• Cartoon and Animation Studies
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• s.45
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• pp.235-258
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• 2016

As the first class Teaching Artists system is about to be brought to effect, the ability required for Teaching Artists to design educational contents, develop and manage education programs is not much different from that of a museum Educator. This system is necessary for resolving problems in existing Arts and Culture Education, such as overlapping programs and adjusting difficulty levels by age to meet the demand of educatee. It also deals with drawbacks in production-oriented curriculum originating from the preference in some subject. In addition, as progress in science and technology makes rapid changes in digital media and its subculture, increasing need for novel and interdisciplinary curriculum in the field of Arts and Culture Education puts further emphasis on the importance of this system. In this study, we focus on clarifying the significance of Educator as a professional and proposing curriculum for the system, trying to avoid restricting our discussion to current Arts Instructor Supporting Project which are merely aimed at supporting children and adolescents to grow up to enjoy culture and arts. Capacity for designing curriculum for culture and arts, the kernel of qualification for the first class Teaching Artists, requires a variety of comprehensive expertise and qualification such as doing preliminary research on contents related to animation, curating, determining potential of educational contents, organizing educational contents for appropriate educatee, understanding esthetic property and its role in education, and appreciating and enjoying cultural contents. Therefore, Teaching Artists plays roles not only in developing and running educational programs but also in supporting and cooperating with culture and arts institutions, designing and managing creative programs, combining and communicating with different social groups, and emphasizing mutual interchange in culture.

• Korean Medical Education Review
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• v.10 no.1
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• pp.43-51
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• 2008

Purpose: As introducing a case on extracurricular medical education using artists as instructors, we purposed to make significant implication on the technology-centered medical education. Methods: A case on extracurricular medical education using artists as instructors was introduced and the response of participants among medical students was presented and analyzed. Results: 25 medical students and 5 artists participated in this extracurricular medical education program. Each 5 artists' special area were an oil painting, an illustration, a documentary photo, a play, and an animation Participants' satisfaction of this program was high among medical students. They thought the time with an artist as a significant opportunity for understanding not only human-being but also himself or herself. Conclusions: The application of this learner-centered and extracurricular education program using artists as instructors needed further consideration in medical education. Medical students' meeting with artists can fill the lost art of medicine.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.29-35
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• 2003

The purpose of this study is to analyze the architectural manifesto and design works characteristics of Walter Gropius. He was the director of Weimar Bauhaus that one of the advanced artificial movements in the early modern period. The almost of the early modern movements was related to the radical ideology and the manifesto. Especially Bauhaus originated from manifesto of artists teaching group with architect Walter Gropius. Therefore, the category of the study pitch upon Bauhaus architectural manifesto - Bauhaus Manifesto and Programme(1919) - and the representative works of Walter Gropius - Fagus Factory(1911-14), Dessau Bauhaus Building(1925-26), Siedlung Berlin-Siemensstadt(1929-30) and Harvard Graduate Center(1949). The conclusions of the study as per the above mentioned pill pose are the dynamic integration by non-symmetry in cubic form (formal characteristics) and organic continuity by reciprocality in transparent space (spatial characteristics).

• Archives of design research
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• v.12 no.4
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• pp.53-60
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• 1999

Nowdays many people using and learning 3D Software. However, like artists drawing by brush, that most of designers misunderstood that 3D Software is cover everything as a tool. This sort of situation, change of 3D Software will come to the front very seriously. It can be result about lack of understanding 3D in general and some kind of illusion about 3D Software. These were changing like training school that was teaching only function for technique. Therefore, to prevent above things, this research paper will be based on a conception, that compare with 3D which called cyber space and the real world. That is explanation of construction about 3D Software generally, that will basis how does people think about the world. It function of 3D Software will take concrete shape gradually, which is after general description and understanding and the users will be quick to understand, no need to difficult of access for beginners. In addition, higher education ay university is no longer training center. Lastly, it will be able to capability as an essentially figure. Nowdays many people using and learning 3D Software. However, like artists drawing by brush, that most of designers misunderstood that 3D Software is cover everything as a tool. This sort of situation, change of 3D Software will come to the front very seriously. It can be result about lack of understanding 3D in general and some kind of illusion about 3D Software. These were changing like training school that was teaching only function for technique. Therefore, to prevent above things, this research paper will be based on a conception, that compare with 3D which called cyber space and the real world. That is explanation of construction about 3D Software generally, that will basis how does people think about the world. If function of 3D Software will take concrete shape gradually, which if after general description and understanding and the users will be quick to understand, no need to difficult of access for beginners. In addition, higher education ay university is no longer training center. Lastly, it will be able to capability as an essentially figure.

• English Language & Literature Teaching
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• v.8 no.2
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• pp.117-130
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• 2003

This paper attempts, not to evaluate, but to describe William Carlos Williams' poetic techniques in accord with his poetic theory of Imagism; it does this by showing the early poetry in 1910's. The purpose of this paper is to analyze how Williams developed his poetic techniques with his theory of poetry. The progress of his poetic theory is drawn from the influence of another poet, Ezra Pound. William Carlos Williams' poetic development in Imagism threads the periods of his writing from the early 1910's to the early of 1920's. William Carlos Williams forms progressively the theory of his poetic technique of Imagism in this period. He treats the poems as images. In his theory of Imagism, his art continually demonstrates the development of poetic techniques by the help of other artists. This period represents Williams' attention to the essence of poetic elements: 'the thing itself.' All of these things in life come before us in his poetry in such a way as to be a technical process divided into the well-formed theory of poetry. The development of William Carlos Williams' poetic technique takes a particular pattern in order to achieve a theory of Imagism. At last, the steps of his poetic technique arrive at an organic unity of poetic theory in the early poetry of Williams.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.3 s.9
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• pp.5-12
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• 2006

Make-up illustration is a field of creativity with visible creative and artistic values; its ultimate functions include communication of information, artistic expression, and recording. Establishing the make-up illustration education environment for the twenty-first century, there is an urgent need for research and development of professional curricula for basic art education and illustration education. It is extremely important for educators and institutions teaching make-up illustration to recognize that training of highly creative and professional beau designers through systematic educational structures is the ultimate foundation for enhancing competitiveness of the beauty industry despite the present reality that there are insufficient studies and publications on beauty illustration and that there is lack of illustration lecturers and artists equipped with professional beauty knowledge. Therefore, this study was conducted to research and analyze offering of illustration subjects by 160 beauty-related vocational schools and 16 4-year undergraduate colleges in the make-up field, which is the field with most creative art activities among the three representative beauty majors, namely make-up, hair, and skin. Education of make-up illustration must not remain as simple short-term education. The curricula must be specialized for providing solid foundation of basic majors. In terms of education content, strong emphases must be made for original and creative mark-up designs as well as purposes, functions, and necessity of make-up design and illustration. The curricula must include systematic, logical and artistic elements. Through the course of this study, which researched, analyzed and proposed measures for education content of make-up illustration, it was found that make-up illustration is the most appropriate subject that fulfills both the ultimate education objectives of beauty colleges and the demand by the society for beauty professionals. It is hoped that make-up illustration is emphasized and recognized for its importance and necessity as an education subject so that similar basic major subjects will further be researched and developed for specialized education.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.236-282
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• 2002

Among elements of play, there are puppets performances and shadows performance which are replacing actors by puppets and shadows. Puppet performance is characteristic of expressing various movements and symbols at its conveniences by the reduced models of human form with various materials. Shadow performance is realized in various colors that cannot be discovered in other countries by expressing mysterious cubic effect in reflecting the light against various forms. Mansukjung Nolum is a unique shadow performance that has been inherited in Korea. There are found many shadow performances inherited in the northern Europe and South-eastern Asia. Recently the silhouette animation in application of shadow performance is made. In the northern Europe and South-eastern Asia, they performed in white and black color while Mansukjung Nolum is performed in natural colors. Since they adopted the leather materials for making puppets, their opaque feature cannot reflect the colored light. But in Korea we adopted the specially colored semi-transparent Korean paper, which gives the colored shadows to spectators. Mansukjung Nolum consists of three acts for arousing attention of fallen monks destroying the teaching of Buddha. Seosanbakchumji Nolum is a puppet performance inherited in a village in Seosan, Choongnam instead of wandering artists. The story and form of performance in Namsadangpae's puppet play is mostly similar to it, but it is woven by its villages natural environment and specific dialects, reflecting their consciousness in mind. The villagers made the puppets and manipulate them in communicating their wisdom of life between them. Parkchumji Nolum is a kind of integral art combining puppet manipulation, witticism, songs and dances. The hero of Parkchumji discloses the social and structural conflicts of feudalism, in arousing the spectators' rich attention of self-awareness and lessons.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.443-451
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• 2023

Sound Art (Sonic Art) is a branch of contemporary art that has been practiced dominantly in Europe and the Americas since the mid-20th century; and in Korea, it tends to be regarded as a multiple art field or as a subgenre of contemporary music or media art. Since the 2000s, some leading universities in North America and Europe have been opened sound art majors, producing talented people who specialize in this field or work as practical artists, yet it is still considered a non-mainstream art field. It is difficult to find schools that have opened sound arts as their major program in domestic universities. Along with the introduction of a liberal arts curriculum model and teaching methods used in the <Sound Art of Modern Society> course operated in a four-year university in South Korea, this paper discusses the possibility of using sound art as a main subject in liberal arts learning in higher education as a creative fusion liberal arts subject.

• Journal of Digital Convergence
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• v.16 no.11
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• pp.57-67
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• 2018

The purpose of this study is to examine the issues of school arts & culture education policy in Korea, using the four dimensional model of Cooper, Fusarelli, & Randall(2004). Research method is literature analysis, the accumulated policy documents and academic papers were used as the basis data. As a result, the followings are required for effective policy outcome: From the normative dimension, overcoming the pursuit of national growth ideology and bureaucratic rationality; from the structural dimension, securing of practical forms and content through the reform to the teacher mandate system in curriculum operation; from the constituentive dimension, clear division of roles among members through the change of awareness about arts & culture education; and finally from the technical dimension, rational allocation of resources based on firm educational criteria. Building upon the results, promotion of basic academic research, accepting the opinions of arts & culture education parties concerned, expansion of opportunities for cultural art experience of teachers, building up the integrated arts & culture education teacher training system, the reorganization of the teacher training system, and raising the professionalism of teaching artists.