• Journal of The Korean Association For Science Education
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• v.42 no.2
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• pp.253-264
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• 2022

The purpose of this study is to examine the practice of scientists from the perspective of Ian Hacking's 'creation of phenomena'. Scientific phenomena, according to Hacking, are regular and do not exist in nature without the intervention of scientists or experimental tools. This study tries to derive scientific educational meaning by analyzing the thoughts and episodes of the 'Sontanda (inter-individual variability)' phenomenon experienced by four life scientists. The Sontanda phenomenon is a common term used by scientists to describe phenomena in which findings do not appear consistently even when studies are carried out using the same experimental procedure and materials. The following four educational implications were discovered as a result of the research. First, we confirmed the importance of embodied knowledge, or non-verbal knowledge, which solves issues by making appropriate judgments and reactions at all times, rather than simply becoming accustomed to the experimental method. This argues that propositional knowledge and non-verbal knowledge should be handled equally in order to provide students with a practical scientific inquiry. Second, we tried to reconsider the picture of the experiment. The phenomenon revealed in the interviews of scientists is rare, and it takes a long time to stabilize the phenomenon. On the other hand, the image of school experiments is always positive and consistent, necessitating a shift in perspective. Third, the precise meaning of scientific practice could be confirmed. This study confirms that scientists use their knowledge effectively in line with the circumstances, and we examined strategies to apply scientific practice to school instruction based on this. Finally, by provoking uncertainty, the Sontanda phenomena may give students with an opportunity to engage in meaningful scientific involvement. By breaking away from the cookbook experiment, this study expects school experimental education to help in efforts to experience scientific practice.

• Journal of the Korean earth science society
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• v.42 no.6
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• pp.717-733
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• 2021

This study is aimed to provide basic data to set the direction of polar literacy education and to raise awareness of the importance of polar research. Elementary, middle, and high school students' perception of the polar region was examined in terms of current status of polar information, impression regarding polar regions, and awareness of related issues. The study included 975 students from nine elementary, middle, and high schools, who responded to 16 questions, including close-ended and open-ended items. The results suggest that students had more experiences regarding the polar region on audiovisual media, but relatively limited learning experiences in school education. The impression they had of the polar region was confined to the monotonous image of a polar bear in crisis, following the melting of the glacier due to global warming. The students formed powerful images by combining scenes they saw in audiovisual media with emotions. In terms of recognizing problems in the polar region, the students were generally interested in creatures, natural environment, and climate change, but their interests varied depending on their school level and their own career path. The students highly valued the scientist's status as agents to address the problems facing the region, and gave priority to global citizenship values rather than practical standards. Based on the results, we suggest the following: introducing and systematizing content focusing on the polar region in the school curriculum, providing a differentiated learning experience through cooperation between scientists and educators, establishing polar literacy based on concepts that are relevant to various subjects, earth system-centered learning approach, setting the direction for follow-up studies and the need for science education that incorporates diverse values.

• Cartoon and Animation Studies
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• s.43
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• pp.321-342
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• 2016

The "uncanny valley" curve describes the measured results of the negative emotion response which depends on the similarity between the artificially created character and the real human shape. The "uncanny valley" effect that usually appears in the animation character design induces negative response such as fear and hatred feeling, and anxiety, which is not expected by designers. Especially, in the case of the commercial animation which mostly reply on public response, this kind of negative response is directly related to the failure of artificially created character. Accordingly, designers adjust the desirability of the character design by avoiding or utilizing the "uncanny valley" effect, inducing certain character effect that leads to the success in animation work. This manuscript confirmed the "uncanny valley" coefficient of the positive emotion character design which was based on the actual character design and animation analysis. The "uncanny valley" concept was firstly introduced by a medical scientist Ernst Jentsch in 1906. After then, a psychologist Freud applied this concept to psychological phenomenon in 1919 and a Japanese robert expert Professor Masahiro Mori presented the "uncanny valley" theory on the view of the recognition effect. This paper interpreted the "uncanny valley" effect based on these research theory outcomes in two aspects including sensation production and emotion expression. The mickey-mouse character design analysis confirmed the existence basis of the "uncanny valley" effect, which presented how mickey-mouse human shape image imposed the "uncanny valley" effect on audience. The animation work analysis investigated the reason why the produced 3D animation character should not be 100% similar to the real human by comparing the animation baby character produced by Pix company as the experimental subject to the data of the real baby with the same age. Therefore, the examples of avoiding or utilizing the "uncanny valley" effect in animation character design was discussed in detail and the four stages of sensation production and emotional change of audience due to this kind of effect was figured out. This research result can be used as an important reference in deciding the desirability of the animation character.