• The Journal of the Korea Contents Association
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• v.18 no.1
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• pp.345-358
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• 2018

The goal of this study was to analyze the degree of kindergarten teacher's understanding with respect to educational activities of social relationships area & art experience area in the Nuri-curriculum and to provide complementary materials and educational programs for enhancing kindergarten teacher's professional development. The tool for this study was a number of questionnaires on teacher's understanding in two area. The number of survey participants were 650 teachers and 78 preliminary teachers, 728 in total. Statistical analysis to this research responses was done by SPSS 23 at the significance level of .05, .01, .001 each. Research findings reached a conclusion of proposing differentiated complementary materials and educational programs based on the types of kindergarten, qualification of teachers and their demographics. That is, it should be adjusted to the differences in establishment-operation types of kindergarten, location/size/ages of class, careers/ages/license of teachers, and current-preliminary teacher's understanding. The educational activities of social relationships area should be focused on an attitude of valuing oneself and family by browsing and practicing what one can do for oneself and family. The educational activities of art experience area should be focused on integrated experience of artistic expression and appreciation activities by exploring musical, movement and artistic elements.

• Journal of Gifted/Talented Education
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• v.20 no.3
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• pp.789-807
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• 2010

This study was carried out in order to explore possibility of artistic activity for strengthening creativity of the gifted children at home by analyzing influence of the gifted children's musical experience and interest level upon creativity. As a result of research, the gifted children's musical experience and interest level were distributed in the mid-lower rank as a whole. The mean in score of creativity was high. Among sub-spheres, originality, abstractness of titles, and resistance to premature closure were surveyed to be especially excellent. And the result of this study was indicated to be high in influence of musical experience and interest level upon creativity. Some conclusions and implications that were obtained through this study are as follows. First, to explore influence of musical experience as artistic activity upon creativity, first of all, the qualitative inspection needs to be given priority to musical activity itself, which is being experienced by the gifted children as the research subjects. Second, there is necessity of paying attention to the musical experience and interest level of the low gifted children. Third, for the gifted children prior to activation of art education, a clear reason why the art education is needed and the usefulness need to be presented.

• Korean Association of Arts Management
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• no.51
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• pp.35-73
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• 2019

The purpose of this study is to investigate the effects of culture and arts activities (experience, type, frequency) and participation motivation on subjective well-being and to investigate the mediating effects of learning motivation. For this study, the subject is limited to adults who are leading consumers of culture and art activities can decide what activity to do. By survey, data from 1,000 respondents are used for analysis after applying proportional sampling based on the proportion of sex and age indicated in the population statistics. Exploratory factor analysis and reliability analysis were conducted based on the collected data using SPSS v.22.0. The results obtained from the empirical analysis are as follows. First, regarding culture and art activities (experience, type, frequency) and subjective well-being, the results are as follows. H1. Those who experienced culture and arts activities have higher subjective well-being than non-experienced ones. H2. Participating in culture and art activity increases subjective well-being more than just spectating culture and art programs. H3. Heavy participants in culture and art activities have higher subjective well-being than lighter participants. These results indicate that culture and art activities are important variables that have a positive effect on subjective well-being. Therefore, participating in culture and art activities may be an appropriate way to enhance subjective well-being because they are life experiences that individuals can experience in their daily lives. Second, H4. internal motivation and external motivation, sub-factors of participation motivation in culture and art activities, have a positive effect on subjective well-being, and amotivation has a negative effect on subjective well-being. Therefore, in order to improve subjective well-being, it is important to strive to lower amotivation and increase internal and external motivation. Third, H5. learning motivation has a partial mediating effect on the relationship between participation motivation in culture and art activities and subjective well-being. This result suggests that culture and art activities and education might be helpful for subjective well-being when they are conducted together since participation motivation in culture.

• Journal of Digital Convergence
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• v.14 no.12
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• pp.515-524
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• 2016

The purpose of this study was to investigate the effects of a culture and art education program on adolescents with disabilities. Craft education oriented toward activities convergence education. The investigator conducted an in-depth interview with seven adolescents with developmental disabilities in a special high school class for a month after the educational sessions were over. The findings were as follows: first, the adolescents with developmental disabilities experienced the joy, pleasure, and interest of study, which they used to have a difficult time experiencing in a common class. Second, they became relaxed with their participation in lessons, felt comfortable through educational activities, and had a positive attitude. Third, they had a feeling of being together and coexistence through collaborative activities. Finally, they were able to share each other's ideas, listen carefully to their friends, talk about works they created, and experience close relationships with classmates.

• Korean Journal of Childcare and Education
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• v.9 no.3
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• pp.273-289
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• 2013

The goal of this study was to analyze the demands of parents of an after-school program. In order to do this, we looked at cultural centers and their curriculums. Cultural centers are one of the most popular private education centers for preschoolers, and are used for the operation of special activities. The research was conducted on preschool curriculums of 300 cultural centers, including cultural centers of department stores and supermarkets. The curriculum analysis was conducted for 400 preschool curriculums of three cultural centers, which had the most programs of all. The scope of the curriculum analysis was based on the 3rd Childcare Standard Curriculum for infants and Nuri Curriculum for preschoolers. As a result of the analysis, there were 12,286 programs for infants. The most popular topics for programs were comprehensive activity, physical activity, and music activity. There were 15,310 programs for preschoolers. Physical activity was the most popular topic among them. It was followed by drawing activity and number and operating activity. Analyzing the contents of these programs, we found that 'participating in physical activity' of physical exercise, and 'expressing artistically' of artistic experience were the most popular contents of infants. 'Expressing artistically' of artistic experience and 'control of body and basic exercise' of physical exercise were most popular contents for preschoolers. The results show that parents demand physical activity programs for infants and artistic activity programs for preschoolers. The results of the research should be considered when childcare centers try to make a special after-school program.

• (The) Research of the performance art and culture
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• no.41
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• pp.69-92
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• 2020

This study describes the impact of early childhood teacher's artistic competence on art education pedagogy and improved curriculum design. Furthermore, the effect of drama as a way of improving early childhood teacher's artistic competence is explained. Many researchers have mentioned that early childhood is a period of sensitivity and potential. Therefore, it will be helpful if children meet a teacher who understands them and inspires their innate artistic sense at a level of their eyes. It explained which aspect of artistic competence should be focused for the teacher training education. There are many approaches to develop early childhood teachers' artistic competence. Adopting drama is one of them. The strong points of drama to improve their artistic competence are as follows. Firstly, human's movement and voice are the main artistic channel in drama. What we are doing in daily life is found are drama world. It means if early childhood teachers experience drama activity, they will feel more comfortable and intimate with it. In addition, early childhood teachers tend to be familiar with dramatic play, so they can more easily access to drama world. Secondly, drama will be helpful to understand different feelings and to broaden and deepen understandings of others' standpoints. For early childhood teachers, drama activity will be helpful to understand how dramatic art form works and to lead children's play in diversified and sincere way. In addition, drama activity will be useful to build horizontal and democratic relationships between children and the teacher. It is one of the main emphases of 2019 revised Nori national curriculum. To sum up, drama will be a excellent method to develop artistic competence for early childhood teachers. Thus, it is expected that They have more opportunities to experience drama as an art form.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.462-467
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• 2006

이 연구는, 대중매체를 미술에 도입한 미디어아트가 대중에게 긍정적인 평가를 받고 있고 콘텐츠의 범위가 증대되고 있는 시점에서 총체적 의미의 사회자본이 된다는 가능성의 연구이다. 이러한 가정 하에 현시점의 미디어아트와 대중의 유대관계, 그 커뮤니케이션의 변화 양상에 대해 몇 가지 사례를 중심으로 살펴보고자 한다. 미디어아트가 사회자본으로서 영향을 미치기 위한 전제를 세가지로 분류하였다. 첫 번째, 사회 참여적인 미디어 장치로서 저널리즘의 속성을 가진 미디어아트, 두 번째는 다양한 문화활동의 프로토타입이 되는 미디어아트, 세 번째로는 일상공간에서의 미디어아트이다. 대중매체의 이용이 사회자본의 구성 요소인 신뢰와 사회적 연계 망에 미치는 효과에 대해서는 기존에 발표된 연구들과 2003년 수행된 대규모 매체 이용행태 자료에서 이미 검증되었다. 디지털미디어아트가 사회자본의 하위구성 요소인 신뢰와 정치참여, 문화적 아이콘으로서의 역할 및 예술생산품으로서의 기능에 대해서는 현재 국내에서 대중과의 소통을 위한 미디어아트의 시도가 점차 증가되고 있는 추세이다. 웹 아티스트, 미디어 아티스트로 알려진 '장영혜중공업' 은 온라인미디어를 통해 현대사회의 정치적, 사회적 이슈와 화두들을 강력하게 표현하고 있고, 대중매체의 조명을 받고 있는 아티스트 '낸시랭' 은 'SSAMZIE' 브랜드를 통해 예술의 문화적, 경제적 활동에 새로운 모델을 제시하였다. 사용자에게 총체적인 경험을 제공하는 일상 생활공간 속에서의 미디어아트는 예술의 대중화를 실현하고 있으며, 일상에서의 경험으로 인하여 대중에게 시각적, 과학적, 심미적 즐거움을 주고 있다. 이처럼 디지털미디어를 이용한 예술은 인터넷을 비롯한 대중매체를 통해 디지털미디어아트의 공적 신뢰를 확대시키고 콘텐트의 범위와 가치를 증대 시키며, 사용자경험의 폭을 확대시켜 점차 새로운 가치체계를 형성해 나갈 것이다. 이는 디지털미디어아트가 사회자본으로서 아직은 미약하지만 사용자의 조작과 참여의 경험으로 인해 디지털 세대에게 적합한 문화아이콘을 만들어 나가며, 사회의 새로운 이용자 패턴, 참여 의식의 확대, 예술의 대중화로 인하여 미래 우리의 삶을 구성하는 사회자본이 될 것으로 그 가능성을 전망해본다.

• Journal of Digital Convergence
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• v.18 no.9
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• pp.373-378
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• 2020

With the continuous development of economic activities of influencer(people with social influence). Because of 'Influencers' bring huge economic benefits, all walks of life are creating their own 'influencers'. In the art exhibition industry, the 'influencer' art exhibition pays more attention to experiencing the audience. Although it reduces the professionalism of art exhibitions, it also lets more non-professional visitors to see and experience art exhibitions. In this paper, the write takes the 'influencer' art exhibition as the research object and divides into 'emotional immersion' and 'technological immersion', and analyzes the development status of 'influencer' art exhibition. It is a commercial marketing method to call art exhibition 'influencer'. But with the increasing demand of the public for art and culture consumption. the 'influencer' art exhibition, which can bring immersive cultural experience to the audience. It just meets the cultural consumption demand of the public. So that it has become one of the main forms of art exhibition. In the future, immersive 'influencer' art exhibition will become the main form of art exhibition. With continuous innovation and creativity, art professionalism and commercial marketing, the 'influencer' art exhibition will continue to develop.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• Korean Association of Arts Management
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• no.51
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• pp.5-34
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• 2019

This study is a qualitative study conducted to identify environmental factors that impede emerging artists' ongoing creative activities, focusing on the local cultural ecosystem that they are part of. By doing so, we tried to understand the dynamics between key stake holders in the ecosystem that these young artists interact with and how they build and perceive their own, local cultural environment. The central research question of this study is: what factors impede the continuous creative activities of young artists and what causes them to leave local art scenes? The research was conducted thoroughly on the basis of emerging artists' experience and perspectives and applied to Creative Sector Holistic Model for analysis. The data of this research were collected based on two national-funding projects to support young artists from 2016 to 2018. The main research method of this study was interviews: official and casual interviews were executed with 29 young artists aged 20-34 who work in the fields of painting, literature, sculpture, video, korean traditional music, visual design and crafts. For the analysis of the data, the Creative Sector Holistic Model(Wyszomirski, 2008), which had applied the ecological logic to the creative industries, was applied. The result of this study shows that economic difficulties were not the only hindering factor in their sustainable art-making process. Various impeding factors derived from the local cultural ecosystem have been identified within the Holistic Model, demonstrating that these factors are all intertwined and connected. Thus, analyzing and understanding one's local cultural ecosystem can provide keys to long-term and lasting impacts when a local authorities wish to support young artists for the future of local cultural environment.