historical value, establish art cultural identity, and truly possess art culture.