• International Journal of Advanced Culture Technology
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• 제11권1호
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• pp.232-240
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• 2023

The ecological expression of art in modern society takes the harmonious developmental relationship between man and nature as an element and combines it with the various manifestations of painting as an expression of ecological artistic development. The necessary relationship for the harmonious development of nature is accurately articulated, and the ecological changes in people are expressed in integrated materials that inspire human reflection. In the pursuit of material pleasures, mankind is neglectful and indifferent to the environment. The development of composite painting in art and ecology is a process that more reveres the harmony between man and nature as well as satisfying the creative value of the work. After systematic evaluation and research, people have engaged in various structural forms of composite art painting development in the long history of art development, focusing on the integration of environmental and ecological culture. In the process of nature education going through development, the comprehensive practical development of nature education is enhanced and efforts are made to feel new ecological art ideas and new ways of valuing environmental protection. In this paper, an observational study of eco-art will be carried out, starting from the theory of hierarchical division and analyzing the contradictory relationship between man and nature. Recognize nature, understand it and feel it through eco-art painting. The analysis of the contradictory relationship between man and nature is combined with the identification of various types of information that give value to the environmental protection public, and the combination of ecological painting and nature art to achieve an upgrade of the environmental protection idea of the value of painting. In the development of artistic ecological comprehensive painting, it is necessary to put forward technical requirements and standards that meet the development of modern industry according to the characteristics and methods of ecological painting. The author of this paper discusses the necessity and social value of artistic ecological painting creation from the artist's point of view, expounds the practical achievements of ecological painting from the perspective of the history and present situation of the development of ecological aesthetics at home and abroad, and gives the concept and creative method of contemporary art comprehensive material painting in combination with his own actual situation.

• 문화기술의 융합
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• 제9권4호
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• pp.291-301
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• 2023

본 연구는 지속가능발전교육 지향 생태미술활동에 관한 유아교사 인식에 대하여 알아보고자 하였다. 연구결과는 다음과 같다. 첫째, 유아교사는 생태미술활동의 교육적 의의에 대해 자연매체의 시각예술, 공동체적 가치추구, 사회구성원의 참여와 소통의 순으로, 실천하는데 장애요인으로는 교육환경의 어려움, 생태미술 수업자료 및 구체적 예시부족, 교사의 생태미술에 대한 이해부족의 순으로, 생태미술활동을 통해 함양할 수 있는 누리과정 예술경험영역의 핵심역량으로 자연친화적 소통능력, 생태친화적 감수성, 창의융합능력의 순으로 나타났으며, 생태미술활동을 실시하는데 예술경험영역의 자료가 충분하지 않다고 보는 것으로 밝혀졌다. 둘째, 생태미술활동과 지속가능발전교육에 대해 거의 모든 교사가 둘 간에 연관성이 있으며, 실천에 있어서 어려운 점으로 지속가능발전에 관한 인식부족, 교재교구 및 자료의 부족, 교육정책과 지원의 부족, 연수프로그램의 미흡 등의 순으로, 이러한 교육실행을 위한 지원은 교재교구 및 자료의 확충, 교육정책과 지원 확대, 지속가능발전교육에 대한 인식 확대, 연수프로그램 확대 등의 순으로 필요하다고 하였다. 또한, 생태미술활동에서 실천할 수 있는 지속가능발전교육 내용에서 교사들은 '기후변화 대응', '깨끗한 에너지', '물과 위생', '양질의 교육', '건강과 웰빙'과 '해양생태계'의 순으로 높게 인식하고 있으며, 생태미술활동 프로그램이 개발된다면 활용할 것으로 응답한 비율이 높아, ESD 지향 생태미술활동 프로그램 개발이 시급할 것으로 사료된다.

• International Journal of Advanced Culture Technology
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• 제10권4호
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• pp.337-344
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• 2022

The ecological expression of art in modern society takes the harmonious developmental relationship between man and nature as an element and combines it with the various manifestations of painting as an expression of ecological artistic development. The necessary relationship for the harmonious development of nature is accurately articulated, and the ecological changes in people are expressed in integrated materials that inspire human reflection. In the pursuit of material pleasures, mankind is neglectful and indifferent to the environment. The development of composite painting in art and ecology is a process that more reveres the harmony between man and nature as well as satisfying the creative value of the work. After systematic evaluation and research, people have engaged in various structural forms of composite art painting development in the long history of art development, focusing on the integration of environmental and ecological culture.In the process of nature education going through development, the comprehensive practical development of nature education is enhanced and efforts are made to feel new ecological art ideas and new ways of valuing environmental protection. In this paper, an observational study of eco-art will be carried out, starting from the theory of hierarchical division and analyzing the contradictory relationship between man and nature. Recognize nature, understand it and feel it through eco-art painting. The analysis of the contradictory relationship between man and nature is combined with the identification of various types of information that give value to the environmental protection public, and the combination of ecological painting and nature art to achieve an upgrade of the environmental protection idea of the value of painting.

• 한국환경교육학회지:환경교육
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• 제23권3호
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• pp.35-49
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• 2010

This purpose of this study was to investigate the influences of environmental education through ecological art education focused on music drama, on the environmental sensitivity of 5th graders in an elementary school in Seoul. A reconstructed questionnaire through Kim(2008)'s test tool was used to the effects of applying an ecological art educational program. The SPSS program was used to analyze the results. The major results of this study are as follows. First, the researcher was able to develop and apply a professor-learning model for the environmental education using the ecological art education focused on music drama by extracting and recreating environment related contents from the 5th grader curriculum. Second, this program had a positive effect on elementary students' environmental sensitivity. Third, according to qualitative results, students appear to be more concerned and interested in the environment and environmental problems in their daily lives. In conclusion, the ecological art program focused on music drama has a positive effect on increasing the environmental sensitivity of 5th graders. Therefore, more intensive research should be conducted, linking teaching and learning methods, as a follow-up activity.

• 미술이론과 현장
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• 제15호
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• 한국전통조경학회지
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• 제38권2호
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• pp.118-124
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• 2020

본 연구는 20세기 대표적인 생태예술가인 패트리샤 요한슨의 설계철학과 기능적 생태예술 작품들을 분석함으로써, 생태미학적인 특징을 고찰하고 생태조경설계에 있어서의 시사점을 모색하는 것을 목적으로 하였다. 이를 위해 자연과의 공생, 종다양성 확보, 생태계 서식지 복원 등의 기능적인 목적과 예술성, 지역성을 통합적으로 표현한 작품으로 알려진 페어파크 습지, 멸종위기 정원, 페타루마습지공원, 슈가하우스 드로우 등 네 개의 작품을 대상으로 관련문헌 고찰 및 현장방문의 방법을 통해 자료를 수집하여 분석하였다. 그 결과, 첫째 요한슨의 작품은 형태와 기능 또는 예술과 생태와의 결합을 통해 '기능적인 예술작품', '예술적인 인프라'를 창조하였으며, 둘째, 지역 고유의 생태계 및 역사와 문화특성에 대한 존중을 바탕으로 역사성과 지역성을 예술적이고 상징적으로 표현하였다. 셋째, 요한슨은 예술작품의 공공성을 통해 인간과 자연을 연결시키고 지역사회와 미래 세대의 자연과 환경보호에 대한 인식을 고취시키고자 하였다. 예술가의 창의적이고 독특한 미학적인 요소를 이용하여 생태설계의 영역을 완성한 요한슨의 조경설계는, 사람들에게 자연의 질서와 역사를 체득하는 경험을 제공할 뿐만 아니라 지역민의 적극적인 참여와 애착을 바탕으로 지속가능한 디자인을 실천한다는 점에서 조경분야의 생태설계에 있어 많은 시사점을 준다.

• KIEAE Journal
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• 제8권2호
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• pp.23-30
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• 2008

Many closed schools of about more 3,000(2006 year) have occurred all over the country according to governmental policy of 1982. These closed schools were sold or rent to institution, local government, and a private, and are used by various usage such as novitiate, institution, educational facility, art creation facilities, warehouse, and factory. But, unimproved closed school facilities are still reaching for about 450. Among practical use example of such closed school, alternative educational facility, practice facilities, art creation facilities etc. with closed schools which have general surrounding natural landscape and environment uses well preserved were applied consciousness and the practice about environmental problem to ecological concept. Also, a lot of discussions about ecological concept and study for desirable solutions about practical use of closed schools example have been achieved. However, it is hard to find various ecological practical use examples at filed. In such background, this research wishes to investigate changing space and facilities variously and its usage which is applied ecological concept with regional closed schools.

• 문화기술의 융합
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• 제9권2호
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• pp.221-226
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• 2023

지구 환경에 피해를 주는 인간행위들을 바로 잡지 못하여 생태적 재앙이 지속적으로 확대되어 갈 가능성을 줄이기 위하여, 과연 예술은 인간이 자연을 이해하고 자연과 상호작용하는 방식을 바꿀 수 있을까? 지구에서 환경적 정의와 삶의 지속가능성을 실현하는 예술적 방법론은 무엇일까? 본고는 이러한 질문들의 답을 찾아보고자 한다. 지구 환경을 바라보고 느끼고 이해하고 행동하는 방법을 찾는, 즉 지구 환경에 대한 지향의 방식을 고민하는 과정은 많은 인간적 산물이 자연을 생명의 원천이 아닌 착취의 자원으로 대했던 역사를 비판적으로 사유하게 할 것이다. 이러한 의지를 가지고 본 논문은 '환경예술 운동의 선구자'로 불리는 해리슨 스튜디오의 생태예술에 주목한다. 본론에서는 해리슨 스튜디오의 주요한 프로젝트를 분석하여 생태학적 함의와 미학적 전략을 찾는다. 특히 대화적 방법론에 초점을 둠으로써, 해리슨 스튜디오가 펼친 다양한 협업적 실천의 의의를 제시한다. 그리하여 그들이 생태예술의 가치에 대한 실제적인 경험과 이해의 폭을 확장할 수 있는 데 기여하였을 뿐만 아니라, 어떤 획일적인 교환의 규칙에 한정되지 않고 상호 간에 연결되고 중첩된 인식적 차원을 끊임없이 생산해 냄으로써 생태학적 의식의 방향성을 다시 돌아보게 하는 힘을 지니고 있음을 논증한다.

• 조형예술학연구
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• 제13권1호
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• pp.23-37
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• 2008

Recently, there are getting popular form generation-related design methodologies and scientific discourses about the nature of nature in the environmental design. The necessity of visual perception and cognitive research is growing in this respect. Accordingly, this study was designed to discuss environmental design and cognition in the ecological perspective. This study was intended to study the structural factors of cognitive ecological space. This study focused on the systematic principle of new environmental design based on cognitive ecological approaches and what kinds of design effects this design principle has on the human being in the long nm. The results are as follows. First, the results suggests that fractal pattern should be an alternative to design cognitive ecological space and new paradigm of architecture is based on the nature of nature and human sensibility. Accordingly, they have proposed that fractal design is more empirical and environment-friendly than rational linear design. Second, this study classified the variables of cognitive ecological space into nature, tradition, preference judgement, aesthetic value, and schema. Accordingly, such features as symbol, tradition, and nature restricted by modernistic ideology should be added to new paradigm-based environmental design. Third, accordingly, this study stresses that cognitive ecological environmental design doesn't include buildings of modernism and deconstruction and is based on new science of complexity.

• 산업융합연구
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• 제13권4호
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• pp.1-10
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• 2015

The purpose of this study is to propose a model built on the theoretical foundation of ecological sensitivity applicable to group and coaching process for organization members in industry management environment. For this, I have looked into theoretical foundation basis-foundation required for the ecological sensitivity process based on ecological discourse, based on which I have proposed a process model. The ecological basis-foundation with regards to ecological sensitivity dealt with in this paper includes 1)Crisis awareness, 2)Acquisition of ecological unconsciousness, 3)Fostering green imagination and 4)Setting targets.