• The Journal of Art Theory & Practice
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• no.15
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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.

• Journal of Fisheries and Marine Sciences Education
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• v.28 no.1
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• pp.91-105
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• 2016

The purpose of this study was to examine the awareness of elementary teachers about educational technology. Educational technology that is embodied at school was the form of "systemic structure" whose components are complex and exert close mutual influence on one another, rather than of "systemic assembly" that relationship of components were well controlled. A qualitative epistemological method was used to look into educational technology instead of existing empirical ones. Metaphor analysis was utilized among various qualitative research methods to find out what elementary teachers thought of educational technology. Six elementary teachers were asked to draw a picture to describe what came into their mind when they heard term of "educational technology," and they were interviewed in depth to check what their pictures meant. As a result, elementary teachers expressed their point of views about educational technology as "a scientific, technical and systemized instrument to stir up the learning interest and joy of students," "an action to mechanically fit together every part of education(curriculum)," "educational technology as a teaching and learning method," and "an integrated and overall system." This finding seemed to have something to do with media theory, teaching and learning theory and system theory that have been used in educational technology. This study was expected to be significance in that it investigated the way of looking at educational technology in the field, and confirmed the close relationship between theory and practice, and finally provided an opportunity to reflect on the ontological nature and epistemological method of educational technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.48-58
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• 2013

The results of this research to study forms, structure, changes, symbolic meanings of 16 Hahoe sceneries through analyses of "Hahwaesipyukgyeong" and "Hahwaenakgangsanghaildaedo" are as belows. The coherence of headword is not discovered in 16 Hahoe sceneries, but based on various variables and sense dependence, endemicity with original natural scenes, human's life and phenomena of riverside village are spread in 3km viewing areas within 200m from Gyeonamjeongsa(謙巖精舍) and Okyeonjeongsa(玉淵精舍). As the viewing points of Gyeonam and Okyeonjeongsa are symmetrically facing and separately independent, while viewing angles do not intersect at Wonjijeongsa (遠志精舍) and Binyeonjeongsa(賓淵精舍) because of Buyongdae(芙蓉臺), and crating each independent viewing area, we can see 16 Hahoe sceneries are perfect views by supplementing Gyeonam and Okyeon Jeongsa, as well as points of views from Wonji and Binyeonjeongsa. Meanwhile, as the view point of 16 Hahoe sceneries, Gyeomam, Okyeon, Binyeon, and Wonji Jeongsa are clearly described, and 12 natural sceneries, which are Hwasan(花山), Ipam(立巖), Maam(馬巖), Jando(棧道), Bangi(盤磯), Hoengju(橫舟), and Honggyo(虹橋), among landscape elements of 16 Hahoe sceneries that can be expressed on canvas in the Haoedo are realistically described, there is high possibility that Haoedo is the 'Mental Stroll about Nature(臥遊) of 16 Hahoe sceneries. The belted forest surrounding the village in the painting is assumed to be an erosion control forest, and considering row-expressed trees, the south belted forest may be a different broad-leaved forest from current Mansongjeong(萬松亭) pine forest. In 16 Hahoe sceneries, there is Neo-confucianism tendency, which connects the nature and human life, and moreover prioritize human life than the nature. Especially as seen in the 'Choljae(拙齋)', the pen name of 16 Hahoe sceneries' author park, the 16 Hahoe scenery poet suggests 'Beauty of Jolbak(拙撲美)' based on the simple life that upright classical scholars pursued as the basic emotion. The thinking system shown in the poet is interpreted as Neo-confucianism category including one's sense and emotion depended on natural features or phenomena. Ultimately, 16 Hahoe sceneries are landscape that reflects moral world views of Confucianism scholars who wanted to express ideal thoughts based on natural features and phenomena in reality at Jeongsa in Buyongdae and Hahoe Village.

• Journal of the Korean earth science society
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• v.23 no.3
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• pp.221-233
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• 2002

This study investigated preservice science teachers' understandings of philosophical foundations(i.e., ontological and epistemological beliefs) underlying constructivist notions of learning. The teacher education program these subjects participated in explicitly addressed philosophical notions consistent with different views of constructivism. For these preservice science teachers, the program provided them with the opportunity to reflect upon the implications that their ontological and epistemological commitments had for their role as a science teacher. Data from four in-depth interviews were used to explore changes in each preservice science teacher's ontological beliefs, epistemological commitments, and pedagogical preferences. Results indicated that ontological beliefs and epistemological commitments were not necessarily consistent with conceptions of science teaching and learning for these preservice teachers. While some students internalized idealist and relativist perspectives, they did not integrate these relativist epistemological views into their preferred instructional practices. Also, regarding the fallible and tentative nature of knowledge, data in this study indicated that participants' epistemological beliefs about scientific Knowledge did influence how they were thinking about their roles as science teachers. Implications for teacher education programs and research on preservice science teacher's philosophical beliefs are discussed.

• Journal of The Korean Association For Science Education
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• v.20 no.3
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• pp.432-442
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• 2000

In this study, the contents of 'electric current' and 'battery' units in elementary and middle school science textbooks were analyzed on the basis of particle and energy concepts. Many problems, reported previously on students' misconceptions about those area, were found in science textbooks. Electric current and battery were covered in both physics and chemistry parts of science textbooks. However, the lack of particle concept in physics units and the lack of energy concept in chemistry units seemed to make it difficult for students to learn those concepts. The descriptions about the two concepts were also not consistent even in the same discipline units. In order to solve these problems, the integration of the views on the particulate nature of matter and energy in the science curriculum and reconstruction of science textbooks were needed.

• Journal of Korean Academy of Nursing
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• v.28 no.2
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• pp.498-509
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• 1998

The phrases such as elders' powerless soliloquy or stammering and their positions unadjusted to the real world are, so far, one of negative views on elder's reminiscences. In other words, it means that elders can get psychological consolation from the getting themselves absorbed in their past. The starting point of this study is, however, that elders' reminiscence are their own mode of the existence. This dissertation is studied through Van Manen's phenomenological research method. The aim of this study is to examine the nature of Korean elders' reminiscences by both observing and describing the reminiscing content in everyday life of elders. The research participants consist of the ten elders who are community elders, hospitalized elders and nursing home residents. The period of the research is about a year from Jan., 1996 to Feb., 1997. The results of this study are as follows : The natures of elders' reminiscences are the regrecting on their life, mitigating the regrects, the confirmation of the powers and the confirmation of their life's mark. The regrecting on their life is the starting point of elders's reminiscences. Elders have tried to examine their life through reflection on their life that they did not live good life as son and daughter for parents and as parents for children and that they have foolishly lived, on dream that they did not come true, on their learning that they did not unsatisfied. But elders mitigate the regrects. They have felt their limitations of power in the conflict of human relation, the economic matter and the difficult predicament, and have finally accepted their life as it is by conquesting from their tenacity. It is dynamically found that both the regrecting on their life and mitigating of the regrection. And they pursuit the powers. It means the pursuit of the vital powers, the vigorous powers and the competency. Elders have pursued their vitality, vigor and competency through their reminiscences and have wanted to be recognised by others as a powerful being. These have dynamic and compounded aspects. The confirmation of their life's mark refer to through their own situation of health, condition, children, neighbourhood and doing their duty as a human. Elders have confirmed the present value of their being through the reflecting the present, past self, other men around themselves, children, neighborhood and the doing their human duty as a good men. Therefore the results of this study can offer new view on the elders' reminiscences that we have to understand them as a process as what they are, escaping from the simple logic that elders' reminiscence have a positive or a negative effects. Also, this study which have examined the natures of Korean elders' reminiscences can cast a new light on elders' nursing proper for Korean culture.

• Journal of Gifted/Talented Education
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• v.21 no.3
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• pp.683-702
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• 2011

The purpose of the study is to explore the justification and the possibility of convertgent gifted education through science and arts. Because the nature of art make up the base of each discipline and the creative talents in the heart of gifted education can be achieved through arts education. In order to achieve the purpose of these studies, three aspects have been explored. First, the relevance between the ontological nature of arts and gifted education discussed in philosophical and aesthetic point of view was explored. Second, the practical possibility was confirmed through an analysis of previous studies about the science and arts for gifted education. Finally, by looking at today's social and cultural phenomenon and future talent, it was argued that the development of convergent talent must be needed in the future. This paper will be a springboard for follow-up study to prove the feasibility of convergent gifted education through identifying factors in creative thinking process of gifted students in science and arts. And views of convergent gifted education with artistic will be expanded further and newly recognized. In addition to, it is expected that this study will help the establishment and operation Arts Gifted Education Institute in University and Science and Arts Gifted School.

• Journal of The Korean Association For Science Education
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• v.23 no.3
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• pp.254-264
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• 2003

Researches on laboratory work show that students often achieve little meaningful learning through laboratory work. One reason for this failure is that students often do not know the different types of laboratory work and the 'purposes' of them. Therefore, this study investigated middle school student' ideas about the purposes of laboratory work. To seventh grade students(n=147) of middle school in Seoul, Korea, we asked (Question 1) "Why do scientists do laboratory work?" and (Question 2) "Why do you do laboratory work in science classes?" It was required a short essay including the reasons and examples of them. From the results, it was found that 56.8% of the students had ideas that scientists do laboratory work for discovering new facts or inventing something, and 82.9% of the students responded that they do laboratory work for understanding and memorizing the contents of science textbook. In addition, the differences according to gender and to school achievement level, and the relationship between the ideas about scientists' laboratory work and about school science laboratory work were examined. The results showed that boys responded 'social usefulness' more frequently than girl, while girls mentioned 'personal pleasure' more frequently than boys in relation to the purposes of scientists' laboratory work(p<.05). According to the achievement level, it was founded that 'middle' level students replied 'to remember' more frequently than high and low levels in relation to school science laboratory work. Finally, students who had ideas that scientists do laboratory work for verifying a theory had the similar ideas about school science laboratory work. In conclusion, students are lack of diverse and proper views about laboratory work. It is recommended that teacher need to make clear the purpose of laboratory work and help students to understand of it.

• Journal of The Korean Association For Science Education
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• v.31 no.2
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• pp.198-209
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• 2011

In this study, pre-service science teachers' reflective thinking in their journal writing was investigated. To do this, the authors used pre-service science teachers' journal writing abilities, wherein they not only reported data and result formally, but also wrote their feelings and reflections about an inquiry-based physics experiment they performed. Pre-service science teachers' writings were decomposed into sentences and each sentence was analyzed into a framework with 4 dimensions: knowledge, procedure, orientation and attitude. Reflective thinking in knowledge dimension included reflection on what they know before the experiment, what they still do not know and what they learned from the experiment. Reflective thinking in procedure dimension included recalls of experiences about general experimental procedures and specific experimental skill. Reflective thinking in orientation dimension included their views about the nature of science and science teaching and learning, and reflective thinking in attitude dimension consisted of interests, motives and values about the experiment they performed. While there were some variations in frequency distribution of reflective thinking by the topic of experiments, pre-service science teachers' reflective thinking in journal writings revealed their metacognition on their knowledge and learning, epistemological belief about science and science learning, and affective domain related to experiment. This study can infer that such kind of writing with 'their own language' in an informal way followed by formal 'scientific' reports in a scientific experiment has a significance not only as a mediator representing reflective thinking but also as an instructional activity to facilitate reflective thinking in science learning and teaching.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.54-88
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• 2019

The Album of Complete Views of Seas and Mountains comprises sixty real scenery landscape paintings depicting Geumgangsan Mountain, the Haegeumgang River, and the eight scenic views of Gwandong regions, as well as fifty-one pieces of writing. It is a rare example in terms of its size and painting style. The paintings in this album, which are densely packed with natural features, follow the painting style of the Southern School yet employ crude and unconventional elements. In them, stones on the mountains are depicted both geometrically and three-dimensionally. Since 1973, parts of this album have been published in some exhibition catalogues. The entire album was opened to the public at the special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea" held at the National Museum of Korea in 2019. The Album of Complete Views of Seas and Mountains was attributed to Kim Eung-hwan (1742-1789) due to the signature on the final leaf of the album and the seal reading "Bokheon(painter's penname)" on the currently missing album leaf of Chilbodae Peaks. However, there is a strong possibility that this signature and seal may have been added later. This paper intends to reexamine the creator of this album based on a variety of related factors. In order to understand the production background of Album of Complete Views of Seas and Mountains, I investigated the eighteenth-century tradition of drawing scenic spots while travelling in which scenery of was depicted during private travels or official excursions. Jeong Seon(1676-1759), Sim Sa-jeong(1707-1769), Kim Yun-gyeom(1711-1775), Choe Buk(1712-after 1786), and Kang Se-hwang(1713-1791) all went on a journey to Geumgangsan Mountain, the most famous travel destination in the late Joseon period, and created paintings of the mountain, including Album of Pungak Mountain in the Sinmyo Year(1711) by Jeong Seon. These painters presented their versions of the traditional scenic spots of Inner Geumgangsan and newly depicted vistas they discovered for themselves. To commemorate their private visits, they produced paintings for their fellow travelers or sponsors in an album format that could include several scenes. While the production of paintings of private travels to Geumgangsan Mountain increased, King Jeongjo(r. 1776-1800) ordered Kim Eung-hwan and Kim Hong-do, court painters at the Dohwaseo(Royal Bureau of Painting), to paint scenic spots in the nine counties of the Yeongdong region and around Geumgangsan Mountain. King Jeongjo selected these two as the painters for the official excursion taking into account their relationship, their administrative experience as regional officials, and their distinct painting styles. Starting in the reign of King Yeongjo(r. 1724-1776), Kim Eung-hwan and Kim Hong-do served as court painters at the Dohwaseo, maintained a close relationship as a senior and a junior and as colleagues, and served as chalbang(chief in large of post stations) in the Yeongnam region. While Kim Hong-do was proficient at applying soft and delicate brushstrokes, Kim Eung-hwan was skilled at depicting the beauty of robust and luxuriant landscapes. Both painters produced about 100 scenes of original drawings over fifty days of the official excursion. Based on these original drawings, they created around seventy album leaves or handscrolls. Their paintings enriched the tradition of depicting scenic spots, particularly Outer Inner Geumgang and the eight scenic views of Gwandong around Geumgangsan Mountain during private journeys in the eighteenth century. Moreover, they newly discovered places of scenic beauty in the Outer Geungang and Yeongdong regions, establishing them as new painting themes. The Album of Complete Views of Seas and Mountains consists of four volumes. The volumes I, II include twenty-nine paintings of Inner Geumgangsan; the volume III, seventeen scenes of Outer Geumgangsan; and the volume IV, fourteen images of Maritime Geumgangsan and the eight scenic views of Gwandong. These paintings produced on silk show crowded compositions, geometrical depictions of the stones and the mountains, and distinct presentation of the rocky peaks of Geumgangsan Mountain using white and grayish-blue pigments. This album reflects the Joseon painting style of the mid- and late eighteenth century, integrating influences from Jeong Seon, Kang Se-hwang, Sim Sa-jeong, Jeong Chung-yeop(1725-after 1800), and Kim Hong-do. In particular, some paintings in the album show similarities to Kim Hong-do's Album of Famous Mountains in Korea in terms of its compositions and painterly motifs. However, "Yeongrangho Lake," "Haesanjeong Pavilion," and "Wolsongjeong Pavilion" in Kim Eung-hwan's album differ from in the version by Kim Hong-do. Thus, Kim Eung-hwan was influenced by Kim Hong-do, but produced his own distinctive album. The Album of Complete Views of Seas and Mountains includes scenery of "Jaundam Pool," "Baegundae Peak," "Viewing Birobong Peak at Anmunjeom groove," and "Baekjeongbong Peak," all of which are not depicted in other albums. In his version, Kim Eung-hwan portrayed the characteristics of the natural features in each scenic spot in a detailed and refreshing manner. Moreover, he illustrated stones on the mountains using geometric shapes and added a sense of three-dimensionality using lines and planes. Based on the painting traditions of the Southern School, he established his own characteristics. He also turned natural features into triangular or rectangular chunks. All sixty paintings in this album appear rough and unconventional, but maintain their internal consistency. Each of the fifty-one writings included in the Album of Complete Views of Seas and Mountains is followed by a painting of a scenic spot. It explains the depicted landscape, thus helping viewers to understand and appreciate the painting. Intimately linked to each painting, the related text notes information on traveling from one scenic spot to the next, the origins of the place names, geographic features, and other related information. Such encyclopedic documentation began in the early nineteenth century and was common in painting albums of Geumgangsan Mountain in the mid- nineteenth century. The text following the painting of Baekhwaam Hermitage in the Album of Complete Views of Seas and Mountains documents the reconstruction of the Baekhwaam Hermitage in 1845, which provides crucial evidence for dating the text. Therefore, the owner of the Album of Complete Views of Seas and Mountains might have written the texts or asked someone else to transcribe them in the mid- or late nineteenth century. In this paper, I have inferred the producer of the Album of Complete Views of Seas and Mountains to be Kim Eung-hwan based on the painting style and the tradition of drawing scenic spots during official trips. Moreover, its affinity with the Handscroll of Pungak Mountain created by Kim Ha-jong(1793-after 1878) after 1865 is another decisive factor in attributing the album to Kim Eung-hwan. In contrast to the Album of Famous Mountains in Korea by Kim Hong-do, the Album of Complete Views of Seas and Mountains exerted only a minor influence on other painters. The Handscroll of Pungak Mountain by Kim Ha-jong is the sole example that employs the subject matter from the Album of Complete Views of Seas and Mountains and follows its painting style. In the Handscroll of Pungak Mountain, Kim Ha-jong demonstrated a painting style completely different from that in the Album of Seas and Mountains that he produced fifty years prior in 1816 for Yi Gwang-mun, the magistrate of Chuncheon. He emphasized the idea of "scholar thoughts" by following the compositions, painterly elements, and depictions of figures in the painting manual style from Kim Eung-hwan's Album of Complete Views of Seas and Mountains. Kim Ha-jong, a member of the Gaeseong Kim clan and the eldest grandson of Kim Eung-hwan, is presumed to have appreciated the paintings depicted in the nature of Album of Complete Views of Seas and Mountains, which had been passed down within the family, and newly transformed them. Furthermore, the contents and narrative styles of Yi Yu-won's writings attached to the paintings in the Handscroll of Pungak Mountain are similar to those of the fifty-one writings in Kim Eunghwan's album. This suggests a possible influence of the inscriptions in Kim Eung-hwan's album or the original texts from which these inscriptions were quoted upon the writings in Kim Ha-jong's handscroll. However, a closer examination will be needed to determine the order of the transcription of the writings. The Album of Complete View of Seas and Mountains differs from Kim Hong-do's paintings of his official trips and other painting albums he influenced. This album is a siginificant artwork in that it broadens the understanding of the art world of Kim Eung-hwan and illustrates another layer of real scenery landscape paintings in the late eighteenth century.