• 디자인학연구
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• 제18권2호
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• pp.265-272
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• 2005

창의와 창조는 그 용례를 볼 때 큰 의미 구분 없이 사용되는 것이 일반적인 경향이다. 하지만 창의는 발상을, 창조는 과정을 의미하는 것으로서, 창의는 직관적인 것을 중시하는 반면 창조는 논리와 직관이 모두 중요한 요소이다. 직관은 그 과정을 알기 어렵고 직관이 일어나기 쉬운 조건을 형성하는 것으로 알려져 있는 반면 논리는 명확하다. 그로부터 창조를 제대로 알 수 없는 미지의 것으로 취급하고, 자신과 거리를 두는 일반적인 관행에서 벗어날 수 있는 근거를 발견할 수 있다. 창조의 과정은 일반적인 문제해결과정과 같은 개념으로 볼 수 있으며 그 핵심에 디자인이 존재한다. 디자이너는 문제해결과정을 학습하고 많은 프로젝트를 통하여 그 실행방법을 체득하기 때문에 디자이너를 창조자라 불러도 무방할 것이다. 현재 일반인은 물론 디자이너들까지 디자인을 형상 만들기로 보는 디자인 인식은 소프트웨어라는 강력한 도구가 등장하고 복제가 자연스러운 것이 되어버린 디지털 시대에서 더 이상 의미를 가지지 못한다. 이제 디자인은 디자인 본연의 '개념화', '촉매작용', '시각화'의 3가지 능력을 바탕으로 '창조의 방법론'으로 자리잡아야 한다.

• 한국언론정보학보
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• 제39권
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• pp.324-354
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• 2007

공공의 영역에 속하는 뉴스의 사실 자체는 공기처럼 자유로운 것이지만, 이것이 노동과 자본의 투자로 뉴스로 전환되었을 때, 상업성이 인정되는 재산권적 가치를 갖게 되며, 이를 생산한 언론사는 배타적 권리를 갖게 된다. 상품으로서 뉴스는 재산인 것이다. 재판부도 이러한 취지에 부합하게 사실보도에 대한 저작권 보호의 범위를 넓게 인식할 필요가 있다. 법으로 보호되는 것은 표현의 방법, 사건에 대한 기자의 분석과 해석, 문장의 구성과 자료의 배열, 단어의 선택, 특정한 부분에 주어진 강조 등이다. 즉, 침해의 핵심은 일반적인 주제나 사건 보도에 있는 것이 아닌 취급의 유사성이나 표현 방법의 착취에 있다. 보도기사가 사실적 요소들을 열거하여 정보를 전달하고 있지만, 소재의 선택과 문장 속에서의 용어의 배열, 강조 등은 학문이나 예술과 같은 고도의 창작성을 갖는 것은 아니지만, 낮은 정도의 창작활동에 속하는 것이다. 따라서 보도기사를 단순한 사실의 전달에 머물러 창작성이 결여되었다고 판단하는 것은 저작권법 원래 취지와도 배치되는 것이다.

• 한국가정과교육학회지
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• 제7권2호
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• pp.1-18
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• 1995

The purpose of this study was to investigate the teachers’attitudes toward the middle and high school student uniform. The questionnaire included independent variables about teacher themselves and school surroundings, and questions about teachers’attitudes toward school uniform. The participants were 316 middle and high school teachers in Chonbuk province. Means, standard deviations, frequencies, and percentages were calculated. ANOVA test was used for differences and scheffe-test was followed. The results were: 1. Teachers were content with “Students in uniform are upright and look more studentlkie.”“It’s easy to supervise students outdoors.”, and “There’s few efficiencies in coping with the temperature alternating.”, “Students in uniform hardly can reveal their originality.”and “It’s inconvenient for the students to be dynamic in uniform.” 2. Teachers in high schools and in private schools showed more positive attitudes toward uniform. And the male teachers, teachers graduated from general college, married teachers, and teachers who have a career of more than 20 years showed more positive attitudes toward uniform. More variables concerned about teacher themselves showed more significant differences than those about school surroundings. 3. Most of teachers showed positive attitudes toward uniform. The rank order of the reasons for the teacher’s positive attitudes were “Students in uniform are upright and look more studentlike.”, “It’s easy to supervise students outdoors.”, and “There’s no noticible distinction between the rich and the poor students.”The rank order of the reason for the teachers’negative at titudes were “Student in uniform could hardly reveal their originality.”, “It’s inconvenient for the student to be dynamic in uniform.”, and ”As they have to get the street clothes besides, economic burden becomes double in reality.”4. More than half of the teachers who are working at schools with uniform showed positive attitudes toward uniform. The rank order of reasons for the teachers’positive attitudes were “Students in uniform are upright and look more studentlike.”,“It’s easy to supervise students outdoors.”and “Economic burden could be decreased.”“The rank order of the reasons for the negative attitudes were “It’s inconvenient for the student to be dynamic in uniform.”, “Students in uniform could hardly reveal their originality.”, and “Students cannot feel free in mind with uniform.”5. Teachers overall showed positive attitudes toward uniform whether they work ar schools with uniform or without it.

• 디자인학연구
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• 제13권2호
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• pp.33-44
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• 2000

타이포그래피는 시각디자이너가 관여하는 분야 중에서 가장 감성적이며 잠재적 창조력이 발휘되는 영역이다. 심미적 결과를 도출하는 디자인 과정은 디자이너의 감수성과 창의성에 따라 그 결과가 크게 다르게 나타난다. 따라서 본 논문은 새로운 관점에서 접근하는 실험 타이포그래피의 교육 프로그램을 통해 창의성 발휘에 큰 걸림돌 격인 고정관념 즉, 편견과 선입견을 제거하고 타이포그래피의 문맥과 메시지 전달에 충실 할 수 있는 사고의 전환과 전반적 감각을 개발하고 교육하는 구체적 방안을 제시한다. 오늘날은 타이포그래피의 환경 변화로 인해 전통적 타이포그래피의 본질과 효용성이 의심받게 되었으며 이러한 전승적 가치로부터 새로운 탈출을 모색하려는 움직임이 활발히 전개되고 있다. 본 논문은 영감과 테크놀러지의 공존이라는 대명제 아래 가히 폭발적 변신과 융화가 일어난 상황에서 새로운 경향과 사회적 요구에 부응할 수 있는 실험 타이포그래피를 현실화할 몇 가지 교육 프로그램으로 Typeface, Typortrait, 타이포그래피 에세이, 키네틱 타이포그래피를 소개하며 이를 계기로 타이포그래피 실험의 새로운 진전과 교육계의 이해 확산을 기대한다.

• 한국초등과학교육학회지:초등과학교육
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• 제39권4호
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• pp.506-521
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• 2020

This study aims to develop a scientific creativity task which science-gifted elementary students can conduct on a field trip to a botanical garden, and to analyze the results from conducting the task. For this, 38 science-gifted fifth-graders from the Science-Gifted Education Center, located at the Office of Education, participated in a field trip to a botanical garden, as a part of their program. Prior to the program, researchers developed a scientific creativity task for outdoor education program, along with science education specialists and teachers. The tasks were to observe plants, and to create something new and useful, or, in other words, scientifically creative, based on the plants' characteristics. The students could submit at most three ideas. Also, they assessed their own ideas, and selected an idea that they thought was the most creative. The results were analyzed by using the scientific creativity formula. The main findings from this study are as follows. First, it was found that the scientific creativity formula had an upward bias in assessing originality. Second, the students tended to assess the usefulness of their own ideas more generously. Third, the correlation between self-assessment results and scores from the scientific creativity formula for originality was r=.43. Fourth, in formula-based assessments, the correlation between originality scores and usefulness scores was relatively high, at r=.56. Fifth, the correlation between a student's scientific creativity score and the number of his or her ideas was very low, at r=.23. Sixth, when the ideas chosen as the most creative by students were compared with the ideas that had the highest scores in formula-based assessments, it was shown that 8 out of 19 students (42.1%) did not choose the idea that appeared to be the most creative when graded by the formula. This study is concluded by discussing the lessons from the scientific creativity task analysis for primary science education and gifted education.

• 영재교육연구
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• 제22권2호
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• pp.467-482
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• 2012

본 연구에서는 TRIZ의 40가지 원리를 현행 교육과정 내에서 재구성하여 학교 안에서 모든 초등학생들이 창의성 신장을 위한 교육을 받을 수 있도록 하였다. 개발된 4단계의 수업모형을 적용하기 위해 TRIZ 활용 예시 자료집을 만들고 저학년용 수업지도안 및 학습지 13차시와 고학년용 수업지도안 및 학습지 12차시를 개발하였다. Y초등학교 2학년 학생과 J초등학교 6학년 학생을 대상으로 본 프로그램을 적용하였으며, 창의성을 DESK이론에 따라 유창성, 융통성, 독창성, 정교성으로 세분화하여 분석한 결과 유창성, 융통성, 독창성, 정교성이 모두 향상된 것으로 나타났다. 즉 초등학생용으로 재구성된 TRIZ 프로그램은 초등학생의 창의성 신장에 효과적임을 알 수 있었다.

• 한국초등과학교육학회지:초등과학교육
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• 제38권4호
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• pp.439-452
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• 2019

This study aims to compare self- and peer-assessments of science-gifted elementary students' scientific creativity. A science-gifted program on the Pascal's principle was implemented to 40 fifth-graders in the Science-Gifted Education Center for two weeks. After that, students presented their results from a scientific creativity task using the principle in class. The task was to devise a new and useful tool using the principle, and it included the students' self-assessment about their idea. During presentation, students were asked to assess the works of peers and write down the reasons that they gave the scores they gave. Shortly, student self- and peer-assessments about students' scientific creativity outcomes were compared. Based on two essential components of creativity, ideas that satisfy both originality and usefulness can be counted as scientifically creative. The main results of this study are as follows: First, the average scores of student self- and peer-assessments were 71.5 and 61.9. Second, the standard deviations of student self- and peer-assessments were 14.47 and 5.79. Third, among scientific creativity, originality, usefulness scores, only originality had a significant correlation between student self- and peer-assessment (r=.42). Fourth, the students were categorized into four groups according to the levels of their scores by student self- and peer-assessment. And the frequencies of peer-assessment group had a significant difference at p<0.05 level, according to self-assessment group (Chi Square=4.0000, df=1, p=0.0455). Fifth, through a case study by group, the results suggesting that self-assessment could be affected by the students' self-efficacy and perfectionism and such effect could also influence peer-assessment have been found. The result showed that how the student self- and peer-assessment of scientific creativity are different and what the students' thoughts on the evaluation of scientific creativity are. The findings suggested that there are several things to consider for the educators to make efforts to construct consistent assessment methods for scientific creativity.

• 복식문화연구
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• 제30권1호
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• pp.121-144
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• 2022

This study analyzed the effects of fashion creators' innovativeness and attractiveness on consumer response and orientation toward a sustainable relationship in personal media. A survey was conducted with consumers aged in their 20s and 30s who had experience in sharing video content or writing comments and participating in fashion creators' real-time broadcasting of personal media. The results show that the innovativeness of fashion creators was classified into originality, opinion leadership, variety, and adventurous spirit, while attractiveness was classified into physical, social, and professional attractiveness. Consumer responses were classified into either emotional or cognitive responses, and sustainable relationship orientation was classified into communication, sharing, and relationship sustainability. The originality and variety of the fashion creators positively affected the emotional and cognitive responses of consumers. Adventurous spirit positively affected emotional response, whereas opinion leadership positively affected cognitive response. In addition, the social and professional attractiveness of fashion creators positively affected consumers' emotional and cognitive responses. Emotional and cognitive responses positively affected consumers' sustainable relationship orientation. The originality and opinion leadership of the fashion creators positively affected the three factors of sustainable relationship orientation, while variety positively affected communication and relationship sustainability. Fashion creators' social and professional attractiveness positively affected the three factors of sustainable relationship orientation, and physical attractiveness positively affected relationship sustainability. The results of this study are expected to provide useful data on the direction of fashion startups using personal media and marketing as well as distribution strategies in the fashion industry.

• 한국콘텐츠학회논문지
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• 제14권8호
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• pp.505-516
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• 2014

본 연구는 국제영재교육에서 창의사고필터링모형(Creative Thinking Filtering Model : CTFM)교육프로그램 적용이 창의성의 인지적 영역(유창성, 융통성, 독창성)과 정의적 영역(독자성, 호기심, 다양성, 민감성, 유모감각, 개별성)에 어떠한 영향을 미치는 지를 규명하는데 있다. 자료처리를 위한 통계방법으로 공분산분석 (Analysis of Covariance : ANCOVA)를 실시하였으며, 그 결과는 다음과 같다. 첫째, CTFM을 적용한 집단이 통제집단보다 인지적 영역과 정의적 영역이 높은 것으로 나타났다. 구체적으로 인지적 영역에서는 유창성, 융통성, 독창성 3요인 모두에서, 정의적 영역에서는 민감성을 제외한 독자성, 호기심, 개별성, 다양성, 민감성, 유모감각의 5요인에서 CTFM을 적용한 학생들이 높은 것으로 나타났다. 둘째, CTFM을 적용하기 전과 적용한 후에 인지적 영역의 창의성을 분석한 결과, 인지적 영역의 3요인인 유창성, 융통성, 독창성 모두 향상되었으며, 특히 유창성이 가장 많이 향상된 것으로 나타났다. 셋째, CTFM을 적용하기 전과 적용한 후에 정의적 영역의 창의성을 분석한 결과, 정의적 영역의 6요인 중 독자성, 다양성, 유모감각, 개별성의 4요인이 향상되었으며, 특히 독자성이 가장 많이 향상된 것으로 나타났다.

• 미술이론과 현장
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• 제2호
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.