• 대한수학교육학회지:학교수학
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• 제18권2호
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• pp.323-348
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• 2016

2009 개정 교육과정에서는 공간 감각의 향상을 위해 초등학교 6학년 수학 교과서에 '연결큐브'를 사용한 활동을 새롭게 도입하고 의사소통과 구체적 조작을 통한 교수 학습 방법을 강조하였다. 교사들을 대상으로 한 설문과 면담 분석 결과 공간 대상에 대한 표현 체계의 부재로 연결큐브 수업의 문제해결과 의사소통 측면에서 교사가 지도하는데 많은 어려움이 있음을 확인하였다. 본 연구에서는 이런 어려움을 해소하기 위한 대안으로 '거북표현체계'를 제시하고, 교사를 대상으로 설문과 검사를 실시하였다. 그 결과 문제해결과 의사소통 측면에서 거북표현체계의 효과와 유용성을 확인할 수 있었다.

• 한국수학교육학회지시리즈D:수학교육연구
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• 제15권1호
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• pp.1-14
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• 2011

Logo has influenced many researchers and learners for the past decades as a 20 turtle geometry environment in the perspective of constructionism. Logo uses the metaphor of 'playing turtle' that is intrinsic, local and procedural. We, then, design an environment in which the metaphor of 'playing turtle' is applied to construct 3D objects, and we figure out ways to represent 3D objects in terms action symbols and 3D building blocks. For this purpose, design three kinds of representation systems, and asked students make various 3D artifacts using various representation systems. We briefly introduce the results of our investigation into students' cognitive burden when they use those representation systems, and discuss the future application measures and the design principles of Logo-based 3D microworld.

• 한국수학교육학회지시리즈D:수학교육연구
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• 제15권1호
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• pp.15-30
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• 2011

We study to design educational Logo-based microworld environment equipped with 3D construction capability, 3D manipulation, and web-based communication. Extending the turtle metaphor of 2D Logo, we design simple and intuitive symbolic representation system that can create several turtle objects and operations. We also present various mathematization activities applying the turtle objects and suggest the way to make good use of them in mathematics education. In our microworld environment, the symbolic representations constructing the turtle objects can be used for web-based collaborative learning, communication, and assessments.

• 한국수학교육학회지시리즈D:수학교육연구
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• 제18권4호
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• pp.273-288
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• 2014

In recent years, coding education has been globally emphasized and the Free Semester System will be executed to the public schools in Korea from 2016. With the introduction of the Free Semester System and the rising demand of Computational Thinking (CT) capacity, this research aims to design 'learning environment' in which learners can design and construct mathematical objects through computers and print them out through 3D printers. Furthermore, it will design learning mathematics by constructing the figurate number patterns from 'soma cubes' in the playing context and connecting those to algebraic and combinatorial patterns, which will allow students to experience mathematical connectivity. It is expected that the activities of designing figurate number patterns suggested in this research will not only strengthen CT capacity in relation to mathematical thinking but also serve as a meaningful program for the Free Semester System in terms of career experience as 3D printers can be widely used.

• 대한수학교육학회지:수학교육학연구
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• 제16권4호
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• pp.367-386
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• 2006

본 논문에서는 구성주의 교육관의 관점에서 컴퓨터와 수학교육의 관계를 바라보는 '컴퓨터와 수학교육'에 대해 다룬다. '컴퓨터와 수학교육'은 그 필요성에 비해 최근까지 원활히 이루어지지 못했다. 그 이유는 먼저 그 구성요소들 사이의 관계가 명확하게 이해되지 못하였고, 이에 따라 구성주의에 대한 명확한 실천적 전략이 부족하였고, 서로 다른 컴퓨터 하드웨어-소프트웨어 환경들이 유기적으로 연결되지 못했기 때문이다. 이에 바람직한 '컴퓨터와 수학교육'을 위해서는 먼저 구성요소들 사이의 관계를 이해하고, 이를 바탕으로 '컴퓨터와 수학교육'의 실천적 설계 전략을 모색하며, 개별적인 소프트웨어 환경을 마이크로월드의 관점에서 통합적으로 연계시켜야 할 필요가 있다. 본 논문에서는 이러한 문제의식을 가지고 '컴퓨터와 수학교육'의 구성요소인 학생, 수학, 컴퓨터를 중심으로 관계된 이론을 고찰하여 각각에 대한 구체적 실천적 전략으로 구성주의. 함수화, 인터넷 상호작용의 원리를 도출한다. 또한 역사적으로 가장 성공적이고 대표적인 '컴퓨터와 수학교육' 환경인 Logo와 동적 기하 환경(DGS)을 이러한 관점으로 분석 고찰하여, Logo를 행동 문자 명령과 대수적 문자조작을 통해 재귀적 패턴의 탐구가 가능한 환경으로 발전시키고, 점들 사이의 기하적 관계를 다루던 DGS를 관계식과 대수기하적 탐구가 가능한 환경으로 설계, 구현한다. 나아가 Logo와 DGS의 이러한 수준 상승이 가지는 수학교육적 의미를 고찰하고, 타일 및 전개도 등의 새로운 대상을 도입하여 통합 마이크로월드를 구현한다. 본 논문에서는 Logo와 DGS, 그리고 통합 환경을 하나의 JavaMAL 인터넷 환경 속에서 통합 설계하고 이를 구현하며 나아가 그 의미를 논의한다.

• 조형예술학연구
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• 제10권
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.