• Journal of The Korean Association For Science Education
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• v.31 no.4
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• pp.539-556
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• 2011

The purpose of this study was to examine preservice secondary science teachers' understanding of the nature of science, by using nature of science (NOS) questionnaire on the basis of atomic model, and compare this to pre-studies. 'Understanding of nature of scientific model,' 'Tentativeness of scientific knowledge,' 'Subjectivity in science,' 'Use of inference and imagination,' 'Myths of the scientific method,' and 'Comparison between science and art.' were examined. Preservice teachers showed great comprehension of the tentativeness of scientific knowledge (the orbital model) and the subjectivity in science (the different interpretation about the experiment of particle scattering), but displayed the lowest comprehension of the scientific method. For understanding of nature of scientific model (the atomic model) and the comparison between science (Bohr's atomic model) and art (Picasso's work), preservice teachers brought out a combination of ontological and constructivist perspective and showed the contradictory thought about imagination in science research. In the result of comparison to pre-studies using the NOS instruments contains general terms, represented high levels of agreement about the tentativeness of scientific knowledge by using concrete examples of 'atomic model'. When concrete scientists such as Thomson, Rutherford, Bohr were presented, respondents revealed more informed views about the scientists' research method.

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.26 no.1
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• pp.70-75
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• 2008

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.05a
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• pp.25-37
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• 2004

• Proceedings of the Korean Society for the Gifted Conference
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• 2003.05a
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• pp.3-16
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• 2003

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.13 no.12
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• pp.52-68
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• 1995

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.21 no.2
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• pp.16-24
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• 2003

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.11 no.6
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• pp.53-57
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• 1993

• The monthly packaging world
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• s.353
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• pp.56-66
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• 2022

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Proceedings of the Costume Culture Conference
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• 2004.04a
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• pp.11-15
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• 2004

오늘날 전 세계는 과학의 진보, 컴퓨터 통신의 눈부신 발달에 따른 인터넷 등 모든 분야에 있어서 너무나 빠른 가속도의 변화의 시대에 살고 있다. 이에 따른 섬유산업의 발전과 더불어 패션산업은 21C에 접어들면서 실용성에 예술성향이 복합된 효과를 대중과 함께 호흡할 수 있게 되었으며 중국이 급부상하면서 여러 분야에 걸쳐 세계는 아시아권에 관심과 주목을 받게 되는 즈음, 중국을 배경으로 한국과 일본의 득과 실에 대해 특히 섬유소재분야와 패션분야에 대한 교육과 산업의 냉철한 판단을 비교 분석하여 보기로 한다. (중략)