미술에서의 매체: 창의성을 촉발하는가, 제약하는가?

김황기 한국조형교육학회 2024 造形敎育 Vol.- No.90

이 연구의 목적은 미술에서의 매체가 창의성을 촉발하는지 또는 제약하는지에 대한 탐구이다. 이러한 목적을 달성하기 위하여 모더니즘적 매체와 포스트-매체의 특성을 탐구하고, 그를 바탕으로 미술에서의 매체가 가지는 창의성의 촉진 가능성을 살펴보았다. 연구의 결과, 세 가지 관점들을 통하여 매체가 창의성을 촉진할 수 있음을 확인하였다. 첫째, 미디어 창의성은 매체가 창의성을 촉발할 수 있다는 근거가 되었다. 매체의 창의적 사용을 의미하는 미디어 창의성은 신선함과 환경과의 상호작용이 매체의 효율적인 사용을 극대화하도록 자극하기 때문에 창의성을 촉진할 수 있다. 둘째, 제약 이론은 매체가 창의성을 촉발할 수 있다는 근거가 되었다. 부수적인 관심사의 제거를 지지하는 제약이론은 제약이 개인의 창의적인 활동의 질을 증가시킨다는 것을 보여준다. 하나의 제약인 매체는 예술가들이 현재의 프로젝트 자체에 집중하도록 만들기 때문에 창의성을 촉진할 수 있다. 셋째, 체화론은 매체가 창의성을 촉발할 수 있다는 근거가 되었다. 매체와의 역동적인 몸적 상호작용을 지지하는 체화론은미술가들의 미술 제작의 관점이나 세상을 보는 관점을 변화시킬 수 있기 때문에 창의성을 촉진할 수 있다. The purpose of this study was to explore whether media in art develops creativity or prevents. To pursue this purpose, I researched on the characteristics of the modernism media and post-media and on possibility of the creativity boosting by media. The result of study indicated that media in art developed creativity by three reasons. First, ‘media-creativity’ indicated that creativity could be boosted by media. Because ‘media creativity’, that is, the creative way of using media, encouraged maximum effectiveness of media through novelty and context congruency from media, because media itself is creativity. Second, ‘constraints theory’ indicated that creativity could be boosted by media. Because constraints theory, that is, eliminating subordinate concerns, increased the quality of individual creative performance. One of pressure, that is, media makes artists focus on the project itself and boost creativity. Third, ‘embodimentism’ indicated that creativity could be boosted by media. Because embodimentism, that is, the dynamic interaction with media, could change artist’s view of the art making and the awareness of the world.

효과적인 드로잉 지도 방안 연구

김황기 한국미술교육학회 1992 美術敎育論叢 Vol.1 No.-

정신성으로 본 미술활동

김황기 한국조형교육학회 2008 造形敎育 Vol.0 No.32

미술교육에 나타나는 비예술적 경향 고찰

김황기 한국조형교육학회 2009 造形敎育 Vol.0 No.35

Current art education is losing its uniqueness in ways. The problem evolves from non-artistic views and approaches in art education. To address this issue, non-artistic view and approaches in both general art education and art making has been raised. Non-artistic elements raised in general art education are threefold: the perspective which doesn't consider the meaning of to be as matter, the attitude which focuses on philosophy of art education, and approach which relies on language too much. Non-artistic elements raised in art making are also threefold: the attitude which tries to control, to be decision makers, the attitude which teaches techniques and rules, the attitude which values on product rather than process. The more art education become intelligent, the less art education become vital. This is not at all say that dexterity, knowledge, and taste are unnecessary components of art that does move us. The result of this study is simple and clear. Art education should recover its uniqueness in general field and in art making To do this is establishing scholarly basic principles of art education and surviving of art education in formal education.

공동주택에 적용되는 환기 시스템의 평가

김황기,이승민,윤동원,손장열 대한건축학회 2000 대한건축학회 학술발표대회 논문집 - 계획계/구조계 Vol.20 No.1

미술교육의 재개념화를 위한 탐색

김황기 한국조형교육학회 2012 造形敎育 Vol.0 No.42

The Purpose of this study was re-conceptualizing the concept of art, art education and art curriculum focusing on intrinsic value of them. The principle of what is doing art is three-folded. First, art is the act of play. Second, art is the way of over-come of the self. and Third, art is the method for unity of art and life. The principle of what is doing art education is two-folded. First, art education is not teaching something but learning something. Second, leaning art is not accumulating knowledge but exploring and discovering knowledge. The principle of what is planning art curriculum is three-folded. First, art curriculum should reflect the meaning and diversity of life. Second, art curriculum consider not the concept of the result or outcome but the concept of the processing(currere). and Third, art curriculum start from not mechanics and economics but from humanities and art. The creative life and art is not the separation of them, but the unity of them. Art must be not the stuffed concept come from logical text but the live life itself. Art is the unique educational work which allows individual difference and diversity.

미술의 특징적 교육법에 대한 탐구

김황기 한국조형교육학회 2014 造形敎育 Vol.0 No.52

The purpose of this study was to investigate the signature pedagogies in the studio art of teacher’s college. Pedagogies found are threefold. First, studio art structures teaching toward student centered approaches with open-ended exploration. Second, studio art structures teaching toward teacher centered approaches in the guild system. Finally, studio art structures teaching toward body centered approaches using optique and haptic senses. Theses signature pedagogies of studio art are the outcomes of unique disciplinary practice and the nature of knowledge in the creative art. To adjust rapid transition education world, the signature pedagogies described must be refined and expanded. I suggest other components to be included for the signature pedagogies in the studio art. First, the concurrence of important concepts and principles in studio art must developed. Second, the concrete and practical things must be included in pedagogies in studio art. Third, the expanded model of training to include career self-management and enterprise creation, that is, entrepreneurship is required in studio art. 본 연구의 목적은 교대와 사범대의 미술실기 수업에서 활용되는 미술의 특징적 교육법을 확인하는 것이었다. 확인한 미술실기의 특징적 교육법은첫째, 열려있는 답을 탐구하여 학생 스스로가 개별적인 자신의 것을 찾도록 고무하는 교육법이다. 이 교육법 때문에 미술은 가르쳐 주지 않는다는 오명을 쓰고 있지만, 실제는 어느 어떤 학문보다도 학생중심적이고, 탐구중심이며, 상황중심적이라는 장점을 가지고 있는 교육법이다. 둘째, 그럼에도, 스승에게 일대일로 배우는 도제식 교육법에 근거한다. 도제식 교육은 전통적인예술의 학습 방법이다. 도제식 교육은 효율성, 개별성이라는 장점과 함께 교사의 책임감을 촉구하는 장점 때문에 현재까지도 미술에서 활용되는 교육법이다. 셋째, 시각ㆍ촉각 등 신체의 감각을 활용하는 몸 중심 교육법이다. 이것이 미술적 활동이 지적인 것과 멀다는 것은 오개념를 형성하는 증거가 되었다. 그러나 제 2세대 인지과학에 의하면오히려 미술의 감각적이고, 은유적이며, 상상적인 것들과 무의식적인 작용은 모두 몸과 관련되고 이는 고등 사고의 기초가 된다(Lakoff & Johnson, 1999/2002). 미술실기에서 미술의 특징적 교육법을 탐구한 결과 드러난 위의 세 가지 교육법은 다른 학문이가지지 못한 개별적이고 특이한 것이다. 미술의 특징적 교육법에 대한 연구는 새로운 방법 다양한 시각으로 계속되어야 한다. 그것은 미술을 좀 더 잘 가르치는 방안을 찾는 작업임과 동시에 미술이 일반 교육에 기여할 수 있는 독특한 영역을 밝히는 작업이 되기 때문이다.

시각문화 미술교육에 대한 고찰

김황기 한국미술교육학회 2003 美術敎育論叢 Vol.16 No.-

두 미술교사의 인지유형과 교수방식

김황기 한국조형교육학회 2005 造形敎育 Vol.0 No.25

The purpose of this study was to investigate the relationships between cognitive styles and teaching strategies of two art teachers. This paper, however, presents only the results of qualitative data analysis. For the qualitative method, in-depth interviews were conducted to investigate teachers' cognitive styles and teaching strategies in art education. Two art teachers who were considered having different cognitive styles by researcher were participated in this research. They were interviewed according to the two criteria: 1) their cognitive styles in their learning and teaching experience, and 2) their own instructional strategies in art education. All interview data were transcribed, coded according to the criteria, and interpreted. The result of the research showed: 1) each teacher has her own cognitive style, and 2) each teacher has her own strategy which is related to her own cognitive style. This research findings demonstrated the need for creating and implementing teachers training programs in a way 1) that art teachers should exposed to and understand the cognitive styles for the their learning and teaching, 2)that program for art teachers encourage students to have versatility, 3)that art teachers should have more opportunity to keep in touch with teaching methods in art program, and 4) that program for art teachers give students to explore rationality of art education. From the findings of this research, I conclude that the program for art teachers should focus not only art itself but also teaching art.

교육의 재개념화: 미술교육적 관점으로

김황기 한국조형교육학회 2013 造形敎育 Vol.0 No.46

The Purpose of this study was re-conceptualizing the concept of education through exploring the concept of genuine art education. I suggested concepts of education seen by art education. They are followed. First, chaos should be considered as the text of education, because the world and life are unstable and unpredictable and the chaos has implication for education. Second, I emphasized the need of visual thinking, because image is fast, and easy,and the capacity of dealing with image is needed in the future and for creative thinking. Third, the mode of right hemisphere should be allowed in educational situation, because the mode is suited to the future occupation, gives us alternative approach, is related to our happiness, is connected with the creativity and is benefit to human kind. Fourth, directed experience through body should be adopted for education, because real and live experience is the path of education. Fifth, I insisted the importance of emotion and feeling, because emotion and feeling guide us from chaos and uncertainty. Sixth, education should be self-education, because we can approach to the essence of learning only through self-education. Last,neoteny should be sustained as long as possible, because new view and flexible mind came from the characteristics of child.