• Korean Journal of Cognitive Science
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• v.13 no.4
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• pp.80-80
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• 2002

The main thesis of this article is that the decisive point of creativity education is the cultivation of critical thinking capability. Although the narrow conception of creativity as divergent thinking is not subsumed under that of critical thinking, the role of divergent thinking is not so crucial in the science context of creative problem-solving. On the contrary, the broad conception of creativity as focusing on the reference to utility and the third conception of creativity as a process based on the variation and combination of existing pieces of information are crucial in creative problem-solving context, which are yet subsumed under that of critical thinking. The emphasis on critical thinking education is connected with the characteristics of contemporary knowledge-based society. This rapidly changing society requires situation-adaptive or situation-sensitive cognitive ability, whose core is critical thinking capability. Hence, the education of critical thinking is to be centered on the learning of blowing-how and procedural knowledge but not of knowing-that and declarative knowledge. Accordingly, the learning of critical thinking is to be headed towards the cultivation of competence but not just of performance. In conclusion, when a rational problem-solving through critical and logical thinking turns out consequently to be novel, we call it creative thinking. So, creativity is an emergent property based on critical and logical thinking.

• Korean Journal of Cognitive Science
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• v.13 no.4
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• pp.81-90
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• 2002

The main thesis of this article is that the decisive point of creativity education is the cultivation of critical thinking capability. Although the narrow conception of creativity as divergent thinking is not subsumed under that of critical thinking, the role of divergent thinking is not so crucial in the science context of creative problem-solving. On the contrary, the broad conception of creativity as focusing on the reference to utility and the third conception of creativity as a process based on the variation and combination of existing pieces of information are crucial in creative problem-solving context, which are yet subsumed under that of critical thinking. The emphasis on critical thinking education is connected with the characteristics of contemporary knowledge-based society. This rapidly changing society requires situation-adaptive or situation-sensitive cognitive ability, whose core is critical thinking capability. Hence, the education of critical thinking is to be centered on the learning of blowing-how and procedural knowledge but not of knowing-that and declarative knowledge. Accordingly, the learning of critical thinking is to be headed towards the cultivation of competence but not just of performance. In conclusion, when a rational problem-solving through critical and logical thinking turns out consequently to be novel, we call it creative thinking. So, creativity is an emergent property based on critical and logical thinking.

• Cartoon and Animation Studies
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• s.48
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• pp.85-116
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• 2017

The purpose of this study is to analyze conditions that robots depicted in cinematographic works like animations or movies sympathize with and form an attachment with the nuclear person and organize characterizing strategies for emotional sympathetic robots. Along with the development of technology, the areas of artificial intelligence and robots are no longer considered to belong to science fiction but as realistic issues. Therefore, this author assumes that the expressive characteristics of emotional sympathetic robots created by cinematographic works should be used as meaningful factors in expressively embodying human-friendly service robots to be distributed widely afterwards, that is, in establishing the features of characters. To lay the grounds for it, this research has begun. As the subjects of analysis, this researcher has chosen robot characters whose emotional intimacy with the main person is clearly observed among those found in movies and animations produced after the 1920 when robot's contemporary concept was declared. Also, to understand robots' appearance and behavioral tendency, this study (1) has classified robots' external impressions into five types (human-like, cartoon, tool-like, artificial bring, pet or creature) and (2) has classified behavioral tendencies considered to be the outer embodiment of personality by using DiSC, the tool to diagnose behavioral patterns. Meanwhile, it has been observed that robots equipped with high emotional intimacy are all strongly independent about their duties and indicate great emotional acceptance. Therefore, 'influence' and 'Steadiness' types show great emotional acceptance, the influencing type tends to be highly independent, and the 'Conscientiousness' type tends to indicate less emotional acceptance and independency in general. Yet, according to the analysis on external impressions, appearance factors hardly have any significant relationship with emotional sympathy. It implies that regarding the conditions of robots equipped with great emotional sympathy, emotional sympathy grounded on communication exerts more crucial effects than first impression similarly to the process of forming interpersonal relationship in reality. Lastly, to study the characters of robots, it is absolutely needed to have consilient competence embracing different areas widely. This author also has felt that only with design factors or personality factors, it is hard to estimate robot characters and also analyze a vast amount of information demanded in sympathy with humans entirely. However, this researcher will end this thesis as the foundation for it expecting that the general artistic value of animations can be used preciously afterwards in developing robots that have to be studied interdisciplinarily.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Proceedings of the Korean Society for Food Science of Animal Resources Conference
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• 2006.05a
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• pp.146-150
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• 2006

도축 후 2일째 가열 감량은 시험구(골반골 현수)가 대조구(아킬레스건 현수)에 비하여 유의적으로 감량이 높았으나, 드립량에 있어서는 반대의 결과를 보였으며, 전체 감량은 두 처리구간 차이가 없었다. 연도의 지표인 전단력가는 대조구 $6.45kg/cm^2$로 시험구 $5.52kg/cm^2$에 비하여 유의적으로 높았으며, 골반골 현수를 통하여 도축 후 8일차의 대조구의 전단력 수준을 보여 숙성기간을 약 1주일 정도 단축이 가능하였다. 근절길이는 대조구 $1.93{\mu}m$, 시험구 $2.48{\mu}m$로 시험구가 유의적으로 길어 골반골 현수에 의한 단축 억제 효과로 볼 수 있다. 관능 평가 결과 도축후 2일차에는 대조구에 비하여 시험구가 다즙성, 연도, 향미, 기호성에서 유의적으로 높은 값을 보였으나, 도축 후 8일째에는 대조구와 시험구간에 차이를 보이지 않았다. 출하 연령과 현수방법에 따른 대퇴이두근의 물리적 특성을 비교한 결과로서 근절길이는 모든 월령에서 시험구가 대조구에 비하여 길었다. 전단력은 시험구가 대조구에 비하여 유의적으로 낮은 결과를 보였다. 골반골 현수에 의한 전단력가 감소 효과는 출하 월령이 많을수록 효과가 큰 것으로 나타났다. 드립 발생율은 대조구가 시험구에 비하여 유의적으로 높은 경향을 보였다. 가열 감량과 보수성은 처리구에 관계없이 유의적인 차이를 보이지 않았다. 관능 특성을 비교한 결과 30개월 미만의 경우에는 유의적인 차이를 보이지 않았으나, 30개월 이상에서는 처리구가 대조구에 비하여 다즙성 연도, 향미, 기호성 모두 우수한 것으로 나타났다. 특히 골반골 현수는 출하 월령이 증가됨에 따라 관능 특성의 개선율이 높은 것으로 나타났다. 수 있다.분별을 성공적으로 수행하였다.(p<0.05), 맛, 연도, 다즙성 및 전체적인 기호성은 유의한 차이가 없었다.자체를 악하다고 볼 수 없고 더구나 구원을 이 세상에서의 이탈로 볼 수 없다. 진정한 구원이란 원래 하나님이 보시기에 아름다웠던 그 세상으로의 회복을 포함한다. 이런 면에서 하나님 주권 신앙 하에서 구원이란 전 인격적인 구원, 전 우주적인 구원이 된다. 그렇기 때문에 성도는 세상의 삶과 학문, 예술, 정치, 경제, 사회를 포함한 모든 분야를 하나님의 뜻 가운데서 그 원래의 목적에 부합할 수 있도록 회복시키는 일에 적극 참여해야 한다.자체가 이를 주도하기는 사실 어려움이 있다. 그리고 대형유통점이 영업행위를 영업시간제한에서부터 출점제한에 이르기까지 규제하는 건은 심사숙고하여야 한다. 대형유통점이 국가경제 및 지역사회에 미치는 영향이 부정적인가 긍정적인가에 대해 국내외 학계와 업계에서 여전히 많은 논란이 있기 때문이다. 정부와 지자체에 의한 시장개입은 반드시 필요한 경우에 한해 합당한 방법에 의해 이루어져야 한다. 대형유통점에 대한 규제는 지역사회에 미치는 영향을 다면적으로 평가한 결과에 근거하여 이루어져야 할 것이다. 대부분의 지자체는 체계적인 평가시스템과 객관적인 통계 자료를 갖고 있지 못한 실정이다. 향후 가장 시급한 과제는 시장개방 이후 지난 10년간 대형유통점이 지역사회에 미친 영향에 관한 광범위한 통계자료를 수집하고 이를 체계적으로 분석하여 정책방향을 올바르게 설정하는 것이라 할 수 있다.i와 K. pneumoniae가 존재하며 확산 중임을 시사한다. 앞으로 CTX-M형 ESBL의 만연과 변종 CTX-M형 ESBL의 출연을 감시하기 위한 정기적인 연구와 조사가 필요한 것으로 생각한다., A2-1, B1-1, B2-1의 경우,

• Archives of design research
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• v.11
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• pp.130-139
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• 1995

The dictionary defines the word 'Design' as planning and designing. Though this is a meaning confined to decorative function, the conception of modern design in this capitalist society of mass production and mass consumption can be said to have reached a new stage of the meeting of industry and the arts. This means the two sides of design' the side of beauty and usefulness The side of beauty should be understood in view of the sense of beauty, and usefulness should also be considered from the viewpoint of consumer's taste and preference This is thought to be the natural problems of design The origin of design can be understood from the background of capitalism. But the capitalism can be said to be the mode of Western thought and action developed based on Western thinking. The capitalism is an economic system derived from the society of industrial capitalism through commercial capitalism. but this economic thinking has been resulted from a mature social system of democracy and civic society. The civic society and democracy are derived from polis of ancient Greece and Rome. and the ancient Greek and Roman society was a society developed from the social system of the nobility and slaves. Polis continued to develop based on the positive territorial expansionism centering around the Mediterranean on the basis of Hellenism. and European countries achieved the intergration of religion. society and politics based on this. thus accomplishing the spirit of capitalism Our design is believed to have been derived from the direct import of Western capitalism. Accordingly. as the original form of Western capitalism has become our economic system. so our design copied that of th West. And our traditional culture and sensitivity which are different in the original form and root of racial disposition seem to breed discord between them. It is. therefore. very important and meaningful for us to exert all possible efforts to seek the root of our disposition and tradition and grope for the appropriate thought and style of design.

• Journal of The Korean Association For Science Education
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• v.33 no.7
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• pp.1431-1449
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• 2013

This study is based on the assertion that science museums should consider visitors' views and expectations as they are not satisfied in many cases. In this study, we investigated 31 scientifically gifted students and 177 science high school students about their image of science museums. Using the questionnaire, it was found that only 51% of students visited science museums; however, the average number of visits was 4.2. This means that students tended to re-visit after the first visit of the science museum. Students had a 'good' image of science museums when they incurred hands-on experiences and observed new, interesting, curious and funny exhibits. And students had a 'bad' image of science museums due to the following aspects: lack of new and interesting exhibits, information and guide, diverse contents, and hands-on experience; deficiencies in environment; and inadequacy of the management, operation and composition of exhibits. Therefore, they hoped that science museums will provide more hands-on experiences and experiments, new and interesting exhibits, systematic management and composition of exhibits, information and guides, and a good environment. So science museums need to pay special attention to aspects like management, information guides and environment for the first-time visitors. Based on the above results, we suggested "Directions for a good science museum based on students' views". While asking students what topics they wanted to know and learn in a science museum, each student was given the choice of four topics; eventually, 2.9 answers overlapped for each topic. When classifying students' topics into four main themes for the Gwangju National Science Museum, the order from the most popular theme to the least one was 'science in everyday life', 'ocean/space/future science', 'light and science', and 'culture, art and science'. Among the topics mentioned by students, only 37% are exhibited in Seoul, Gwacheon, Daejeon, or Gwangju science museums. We hope that the results and research methods will be used for evaluation, re-construction, and reinvigorated presentation of science museums.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• Cartoon and Animation Studies
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• s.41
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• pp.553-578
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• 2015

The Korean society was forcefully merged with the invasion of Japan in 20th century, and traditional culture of Korea was damaged severely by colonization from Japan. After liberation, Korean society experienced drastic social change with Korean War, and industrial economy and democratic system developed as modernization and democratization occurred. However, Korean traditional culture dissolved more severely as Korean society developed industrial economy and democracy. As criticism of existing Western center of society and the emphasis of cultural identity of non-western regions and third-world, world society preferred exchange of culture of diverse nations and people with each other in advent of postmodernism thoughts in mid-late 20th century. If the cultural identity of Korea was dissolving meanwhile, it was needed to be recovered again. Despite the research in Korean history, language, art, architecture was performed to recover cultural identity of Korea, it did not go in-depth with Korean mythology, for Korean mythology is considered as superstition or savage. Mythology shows subconscious group psychology of people who live in certain specific region. Studying Korean mythology is one of the ways to rediscover cultural identity of Korea. In order for Korean mythology to be known to many people, its stories should be told by media. There were movies, plays, drama, and novels produced based on existing Korean mythology as introduction, then these mythical stories are appear in subculture contents such as recent comics, animation, webtoon, games, and light novels. Then population of game players and webtoon readers increased as dissemination of PC and smart phones, and increasing market scale of subculture contents increased a population of consumers of comics, animation, and light novel. Consumers of sub-culture contents were interested as many of these contents were created, base on Korean mythology. Therefore, this paper is written as research on Korean mythology and its signification in sub-cultural contents which were produced base on Korean mythology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.1-13
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• 2012

This study aimed at learning the values and meanings of the letters carved on the rocks all over Mt. Sangdu located at the boundary between Kimje-si and Jeongeup-si of Jeollabuk-do by grasping the current state of them, investigating the patterns and contents of them, and understanding the spatial and landscape properties of the region where the rocks are scattered. The results of this study are as follows; The name of Mt. Sangdu came from the mountain with the same name located in India where Buddha were seeking the truth, and means auspicious. With the recognition of ancient maps and books, various propitious spots also made the landscape symbols of Mt. Sangdu solidify. Whoam, Chaangsuk-Kim, Weolgye Young-Cho Song and the members of Cheonggye Society like Dongcho Seok-Gon Kim led the creation of the rocks, and the 41 letter-carved rocks all over four water systems were found out and all of them were carved with Chinese characters. The letters were usually carved on flat and broad rocks, and they mainly had the shape of a small waterfall and a wide waterfall of under 1 meter height. 25(60.9%) of the carved letters were about moral training, and it seemed that they wanted to protect their pride under the shackle of the Japanese colonization over Korea. The styles of handwriting are Hangseo and Jeonseo except for names, and show various and complex styles. The mix composition of the carved letters of 'Yusubulbu(流水不腐)' of Choseo and the rocks of Takjok(濯足) is extraordinary, and the letters carved as the shape of Nakkwan(落款) have artistic value and degree of finishing. It seemed that intellectuals during the Japanese colonization over Korea in the 1930s considered Mt. Sangduasa highly valuable region because they expressed their hope and wish for the new world on the rocks. The letters on the rocks of Mt. Sangdu are invaluable cultural landscaping elements for the improvement of landscaping symbolism of Mt. Sangdu because of colliding values and spirits of the time of 'the anguish and pain of intellectuals' and 'the status of living joyfully outside of the mundane world.'