• Journal of The Korean Association For Science Education
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• v.39 no.5
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• pp.573-584
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• 2019

It is necessary to look at the essence of STEAM education from the viewpoint of the teacher who is the subject of education execution. We carry out questionnaires and telephone interviews for the purpose, definition, change, etc. of STEAM education from eight elementary, middle, and high teachers who are rich in policy and field application experience. As a result of the analysis, the purpose of the STEAM education that the specialists mentioned includes the active participation of the students. Most experts pointed out that the definition of STEAM education is ambiguous. So, it is necessary to express a clear goal of STEAM education. The category and level meaning "fields" from "a convergence of two or more fields" are not indicative definitions, but can be different depending on the situation, considering the context of activities and the level of students. The perception of the experts on framework may be a guide for STEAM education and stumbling block. It is necessary for "Context" to shift away from the emphasis on the real life connection and to the emphasis on the interest of the student and the guidance of the class. "Creative design" must be based on trial and error in the process of solving problems. "Emotional touch" needs to correct elements that cannot be observed, evaluated, and applied to lessons that are elements of emotional experience. As for the expansion of STEAM education, most expert teachers have recognized that STEAM education is becoming increasingly stable and that policy change has continued to slow the pace of stabilization.

• (The) Research of the performance art and culture
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• no.37
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• pp.249-293
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• 2018

The Musical Theatre was a popular art genre that originated from the western musical tradition represented by the European opera. In the twentieth century, it bloomed around Broadway in the United States. It is also one of the commercial arts which is popularly loved by the public in the field of performing arts all over the world at present. Due to the nature of this genre, the development of dramas and the expression of characters use music, not words or gestures, as the main medium. And the style of music reacts sensitively to the taste of the public, not to a particular class. When Japan colonized Korea, the empire strongly believed modernization equaled westernization and Japan was the one who could awaken Korean. The Japanese colonial music education was intended to bring cooperation and obedience to Japan by forcibly injecting Japanese ideology and culture into Joseon people. The music education of colonialism with the textbook of the "Songs for public education(보통교육 창가집)" compiled by the Japanese government was a sparkstone for the conversion of the Korean musical identity to Japanese and Western music. In addition to the capitalistic economical mechanism for establishing a South Korean government friendly with the United States during the Cold War after liberation, and the rush of American Pop culture represented by 'the show stage in 8th US Arm' and 'movies' which are to be the influence of invisible 'new cultural imperialism', our traditional music was confined to the meaning of 'Korean music', meaning 'past music'. In Korea, after the liberation, the musical was introduced by the influx of American popular culture. In accordance with the cultural policy of Park Jeong-hee regime, which aimed to spread the 'healthy culture' through the modernization of traditional arts, 'The Yegreen(예그린악단)' was founded. However, the plan to create a contemporary performing art based on Korean national arts showed the possibility of success in 1966 with the success of , but soon after, they have been destined to fall into an institution that has lost their ability to operate on their own due to the suspension of the sponsorship of the regime. Due to the cultural imperialist strategy of the influence of Japanese imperialism's colonial music education and influx of American popular culture after liberation, in the early days of Korean musicals, our traditional aesthetic style brought about the situation of the 1960 's, which did not become an independent ethnic art through the exchange and expansion with Western music. This is the background of the western licensed musicals led by the Korean musical market in the 21st century as well as the main cause of musical creation based on western music.

• Journal of Korea Foundry Society
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• v.41 no.2
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• pp.144-152
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• 2021

Based on the analysis of the current state of the world's foundry industry, we looked at the international competitiveness of Korea's foundry industry for the past 20 years. Korea's total foundry production is 2.52 million tons, and the production per company (so-called productivity) is 2,831 tons, which is the eighth largest in the world and down one position for the case of total foundry production, while productivity remains its position compared to three years ago. Korea is the only one of the top 10 foundry to see a decline in production. Similar to the global situation, Korean products consist of 38% of grey csat iron, 31% of ductile cast iron, 15% of aluminum, and 9% of cast steel. In order to obtain statistics on Korea's foundry industry, the survey conducted a service project for approximately nine months from April 2020. Various statistical surveys and sample in-depth surveys by the Korean standard industry class were evaluated for various contents of the domestic casting industry. We also looked at the number of companies, the distribution by region, the number of workers and the percentage of foreigners, and the distribution of each job, as well as the R&D investment status according to the size of the enterprise. Together, sales, exports, sales and various profit ratios were analyzed to measure the earning power of foundry industry. In addition, the classification by grouping the foundry industry according to the process utilized by focusing on each company, and to determine the sales, exports, and yield status for each process was also investigated on the basis. Based on these data, the domestic foundry industry has presented a variety of offers for the following issues for sustainable growth; global ranking, marginal corporate restructuring, training of domestic technical people, differentiated support policies by company size and process.

• (The) Research of the performance art and culture
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• no.38
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• pp.193-224
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• 2019

Shaman's play is significant in that it provided public theater for a long time in the theatrical and dramatic history. Unlike upper class who could call entertainer or Korean geisha in the traditional society, the majority of ordinary people could see professional performances through gut. Therefore, the shaman of the traditional society pulled the play which developed in the gut and the outside play into the gut and prepared the performance street for the ordinary people. shaman's play, apart from the religious context, has also functioned as a theatrical performance. Through shaman's play, you can see the process of ritual development into play. Shaman's play is a ritual ritual of expel calamity in an agriculture based society. In Korean consciousness, evil spirits are thought to bring disease or disaster to humans, so they should be good for evil spirits. This is a ritual that goes hand in hand with the Confucian Yeoje and the Buddhist Suryukjae. Most traditional plays, including masque performance, tend to weaken and become stifling after the designation of intangible cultural properties. However, shaman's play is transformed every time it is executed and is given a new meaning. Depending on the ability of the shaman to respond to and accommodate social change, adaptability is excellent depending on the situation in the field. Shaman's play has richness, prevent calamity and playful elements such as imitation of god and sexual connection based on the element of shamanism. In addition, it is necessary to pay attention to the meaning and the direction of Shaman's play because it is differentiated into play including social subject beyond mere magic imitation.

• Journal of Intelligence and Information Systems
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• v.27 no.3
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• pp.139-156
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• 2021

The biggest reason for using a deep learning model in image classification is that it is possible to consider the relationship between each region by extracting each region's features from the overall information of the image. However, the CNN model may not be suitable for emotional image data without the image's regional features. To solve the difficulty of classifying emotion images, many researchers each year propose a CNN-based architecture suitable for emotion images. Studies on the relationship between color and human emotion were also conducted, and results were derived that different emotions are induced according to color. In studies using deep learning, there have been studies that apply color information to image subtraction classification. The case where the image's color information is additionally used than the case where the classification model is trained with only the image improves the accuracy of classifying image emotions. This study proposes two ways to increase the accuracy by incorporating the result value after the model classifies an image's emotion. Both methods improve accuracy by modifying the result value based on statistics using the color of the picture. When performing the test by finding the two-color combinations most distributed for all training data, the two-color combinations most distributed for each test data image were found. The result values were corrected according to the color combination distribution. This method weights the result value obtained after the model classifies an image's emotion by creating an expression based on the log function and the exponential function. Emotion6, classified into six emotions, and Artphoto classified into eight categories were used for the image data. Densenet169, Mnasnet, Resnet101, Resnet152, and Vgg19 architectures were used for the CNN model, and the performance evaluation was compared before and after applying the two-stage learning to the CNN model. Inspired by color psychology, which deals with the relationship between colors and emotions, when creating a model that classifies an image's sentiment, we studied how to improve accuracy by modifying the result values based on color. Sixteen colors were used: red, orange, yellow, green, blue, indigo, purple, turquoise, pink, magenta, brown, gray, silver, gold, white, and black. It has meaning. Using Scikit-learn's Clustering, the seven colors that are primarily distributed in the image are checked. Then, the RGB coordinate values of the colors from the image are compared with the RGB coordinate values of the 16 colors presented in the above data. That is, it was converted to the closest color. Suppose three or more color combinations are selected. In that case, too many color combinations occur, resulting in a problem in which the distribution is scattered, so a situation fewer influences the result value. Therefore, to solve this problem, two-color combinations were found and weighted to the model. Before training, the most distributed color combinations were found for all training data images. The distribution of color combinations for each class was stored in a Python dictionary format to be used during testing. During the test, the two-color combinations that are most distributed for each test data image are found. After that, we checked how the color combinations were distributed in the training data and corrected the result. We devised several equations to weight the result value from the model based on the extracted color as described above. The data set was randomly divided by 80:20, and the model was verified using 20% of the data as a test set. After splitting the remaining 80% of the data into five divisions to perform 5-fold cross-validation, the model was trained five times using different verification datasets. Finally, the performance was checked using the test dataset that was previously separated. Adam was used as the activation function, and the learning rate was set to 0.01. The training was performed as much as 20 epochs, and if the validation loss value did not decrease during five epochs of learning, the experiment was stopped. Early tapping was set to load the model with the best validation loss value. The classification accuracy was better when the extracted information using color properties was used together than the case using only the CNN architecture.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.

• Journal of the Society of Disaster Information
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• v.17 no.4
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• pp.722-732
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• 2021

Purpose: Due to the coronavirus infection-19 (COVID) pendemics, all educational institutions were required to provide full non-face-to-face real-time education, and fire officials were required to provide fire-fighting education by applying non-face-to-face education. In this difficult situation, the National Fire Service Academy tries to find the direction of the non-face-to-face real-time education and suggest ways to improve it through a survey of the status of non-face-to-face real-time education conducted by the NFSA to fire officials. Method: A survey was conducted on fire officials under the theme of "Consciousness Survey for Improving the Quality and Specialization of Non-face-to-face Real-Time Remote Education" and an in-depth analysis was conducted based on the results. Result & Conclusion: First, professors or educational operators shall actively utilize remote education programs suitable for educational characteristics by utilizing various programs. Second, a dedicated notebook for non-face-to-face training should be provided to provide an educational environment where all learners can participate in the training without difficulty. Third, in the case of education and training that requires the use of equipment due to the nature of fire officials' education and training, it is necessary to consider it as a non-face-to-face training place by arranging educational equipment at each fire station. Fourth, it is hard to expect a satisfactory educational effect to cope with practical education with theoretical education. Therefore, facilities and programs that enable non-face-to-face real-time hands-on training should be developed. It is worth considering the proper combination of face-to-face education while maintaining the social distance as much as possible until such non-face-to-face training is possible. Fifth, non-face-to-face education is considered to have high eye fatigue due to the light and electromagnetic waves of the computer screen, and as time goes by, the concentration level decreases. Therefore, it is necessary to form an education time to reduce the eye fatigue of learners and increase concentration through proper class and rest time. Finally, professors should operate a learner participation-oriented education that allows professors and learners to interact rather than one-sided knowledge transfer education. In addition, technical problems of non-face-to-face remote education should be thoroughly prepared through preliminary system checks to ensure that education is not disrupted.

• (The) Research of the performance art and culture
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• no.43
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• pp.145-172
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• 2021

Shin Myung-soon's is based on the taboo 'bombing of the Han River Bridge'. The reality of the bombing of the Han River Bridge in 1950 and the shooting of Colonel Choi Chang-sik was known only as a word of mouth. At that time, the ruling class did not want to reveal the painful mistakes of the unfavorable war situation in the early days of the war and the false broadcasting of the president. The truth of the case, which was kept completely secret even to the bereaved family, could only be revealed after the regime change. After that, the bereaved family of Colonel Choi Chang-sik confirmed the innocence of the deceased through a request for retrial, and then the was born. However, the fate of was not so smooth. At the time, the performance officials vividly remember the difficulties they had with the text. Despite passing the pre-screening of the script, the performance was canceled just before the performance. The fact that the National Theater, officials from the Ministry of Culture and Education, and even military generals visited the practice room to stop the performance, on the contrary, was a testimony to the dangers of . It can be summarized as a crack in official history and a move to stop it. was later adapted into a special TV drama in 1981 and was first released to the public. This was a very meaningful step in terms of dealing with politically sensitive subjects on television, but the inconsistency of in the first place has largely disappeared. After that, in 1988, only after democracy entered the phase of appeasement, could be performed in its full form. In short, can be said to be an example of a process in which the history of the Korean War recorded from the standpoint of an established order and the counter-memory that crack it up are transformed according to the changes of the times and media.

• Clinical and Experimental Reproductive Medicine
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• v.2 no.2
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• pp.27-36
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• 1975

The success of the family planning program in Korea is reflected in the decrease in the growth rate from 3.0% in 1962 to 2.0% in 1971, and in the decrease in the fertility rate from 43/1,000 in 1960 to 29/1,000 in 1970. However, it would be erroneous to attribute these reductions entirely to the family planning program. Other socio-economic factors, such as the increasing age at marriage and the increasing use of induced abortions, definitely had an impact on the lowered growth and fertility rate. Despite the relative success of the program to data in meeting its goals, there is no room for complacency. Meeting the goal of a further reduction in the population growth rate to 1.3% by 1981 is a much more difficult task than any one faced in the past. Not only must fertility be lowered further, but the size of the target population itself will expand tremendously in the late seventies; due to the post-war baby boom of the 1950's reaching reproductive ages. Furthermore, it is doubtful that the age at marriage will continue to rise as in the past or that the incidence of induced abortion will continue to increase. Consequently, future reductions in fertility will be more dependent on the performance of the national family planning program, with less assistance from these non-program factors. This paper will describe various approaches to help to the solution of these current problems. 1. PRACTICE RATE IN FAMILY PLANNING In 1973, the attitude (approval) and knowledge rates were quite high; 94% and 98% respectively. But a large gap exists between that and the actual practice rate, which is only 3695. Two factors must be considered in attempting to close the KAP-gap. The first is to change social norms, which still favor a larger family, increasing the practice rate cannot be done very quickly. The second point to consider is that the family planning program has not yet reached all the eligible women. A 1973 study determineded that a large portion, 3096 in fact, of all eligible women do not want more children, but are not practicing family planning. Thus, future efforts to help close the KAP-gap must focus attention and services on this important large group of potential acceptors. 2. CONTINUATION RATES Dissatisfaction with the loop and pill has resulted in high discontinuation rates. For example, a 1973 survey revealed that within the first six months initial loop acceptance. nearly 50% were dropouts, and that within the first four months of inital pill acceptance. nearly 50% were dropouts. These discontinuation rates have risen over the past few years. The high rate of discontinuance obviously decreases the contraceptive effectiveness. and has resulted in many unwanted births which is directly related to the increase of induced abortions. In the future, the family planning program must emphasize the improved quality of initial and follow-up services. rather than more quantity, in order to insure higher continuation rates and thus more effective contraceptive protection. 3. INDUCED ABORTION As noted earlier. the use of induced abortions has been increase yearly. For example, in 1960, the average number of abortions was 0.6 abortions per women in the 15-44 age range. By 1970. that had increased to 2 abortions per women. In 1966. 13% of all women between 15-44 had experienced at least one abortion. By 1971, that figure jumped to 28%. In 1973 alone, the total number of abortions was 400,000. Besides the ever incre.sing number of induced abortions, another change has that those who use abortions have shifted since 1965 to include- not. only the middle class, but also rural and low-income women. In the future. in response to the demand for abortion services among rural and low-income w~men, the government must provide and support abortion services for these women as a part of the national family planning program. 4. TARGET SYSTIi:M Since 1962, the nationwide target system has been used to set a target for each method, and the target number of acceptors is then apportioned out to various sub-areas according to the number of eligible couples in each area. Because these targets are set without consideration for demographic factors, particular tastes, prejudices, and previous patterns of acceptance in the area, a high discontinuation rate for all methods and a high wastage rate for the oral pill and condom results. In the future. to alleviate these problems of the methodbased target system. an alternative. such as the weighted-credit system, should be adopted on a nation wide basis. In this system. each contraceptive method is. assigned a specific number of points based upon the couple-years of protection (CYP) provided by the method. and no specific targets for each method are given. 5. INCREASE OF STERILIZA.TION TARGET Two special projects. the hospital-based family planning program and the armed forces program, has greatly contributed to the increasing acceptance in female and male sterilization respectively. From January-September 1974, 28,773 sterilizations were performed. During the same time in 1975, 46,894 were performed; a 63% increase. If this trend continues, by the end of 1975. approximately 70,000 sterilizations will have been performed. Sterilization is a much better method than both the loop and pill, in terms of more effective contraceptive protection and the almost zero dropout rate. In the future, the. family planning program should continue to stress the special programs which make more sterilizations possible. In particular, it should seek to add the laparoscope techniques to facilitate female sterilization acceptance rates. 6. INCREASE NUMBER OF PRIVATE ACCEPTORS Among the current family planning users, approximately 1/3 are in the private sector and thus do not- require government subsidy. The number of private acceptors increases with increasing urbanization and economic growth. To speed this process, the government initiated the special hospital based family planning program which is utilized mostly by the private sector. However, in the future, to further hasten the increase of private acceptors, the government should encourage doctors in private practice to provide family planning services, and provide the contraceptive supplies. This way, those do utilize the private medical system will also be able to receive family planning services and pay for it. Another means of increasing the number of private acceptors, IS to greatly expand the commercial outlets for pills and condoms beyond the existing service points of drugstores, hospitals, and health centers. 7. IE&C PROGRAM The current preferred family size is nearly twice as high as needed to achieve a stable poplation. Also, a strong boy preference hinders a small family size as nearly all couples fuel they must have at least one or more sons. The IE&C program must, in the future, strive to emphasize the values of the small family and equality of the sexes. A second problem for the IE&C program to work. with in the: future is the large group of people who approves family planning, want no more children, but do not practice. The IE&C program must work to motivate these people to accept family planning And finally, for those who already practice, an IE&C program in the future must stress continuation of use. The IE&C campaign, to insure highest effectiveness, should be based on a detailed factor analysis of contraceptive discontinuance. In conclusion, Korea faces a serious unfavorable sociodemographic situation- in the future unless the population growth rate can be curtailed. And in the future, the decrease in fertility will depend solely on the family planning program, as the effect of other socio-economic factors has already been maximumally felt. A second serious factor to consider is the increasing number of eligible women due to the 1950's baby boom. Thus, to meet these challenges, the program target must be increased and the program must improve the effectiveness of its current activities and develop new programs.

• Trans-
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• v.3
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• pp.109-135
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• 2017

The purpose of this thesis is to analyze characteristics of everyday movement showed in performances of Steve Paxton. A work of art has been realized as a special object enjoyed by high class people as high culture for a long time. Therefore, a gap between everyday life and art has been greatly existed, and the emergence of everyday elements in a work of art means that public awareness involving social change is changed. The postmodernism as the period when a boundary between art and everyday life is uncertain was a postwar society after the Second World War and a social situation that rapidly changes into a capitalistic society. Changes in this time made scholars gain access academically concepts related to everyday life, and affected artists as the spirit of the times of pluralistic postmodernism refusing totality. At the same period of the time, modern dance also faced a turning point as post-modern dance. After the Second World War, modern dance started to be evaluated as it reaches the limit, and at this juncture, headed by dancers including the Judson Dance Theatre. Acting as a dancer in a dance company of Merce Cunningham, Steve Paxton, one of founders of the Judson Dance Theatre, had a critical mind of the conditions of dance company with the social structure and the process that movement is made. This thinking is showed in early performances as an at tempt to realize everyday motion it self in performances. His early activity represented by a walking motion attracted attention as a simple motion that excludes all artful elements of existing dance performances and is possible to conduct by a person who is not a dancer. Although starting the use of everyday movement is regarded as an open characteristic of post-modern dance, advanced researches on this were rare, so this study started. In addition, studies related to Steve Paxton are skewed towards Contact Improvisation that he rose as an active practician. As the use of ordinary movement before he focused on Contact Improvisation, this study examines other attempts including Contact Improvisation as attempts after the beginning of his performances. Therefore, the study analyzes Satisfyin' Lover, Contact at 10th & 2nd and Bound that are performances of Steve Paxton, and based on this, draws everyday characteristics. In addition, related books, academic essays, dance articles and reviews are consulted to consider a concept related to everyday life and understand dance historical movement of post-modern dance. Paxton attracted attention because of his activity starting at critical approach of movement of existing modern dance. As walking of performers who are not dancers, a walking motion showed in Satisfyin' Lover gave esthetic meaning to everyday movement. After that, he was affected by Eastern ideas, so developed Contact Improvisation making a motion through energy of the natural laws. In addition, he had everyday things on his performances, and used a method to deliver various images by using mundane movement and impromptu gestures originating from relaxed body. Everyday movement of his performances represents change in awareness of performances of the art of dancing that are traditionally maintained including change of dance genre of an area. His activity with unprecedented attempt and experimentation should be highly evaluated as efforts to overcome the limit of modern dance.