• 정보교육학회논문지
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• 제20권1호
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• pp.47-56
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• 2016

21세기 지식 정보 사회의 창의적인 인재 양성을 위해 2018년도부터 초등학교에서 소프트웨어 교육을 실시한다. 2015년에는 초등학교에서 실시되는 소프트웨어 교육의 교육 내용과 성취기준을 만들었다. 본 연구는 초등학교 교사 199명을 대상으로 소프트웨어 교육에 대한 인식을 조사했고, 조사 결과는 다음과 같다. 첫째, 소프트웨어 교육이 초등학교에 필요하고, 17시간으로는 부족하다. 둘째, 현재 교사들은 일반적인 소프트웨어 교육의 교육 내용, 교수 학습 방법, 평가 방법, 자료 개발 방법 등의 내용을 잘 모른다. 셋째, 성취기준에 대한 이해, 성취기준 적합한 교육 자료 개발과 지도 방법에 대해서도 인지가 낮다. 따라서 초등학교 모든 교사가 교사 연수를 통하여 성취기준에 적합한 교수학습 자료 개발, 평가 방법, 지도 방법을 알 수 있게 해야 한다.

• 건축역사연구
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• 제3권2호
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• pp.142-156
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• 1994

This paper aims to study on the periodical competition, the program, the jury organization, the reward, and copyright applied to the buildings which were constructed with architectural design competition performed in European and American region between 19c and 20c. The results of this study are as follows; 1. Befor 1900 Period, the type of buildings added to the competition program; between 1900 period and 1950 period, the works of strong nationality and rich local color were preferred; After 1950 period, the design drawings of high symbol and function were chosen 2. There are three types of design competitions: the open design competition, the invited and limited design competition, and the idea design competition. The open design competition has been most often made. 3. The juries were, most of all, composed of professional architects over 30 percent. 4. The program was written about building scale and appointments, described what form drawings, brief notes and air perspective wood have to be submitted. For instance, the use of colour was not permitted in the drawings, as this might possibly mislead the jurors. 5. The reward was given to the winners; the copyright was given to the first prize winner. 6. The standard of entry's qualification was mostly architect 7, Entry term was from a minimum month to a maximum year after annoncement of competition, it was approximetly 63% between 4 months and 8 months. I am convinced that architect gets freedom of pure creation and joy of society service through competition, architect justifies his profession and keep his useful and creative effort to society constantly, as long as the competition exists.

• 한국의류산업학회지
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• 제5권1호
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• pp.17-24
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• 2003

Objet, which showed up with the art of 20C, is now an important element giving a creative idea to fashion designers in modern times. The purpose of the study is to review how the objet technique was paid attention and recreated in the fashion, through the analysis of works, and the formative features of each technique for fashion, in order to identify the connection of arts and fashion, and the position of fashion as art. The techniques using object appeared in the 20th century fashion are as follows: First, papier-colle, which is adding printed materials onto the surface, is such a technique that adds cut-feeling materials to impose a new texture, or arrange again the cloth-cuts to create a different clothing from the existing one, which went to the extension of materials in the fashion. Second, collage of daily materials expresses directly and emotionally through direct presentation of the objets. Especially, collage of patch-work is reproduced into a new fabric depending on the objet used, giving a standing over the form. Third, ready-made which presents the material meaning only of the objet expands the range of objets which could be used in the fashion by introducing the daily materials having a meaning itself as a fashion. Forth, an attempt to approach to the objets of popular image by designed techniques come out in modern fashion as a graffiti look or a typography look, making the clothing itself an objet to transmit a message directly to the masses. Introduction of various objets and development of expression technique brought out the diversification of materials, and enrichment and extension of expression sphere, which resultingly spreaded the freedom of expression and progressed into the art sphere, making a direct motif to solidify its standing as a formative art.

• STI Policy Review
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• 제4권2호
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• pp.113-135
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• 2013

This paper explores how research excellence is perceived among researchers in Thailand and Japan with an aim to explore whether there are any new indicators that could later be proposed and adopted as criteria of excellence. Based on a questionnaire survey, the findings reflect ideas and viewpoints that could be found among researchers in both countries. Creative researchers are crucial to a strong national research and innovation system. Institutions should provide an environment or incentives based on research performance for their researchers to flourish and be productive. For decades, bibliometrics have been used to evaluate individual research performance for its easy approach and faster speed than a qualitative assessment would warrant. Nonetheless, there have been a number of studies on research performance evaluating systems that point out how a purely bibliometric approach is inadequate in summarizing the quality of the scientific performance. The pressures on researchers today influence their thinking and oppose their creativity. To investigate the perception of research excellence, three key research questions were set in this study: what counts as excellence, how to measure excellence, and how to support excellence. The findings confirm that traditional granting criteria that frames an idea of excellence remain valid, but they also suggest novel criteria be considered and prioritized. This paper argues that the existing evaluating system is insufficient for unleashing the curiosity and creativity of researchers and fostering excellence. In the final section, the paper discusses factors that contribute to scientific creativity that we should not overlook.

• 한국융합학회논문지
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• 제9권9호
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• pp.299-307
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• 2018

본 연구에서는 천경자 그림에 표현된 색채를 응용하여 추상적 네일디자인을 작품제작으로 표현하고자 한다. 이를 통해 네일 디자인의 창의적인 아이디어 발상에 대한 기본 토대를 마련하고 네일디자인의 표현영역을 확대하는데 목적을 가진다. 실증적 연구로서 천경자의 미술적 특징이 잘 표현된 작품 5가지를 선정하여 NCS 자연색체계를 활용하여 색채 데이터 분석을 하였으며, 색채 활용과 더불어 네일디자인을 표현하기 위해 천경자의 작품 속 대표되는 5가지의 모티프를 선정하여 각 작품에 표현하였다. 본 연구의 작품 제작에 나타난 디자인은 네일디자인과 현대 한국회화의 융 복합이며, 이를 통하여 뷰티디자인의 예술성을 다양한 시각으로 재창조하여 네일 디자인을 개발하였다.

• Geomechanics and Engineering
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• 제12권3호
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• pp.523-539
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• 2017

Clay soils are typical for their swelling properties upon absorption of water during rains and development of cracks during summer time owing to the profile desorption of water through the inter-connected soil pores by water vapour diffusion leading to evaporation. This type of unstable soil phenomenon by and large poses a serious threat to the strength and stability of structures when rest on such type of soils. Even as lime and cement are extensively used for stabilization of clay soils it has become imperative to find relatively cheaper alternative materials to bring out the desired properties within the clay soil domain. In the present era of catastrophic environmental degradation as a side effect to modernized manufacturing processes, industrialization and urbanization the creative idea would be treating the waste products in a beneficial way for reuse and recycling. Bottom ash and ecosand are construed as a waste product from cement industry. An optimal combination of bottom ash-eco sand can be thought of as a viable alternative to stabilize the clay soils by means of an effective dispersion dynamics associated with the inter connected network of pore spaces. A CATIA model was created and imported to ANSYS Fluent to study the dispersion dynamics. Ion migration from the bottom ash-ecosand pile was facilitated through natural formation of cracks in clay soil subjected to atmospheric conditions. Treated samples collected at different curing days from inner and outer zones at different depths were tested for, plasticity index, Unconfined Compressive Strength (UCS), free swell index, water content, Cation Exchange Capacity (CEC), pH and ion concentration to show the effectiveness of the method in improving the clay soil.

• 한국멀티미디어학회논문지
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• 제16권4호
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• pp.529-537
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• 2013

의류 패션산업에서 IT화가 진행되고 있으며 그 중 패션쇼는 디지털 시대의 흐름에 발맞추어 빠르게 변화하고 있다. 본 연구에서는 가상의상을 제작하여 실제의상과 유사하게 재현이 가능한지를 살펴보고, 이를 통하여 디지털 패션쇼를 구현한다. 이때 기존의 패션쇼 보다 아이디어를 창의적으로 표현 할 수 있는지, 효율성 및 보완해야 할 부분은 무엇인지 등 실제 사례 개발 연구를 통해 제시하였다. 그 결과 가상 의상은 매우 유사하다는 평을 받았으며, 실제 패션쇼에서는 재현하기 어려운 연출이 본 연구를 통해 보다 창의적이고 용이한 방법으로 실현 가능하였다. 미래에 3D 가상의상을 실제 패션산업에 도입한다면 유통 및 산업의 혁신을 통해 새로운 콘텐츠 창출이 가능할 것이다.

• 복식문화연구
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• 제15권1호
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• pp.152-168
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• 2007

The aim of this study is to shed light on essentials of Suprematist artists focusing on Malevich and their works in relation to modem design, and to examine their roles in the modem design industry compared to those of modem designers. The study obtains the following result on Suprematist artists and their works in Russian avant-garde in terms of modem design. Firstly, Suprematist artists had a great deal of interest in practical design although it seemed Suprematist were replaced by utilitarianism in avant-garde during the Russian revolution. Secondly, Suprematist artists were the first artists to bring the birth of modem design trends by applying their art in geometric forms to clothing and fabric design as well as ornaments and handicraft. Thirdly, the artists' attempt to work with needle workers made it possible to set achievements in design and modem decorative art exhibitions in various fields of art-life. As for the role of modem designers, Suprematist artists including Malevich have significant meanings as follows: Firstly, Malevich was a creative, future-oriented artistic designer who realized zaum of painting on the stage and created suprematistic mode in a cosmic point of view in order to agree with the environment. Secondly, Suprematist artists knew the importance of works that were produced by craftsmen and worked together with them. Therefore, the designers could maintain fabric decoration in difficult conditions knowing the importance of the high value-added industry. Thirdly, they were artists in real life who embodied the ideas and theories of Suprematist in sample works by recognizing the need of changes in life environment: they planned to set a new visual world in art but did not confine the idea only to painting.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.68-77
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• 2005

In contemporary advertising market, one of main trends is to speak surrealistic visual language which provides 'enjoyable spectacles'. Specially, in the beginning of 21st century, there discovered more and more exhibitions and discourses about surrealism reinterpreted from the viewpoint of postmodernism. Surrealism as a creative style of expression based upon free association, has been a great inspiration for fashion ads for commercial communication as well as fashion design since its origin. However, there has been ignored the idea of analyzing surrealistic image expressed in fashion ads in spite of their flood. Accordingly, the purpose of this study is to grasp its cultural meaning through analyzing aesthetic characteristics of surrealistic image expressed in fashion ads. It will provide a better understanding of surrealistic image in fashion ads reflecting popular taste and preference directly as popular visual culture, focusing on post modern context. A case study of surrealistic fashion ads limits to TV or print commercials and digital ads as image ads stimulating visual expressions. The Results can be summarized as follows. Surrealism is an avant garde style which deconstructs the established meaning system as well as the existing formalistic order and then put them together in the frame of 'dream' and 'unconsciousness'. Defamiliarization questioning the whole edifice of representation can be adapted to. By means of paradox and metaphor, unfamiliar new visual world can be represented. The plastic characteristics of surrealistic image in fashion ads are founded as surrealistic styling of time and space, distortion of object by methods of automatism, depaysement, parody and trompe-l'oeil which bring about the deconstruction of gestalt. Aesthetic values of surrealistic fashion ads appear as dualistic representation, allegoric symbolism, fantastic romanticism. Ultimately they lead to marvelous. mysterious, humorous visual effects. Foster reinterpreted these effects of surrealism from Freud's 'Uncanny Concept'. 'Uncanny' means the phenomenon recurring to familiar being defamiliarized by repression. Surrealistic fashion ads strengthen this shocking effect more and more dramatically in company with our post modern needs for fantastic adventure and thrilling spectacle. It can be thought that surrealistic fashion ads reflects uncanny as an alternative which can relieve us of our stress and anxiety and which realize our potential desire in contemporary post industrial stage.

• 복식
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• 제51권1호
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• pp.5-20
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• 2001

The purpose of this study suggest the fashion of communication for 21th century fashion. Especially, Memphis fashion have the possibility of communicating through objects. The results of this study are as follows : First, Memphis idea is to make design into a sophisticated, conscious instrument of communication. As the Memphis fashion points out : design is an extraordinary tool for communicating because its intrinsic characteristic is the fact that it is used and distributed anyway, even without communicating anything. The Memphis fashion is trying to connect design and industry to the broader culture within which fashion moves. Second, Using different materials provides not only new structural Possibilities. but - above all - new semantic and metaphoric possibilities, order modes of communication, another language, and even a change of direction, broadening of perspective, appropriation and digestion of new values and the concomitant rejection of traditional structures that renewal always Involves. The memphis fashion works on the fabric of contemporaneity (lurex yarn, latex, chrome metal and steel) and contemporaneity means computers, electronics, a new awareness of the body. mass exercise and tourism. Third, color in Memphis has never been an ideological vehicle. As with decoration it is born tilth the design, forming an integral part of the structure. It alters the objects molecules. It works as a mass, as an intrinsic feature of a certain form and volume. The Memphis fashion was realized the introduction of ultramodern science into such experimental and creative implementation as optical motive, brilliancy of colour of electronic medium in audition to metallic fabric and high technical synthetic fiber. A color tilth pop culture connotations that weaver between technological allusions and Mcdonald's.