• Journal of Broadcast Engineering
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• v.27 no.5
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• pp.728-737
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• 2022

Metaverse is gaining worldwide interest, and related industries are developing rapidly. In the field of education, students' interest in metaverse is increasing, and education on metaverse-related technologies and services is required. However, since metaverse classes in universities mainly consist of theoretical education and domestic/overseas case analysis education, practical education that can apply metaverse technology to the real world is also necessary. In the cultural field, event contents such as entrance ceremonies and exhibitions are mainly produced for metaverse contents, and it is also necessary to study metaverse contents that can be sustained for a long time by people visiting regularly. In this study, educational contents that can link cultural participation in the real world with cultural participation in the metaverse were studied using the local cultural space as a medium to produce sustainable metaverse contents. The 'Metaverse Moonshin Art Museum commemorating the 100th anniversary of Moonshin's birth' program reinterpreted the real world of Changwon Moonshin Art Museum into a virtual world by collaborating with students on the Roblox. The 'Expanded Reality Moonshin Art Museum' program created an expanded Metaverse art museum that transcends time by augmenting the deceased Moonshin artist in the museum's exhibition space using HoloLens. For students studying culture-related majors, an educational program that combines metaverse education and practical training was conducted, and it is planned to be supplemented and used as a teaching plan.

• The Journal of Art Theory & Practice
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• no.2
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• pp.49-74
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• 2004

It has been frequently pointed out that the established art history with the stylistic and iconographic interpretations and monographic analysis is fallen behind the currency of modern art. Among those who claimed the crisis in the discipline of art history, there is a suggestion that the art historical study should be fostered by other factors in the fields of the humanities. The so called New Art History or 'visual Culture Studies' insists that art history has to be restructured to integrate the broader study of culture and society, and by now, such an opinion is not a novelty at all. One of the most significant yet overlooked elements that induced the new currency of art history is properties of contemporary art that conflict the traditional claim of art historians. Although the idea that art is not purely aesthetic but that it has many other functions has been brought up by the art historians, it was the artists that provoked such a perception. When Arthur C. Danto and Hans Belting proclaimed the End of Art and Art History in the 1980s, the concept of art has been changed radically through the avant-garde tendency of Modernism and a new pluralism of Postmodernism. One dominant concern that strikes art historians is to find a new approach to art, since the traditional method and goal of analysis for past art and past art history seem unavailable. The perplexity arising from the situation is intensified in the field of teaching art, especially for those who teach art history in art school. Basically art history is a pursuit of learning of art in history, and its purpose is to reconcile the present with the past and the future as well. Since Modernism, as it is confusing sometimes because it implies the present state, somehow art became considered 'tradition-less'. It does not mean that a work of art stands aloof from the past attainments, hut modern art imposed itself on a task seeking after the new for its own sake, turning its back on the tradition. And now in the era of Postmodernism, an historians face the requirement to revaluate the whole history of art including modernism. The necessity of art history in art education is indisputable, but methods and contents in the academic courses should he reexamined now. Because artists' concept of history and past art has been altered, and art history as a humanistic discipline can only maintain its identity through incorporation with art itself. Academics teaching art history, or, strictly speaking, past works of art and history, to the student in art school, confront with the need to rethink the object of art history and its meaning to the artists.

• Journal of Korean Elementary Science Education
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• v.32 no.4
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• pp.567-580
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• 2013

This study is to activate gifted students' brains for creativity ability and also an integrated science and art teaching program. The learning programs integrating science and art, which have 30 periods and 10 topics on art and the knowledge of science, were developed dependant on five steps - observing, having interests and curiosity, experimental designing and performing, internalizing, and expressing in an arts-based manner. This programs were applied to 20 senior gifted students in Y Elementary School in Gyeonggi province, by one group pretest-posttest design. The results from these integrated programs of science and art are as follows: First, in the performance of science tasks, prefrontal lobe(F7, FT7) of left brain increase the relative power of theta wave, whereas in the performance of drawing tasks increase the relative power of beta wave in prefrontal lobe(FP1) of left brain, bilateral frontal(F7, F3, Fz, F4, F8, FT7, FC3, FCz), bilateral temporal(T7, TP7, TP8, P7), parietal lobe of left brain(CP3, CPz, P3, Pz), bilateral occipital(O1, Oz, O2). Second, in the performance of science tasks, the relative power of beta wave activity in the left temporal lobe(T7) of the brains of talented students in science significantly decreased whereas it was greatly activated in another part, the left frontal lobe(F3) of the brain (p<.05). Third, in the performance of drawing tasks, the relative power of theta wave activity in five areas of the brain, namely the left temporal lobe(T7), the left frontal lobe(F3), the right frontal lobe(F4), and the left and right parietal lobes of gifted students in science who took the course of the integrated programs, was considerably increased statistically(p<.05). On top of that, these programs were especially effective in balancing the symmetrical development of both cerebral hemispheres by multiplying theta wave activity in the frontal lobes(F3, F4) and the parietal lobes(CP3, P3, P4), which are particularly related to creative thinking. According to the results of this study of brain-based teaching strategies combining science and art, it is an effective program to develop overall activate gifted students' brains for creativity ability. This is expected to be utilized to activate the brain areas for creativity of gifted students in science.

• Journal of the Korea Convergence Society
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• v.12 no.3
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• pp.297-304
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• 2021

This study aims not only to access the visual thought-oriented approach that has been implemented in established art therapy and education but also to integrate language education and therapeutic approach to support the development of school-age children. Thus, text mining technique was applied to search for areas where different areas of language and art can be integrated. This research was conducted in accordance with the procedure of basic research, preliminary DB construction, text screening, DB pre-processing and confirmation, stop-words removing, text mining analysis and the deduction about the convergent areas. These results demonstrated that this study draws convergence areas related to regional, communication, and learning functions, areas related to problem solving and sensory organs, areas related to art and intelligence, areas related to information and communication, areas related to home and disability, topics, conceptualization, peer-related areas, integration, reorganization, attitudes. In conclusion, this study is meaningful in that it established a framework for designing an activity-centered convergence program of art and language in the future and attempted a holistic approach to support child development.

• Korean Journal of Human Ecology
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• v.20 no.5
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• pp.967-981
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• 2011

This study aims to research the effects of group art therapy program on the self-esteem and peer relationships of children in low-income and single-parent families. It was performed for 24 sessions with Lee Hyeon-Jin's(2006) and Shin Ji-Hye and Kim Gui-Bok's(2009) group art therapy program. The evaluation was performed with Park Mi-Ran's self-esteem questionnaire(2007) and Kim Taehee's peer-relationship questionnaire(2005). The subjects are 26 elementary students in low-income and single parent family who are in the 2, 3, and 4 grade and use A-regional children center and B-regional children center which are located in Gyeongbuk province. Means, standard deviations, Independent t-test and Paired t-test were conducted. Firstly, the change in self-esteem of both experiment group and control group is investigated before and after their taking group art therapy program. There are statistically meaningful enhancements in self-esteem of experimental group. But there are no statistically meaningful enhancements in self-esteem of control group. Secondly, peer-relationships in both experimental group and control group do not change between before and after taking group art therapy program. Thus, the program of group art therapy is thought to be effective therapy improving the self-esteem of child in low-income single-parent family.

• Journal of the International Relations & Interdisciplinary Education
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• v.4 no.1
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• pp.19-34
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• 2024

This study analyzes the art and questions presented in the secondary school teacher certification examination from 2018 to 2024, according to the art and evaluation area and evaluation content elements presented by the Korea Institute for Curriculum and Evaluation. In order to achieve the purpose of the study, 159 questions from the art and appointment examination over 7 years were collected and the ratio of evaluation content elements was analyzed for each of the 7 basic subjects and fields. As a result of the study, the proportion of evaluation content elements in each of the seven basic subjects and fields is also balanced at a considerable level. In other words, from 2009 to 2013, 55(50%) evaluation content elements were presented, compared to 71(64.5%) evaluation content elements from the 2018 teacher selection test to the 2024 school year. Despite this improvement, 39(35.5%) evaluation content elements were excluded, so improvement measures were discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.419-429
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• 2019

The objective of this study was to look into the effect of using Zentangle art therapy on improving the attention span of people with developmental disabilities in Lifelong Education Center. The 29 people with developmental disabilities in Lifelong Education Center of D-University in K-city were the subjects to reach the primary goal of this study. Nine of the subjects were assigned to the experimental group of the Zentangle art therapy, ten to the control group. As for the study tools, 3.5x3.5 inch paper card, various colors of Deco Markers, and Zentangle cards for the experimental group. The FAIR and MindWaveMobile (MWM) were used to measure the effectiveness. The twelve 30-minute sessions of the program, held from October to December in 2018, has shown the result that the attention span improved on the experimental group using the Zentangle art therapy.

• Korean Medical Education Review
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• v.10 no.1
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• pp.43-51
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• 2008

Purpose: As introducing a case on extracurricular medical education using artists as instructors, we purposed to make significant implication on the technology-centered medical education. Methods: A case on extracurricular medical education using artists as instructors was introduced and the response of participants among medical students was presented and analyzed. Results: 25 medical students and 5 artists participated in this extracurricular medical education program. Each 5 artists' special area were an oil painting, an illustration, a documentary photo, a play, and an animation Participants' satisfaction of this program was high among medical students. They thought the time with an artist as a significant opportunity for understanding not only human-being but also himself or herself. Conclusions: The application of this learner-centered and extracurricular education program using artists as instructors needed further consideration in medical education. Medical students' meeting with artists can fill the lost art of medicine.

• Journal of the Korea Society of Computer and Information
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• v.22 no.10
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• pp.179-187
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• 2017

In spite of the rapid change of the technology, the university education cannot escape from the traditional form of classroom teaching. University education is assessed through listening the same content of lecture, completing the same assignment and test at the same time, same place. To prepare for the 4th industrial revolution, it is investigated to reorganize the curriculum(32.5%), strengthen the lifelong education(21.4%), expand the compulsory education(17.6%), expand the innovation school(13.7%), expand the educational finance(10.4%) as the field of education which need to be strengthen. The change of the education is essential to prepare for the 4th industrial revolution which creativity, collaboration, fusion, problem solving are the core ability. In this thesis, it is to be compared that the subjects opened in liberal arts of domestic and overseas university in this 4th industrial revolution and Basic Liberal Art Education Curriculum is promoted for the smooth management for preparing the future and taking the action to the change. Stereotyped and inflexible frame should be changed to 'Structure', 'Recognition', 'Attitude' for making the base of 'Diversity', 'Personalization', 'Flexibility' which are needed to uplift 'Imagination', 'Creativity' for education of the future and the new era.

• The Journal of Art Theory & Practice
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• no.5
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• pp.217-229
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• 2007

Many historical research and facet about modern art in Indonesia which formulating background of contemporary Indonesian Art. Indonesian art critic Sanento Yuliman states that Modern art has been rapidly developing in Indonesia since the Indonesian Independence in 1945. Modern Art is a part of the super culture of the Indonesian metropolitan and is closely related to the contact between the Indonesian and Western Cultures. Its birth was part of the nationalism project, when the Indonesian people consists of various ethnics were determined to become a new nation, the Indonesian nation, and they wished for a new culture, and therefore, a new art. The period 1960s, which was the beginning of the creation and development of the painters and the painters associations, was the first stage of the development of modern art in Indonesia. The second stage showed the important role of the higher education institutes for art. These institutes have developed since the 1950s and in the 1970s they were the main education institutes for painters and other artists. The artists awareness of the medium, forms or the organization of shapes were encouraged more intensely and these encouraged the exploring and experimental attitudes. Meanwhile, the information about the world's modern art, particularly Western Art; was widely and rapidly spread. The 1960s and 1970s were marked by the development of various abstractions and abstract art and the great number of explorations in various new media, like the experiment with collage, assemblage, mixed media. The works of the Neo Art Movement-group in the second half of the 1970s and in the 1980s shows environmental art and installations, influenced by the elements of popular art, from the commercial world and mass media, as well as the involvement of art in the social and environmental affairs. The issues about the environment, frequently launched by the intellectuals in the period of economic development starting in the 1970s, echoed among the artists, and they were widened in the social, art and cultural circles. The Indonesian economic development following the important change in the 1970s has caused a change in the life of the middle and upper class society, as has the change in various aspects of a big city, particularly Jakarta. The new genre emerged in 1975 which indicates contemporary art in Indonesia, when a group of young artists organized a movement, which was widely known as the Indonesian New Art Movement. This movement criticized international style, universalism and the long standing debate on an east-west-dichotomy. As far as the actual practice of the arts was concerned the movement criticized the domination of the art of painting and saw this as a sign of stagnation in Indonesian art development. Based on this criticism 'the movement' introduced ready-mades and installations (Jim Supangkat). Takes almost two decades that the New Art Movement activists were establishing Indonesian Installation art genre as contemporary paradigm and influenced the 1980's gene ration like, FX Harsono, Dadang Christanto, Arahmaiani, Tisna Sanjaya, Diyanto, Andarmanik, entering the 1990's decade as "rebellion period" ; reject towards established aesthetic mainstream i.e. painting, sculpture, graphic art which are insufficient to express "new language" and artistic needs especially to mediate social politic and cultural situation. Installation Art which contains open possibilities of creation become a vehicle for aesthetic establishment rejection and social politics stagnant expression in 1990s. Installation art accommodates two major field; first, the rejection of aesthetic establishment has a consequences an artists quest for medium; deconstruction models and cross disciplines into multi and intermedia i.e. performance, music, video etc. Second aspect is artists' social politic intention for changes, both conclude as characteristics of Indonesian Installation Art and establishing the freedom of expression in contemporary Indonesian Art until today.