Finding the Research Possibilities of Computer Technologies in Art Education

Jung, Hyunil The International Promotion Agency of Culture Tech 2018 International Journal of Advanced Culture Technolo Vol.6 No.2

The purpose of this study is to try finding the research possibilities of computer technology in art education and understand why computer technology has such a great impact on our contemporary education. The methodology of this study is based on the analysis of literature review. I have tried to find the importance articles in the journals of art education such as Studies in Art Education and Art Education published from the National Art Education Association, one of the most well-known organizations in the field of art education. To draw the purpose of this study, I found articles and categorized the information using key words such as aesthetic, feminist, gender issues, and interactivity. After analyzing, I have discussed about the research possibilities and important issues of computer technology in art education and then categorized the information found in each article into four different subheadings: 1) the visual effects of computer graphics in art education, 2) gender issues based on the computer technology, 3) interactive multimedia and social interactions among students, 4) research possibilities with computer technologies in art education. The findings are as follow. Firstly, there were many research possibilities of computer technologies in art education such as ways of criticizing the contemporary art world. Secondly, I found that computer technology has a great impact on art education because students are more eager to engage with computer technologies-based media activities and very familiar with new media either at home and school. Therefore, we, as educators, must address how the student will be systematically engaged with computer technologies in their educational environment and should determine what knowledge and skills prospective teachers bring to our teacher education programs and how and where they acquired this knowledge.

예술과 도덕: 오우크쇼트 ‘시적 상상’ 개념의 교육학적 함의

차미란 한국도덕교육학회 2011 道德敎育硏究 Vol.23 No.2

The relation between art and morality in education can be discussed in two different ways. Art and morality as educational contents are placed on equal level in education, and in this 'horizontal' way, moral education is one of various modes of education as much as art education. On the other hand, in the concern for moral cultivation through art or art education, morality or moral education refers to an ultimate aim of education pursued in all educational endeavors including art education. This way of relation between art and morality in education can be called 'vertical' relation as a parallel to the 'horizontal' one. According to Oakeshott, the unique voice of art in the conversation of mankind comes from 'poetic imagination' which he defines in terms of contemplation and delight, so the voice of poetry as one autonomous mode of activity and utterance should not be confused with or controlled by the voice of practical life whose imagination is under moral approval and disapproval. Thus, Oakeshott's aesthetic theory, as long as it emphasizes the horizontal relation of art and morality and denies the vertical relation of them, neither assents to Plato's warning of art's evil influences on moral education nor agrees to Shiller's proposal of social progress through aesthetic education of man. However, those three different views on the relation between art and morality need to be theoretically integrated in the light of Kant's concept of imagination in his philosophy which supposes morality as absolute standard of transcendental dimension. This integrative interpretation will be able to be completed only by the metapractical theory of education which elucidates both possibility and danger of moral education through art education. 교육학적 관점에서 예술과 도덕의 관계는 ‘수평적 관련’과 ‘수직적 관련’이라는 두 가지 상이한 방식으로 논의될 수 있다. 예술과 도덕의 수평적 관련에서 예술과 도덕은 교육내용의 상이한 양상으로서 대등한 위치를 차지하며, 예술교육과 도덕교육은 교육내용의 차이에 의하여 구분되는 교육의 상이한 양태를 지칭한다. 이와는 달리, 예술을 통한 도덕교육의 가능성에 관심을 두는 경우에 도덕 또는 도덕교육은 교육내용의 차이에 관계없이 모든 교육에서 추구되는 목적 또는 이상적 기준을 의미하며, 이 경우에 예술교육과 도덕교육은 수직적 관련 방식을 맺게 된다. 예술의 고유한 성격을 ‘시적 상상’으로 규정하고 그 특징을 ‘관조’와 ‘희열’에서 찾는 오우크쇼트의 견해는 예술과 도덕의 수평적 관련 방식은 지지하지만 수직적 관련 방식에는 동의하지 않는다. 예술과 도덕의 대화적 공존 관계를 중요시하는 오우크쇼트의 이론은 도덕교육의 관점에서 예술의 폐해와 위험성을 경계하는 플라톤의 이론, 예술을 통한 개인의 인격 완성과 사회의 개혁을 주장하는 쉴러의 이론과 나란히, 예술과 도덕의 수직적 관련 문제에 대한 세 가지 서로 다른 입장을 제시하고 있다. 그러나 그 세 입장은 교육학적 관점에서 일관되게 해석될 필요가 있으며, 그 해석의 방향은 상상력의 성격과 의의에 관한 칸트 선험철학의 논의를 따라서, 현상적 차원의 예술이 선험적 차원의 도덕을 실현할 가능성을 확립하는 것에서 찾아진다.

국어교육과 매체언어문화 : 국어교육과 매체언어문화

박인기 ( In Gee Park ) 국어교육학회 2010 國語敎育學硏究 Vol.37 No.-

매체와 언어와 문화는 국어교육의 생태와 환경이다. 매체와 언어와 문화는 서로 상호작용한다. 매체와 언어와 문화는 서로 연속적이고 중층적인 관계로 구조화 되어 있다. 따라서 우리는 매체와 언어와 문화를 복합적으로 경험한다. 우리는 이 `매체·언어·문화·교육`의 중층적 현상을 연구하여 국어교육의 내용으로 반영해야 한다. 이런 현상으로 인하여 국어교육은 교육과정 혁신(curriculum innovation)을 해야 하는 단계에 이르렀다. 지금까지의 국어교육 내용은 지나친 언어중심주의(logocentrism)에 의존하여 왔다. 그 결과 학생들은 `소통능력`과 `언어능력`이 괴리되고, 언어학이나 문학이론 등 학문적 내용이 국어교육의 내용으로서 독점적 지위를 누려왔다. 따라서 국어교육의 생태 환경(문화, 미디어, 테크놀로지)에 대해 적응하지 못하고, 국어 교과는 진화에 유연하지 못했다. 현재 국어과의 매체언어교육(media education in education of Korean arts) 실태는 다음과 같다. 첫째, 국어과 미디어 교육 내용이 주로 기능적 사용 차원의 내용이 주류를 이루고 있다. 둘째, 매체 언어에 관한 교육 현장의 실천 담론과 이 분야 연구 이론 담론 사이에 원활한 연결이 이루어지지 못했다. 셋째, 국어교육이 미디어 현상을 교육내용으로 수용하는 데에 소극적이다. 국어교육에서 매체현상을 미래지향적으로 수용함으로써, 국어교육을 진화시킬 수 있다. 첫째, 미래사회는 매체가 주도하는 매개된 `경험(지식)`이 증가한다. 매개된 `경험(지식)`의 문제점을 직시하고, 매체에 대한 비판적 문식성(critical literacy)이 더욱 강조되어야 한다. 둘째, 언어 자체를 익히도록 하는 것에서 포괄적이고도 다층적인 소통능력을 중시하는 방향으로 국어교육이 전환되어야 한다. 셋째, 미디어교육의 내용과 수요는 기존 국어교육에 대해서 대체재(代替財)의 역할보다는 보완재輔完財)의 역할을 하는 것이 바람직하다. 넷째, 국어교육 내부에서 미디어교육이 호응, 융합됨으로써, 현재로서는 예견할 수 없는, 국어교육의 부가가치를 생산할 수 있을 것이다. 이러한 부가가치는 국어교육을 풍요롭게 한다. 나아가서는 국어교육으로부터 교육의 보편적 원리를 창출할 수 있는 수준에 이를 것이다. Media, language and culture are ecology and environment for Korean language arts education. Media, language and culture are operated interactively. Media, language and culture are structured in a way that they are continuous and multi-layered. Therefore, we are experiencing media, language and culture with complexity. We need to research multi-layered phenomena of this `media, language and culture` thus apply them for content of Korean language arts education. For this reason, Korean language arts education has reached a phase for curriculum innovation. Contents of Korean language arts education has relied on logocentrism too much so far, and as the result, students have been alienated from `communication skill` and `language ability`, so academic contents such as linguistic and literary theory have enjoyed its exclusive position. Therefore, it was impossible to be accustomed to new ecological environment for Korean language arts education (Culture, Media and Technologies) and its curriculum was not flexible for evolutions. Currently, state of media education in Korean language arts education is as following: First, contents of media education for Korean language arts has its mainstream in term of functional usage aspects. Second, practicing discussion for education site of media language has not been easily met the discussion of media education research theory. Third, Korean language arts education is reluctant to introduce media phenomena into curriculum contents. Korean language arts education can be evolved by adopting media phenomena in term of future-centric aspect. First, in future society, intermediated `experiences (knowledge)` led by media will increase. By focusing on the problems in intermediated `experiences (knowledge)`, critical literacy regarding media needs to be more focused. Second, Korean language arts education needs to be converted from learning language itself to comprehensive and multi-layered communication skill. Third, contents and demand for media education is more required to play a role for complementary goods rather than alternatives for conventional Korean language arts education. Fourth, it is expected that additional value which can`t be expected now can be produced by preferring and fusing media education within Korean language arts education. This additional value makes korean language arts education more affluent. Furthermore, its value will reach a phase of creating general principles for education from Korean language arts education.

어린이를 위한 미술관 교육프로그램에 관한 연구 - 미국ㆍ영국ㆍ한국의 미술관 사례를 중심으로 -

최가정 유럽문화예술학회 2014 유럽문화예술학논집 Vol.5 No.1

The 21st century is called as ’cultural period' , ’video period' and ’information period'. In the period of cultural art, it is actual authority, competitiveness and information. Therefore, people who don ’t consider identity of their culture and don't have knowledge about cultural art will difficultly live creatively and subjectively in the 21st centuη. Gallery which can share understanding of culture and culture is developed to practical site making living environment for culture by focusing on exhibition of art works and educational materials of art. Several restricts of school art education expanded art education to the space except for school, as an environment of art education. Gallery education for children plays a role of mediator growing to the whole human as they can understand art culture more easily and friendly through the art works, cultivate aesthetic eyes and sense through the practical experiences, leam individuality and creativity by leaming the way to express freely. Gallerv education lS basically planning to cause cunoslty’ appreclatlOn and pleasure for art works based on the concrete relationship with actual art works which are only studying environment provided by only gallery, the best strength of gallery education. Therefore, gallery education has differentiations from school aπ education and focuses on mutual relations with school because of the characteristics. Educational function of gallery is appeared by concretized educational program, but it ’s realities that gallery education is still in the early stage although gallery period of Korea is coming. On the other hand, in Europe and America with long history of galleη , they recognize an importance of gallery education for children and develop/utilize various programs from the early stage of the 20th centurv. Gallery education for children improves art appreciation ability and futhermore, propagate and develop art culture by letting children encounter art directly, so it ’ s an important educational activity differentiated from school art education. According to the concept, goal and contents of gallery, educational program is changed and it has a strength that education related to gallery works or exhibition program can be conducted. Therefore, gallerγ of the 21st century must recognize important roles for children' s whole person growth and develop program more actively.

역사적 관점에서 바라 본 세계의 문화예술교육 -‘제2차 세계문화예술교육대회’와 무용교육의 방향-

송미숙,김경은 한국무용사학회 2012 한국무용사학 Vol.0 No.13

The purposes of this study, based on the literature research, is to view the history of international arts and culture education, understand ‘The World Conference on Arts Education’ and to find out the direction of Dance Education from the historical point of view. Under the ideology of democracy and in Neo‐liberalist market economy, international arts and culture education has developed and been supported by a nation as a national policy to preserve cultural assets, establish national identity, enforce cultural diversity, nurture creative and holistic human resources and popularize culture and art experiences. With such active supports and efforts, ‘The World Conference on Arts Education’ the global arts and culture education activity was held. Through ‘Seoul Agenda: Arts Education Development Goal’ adopted in the 2nd Seoul Conference, the world came to share their knowledge and experiences globally. Following are the directions that the dance education should go for. 1. We should understand and think of dance education with the macro view of international arts and culture education. 2. We should focus on the public to popularize and expand the population supporting dance education. 3. We should keep the identity of each country and region, while pursuing the universality of the dance culture. 4. Dance education professionals and practitioners should enforce their competency in theory and practice to reduce the gap between the theory and the reality. 5. There should be creative cooperation between organizations and individuals including government agencies and civil organizations, dance education professionals and practitioners. 본 연구는 문헌연구를 토대로 세계 문화예술교육의 역사를 알아보고, 이를 바탕으로 ‘세계문화예술교육대회’에 대해 이해하고, 이러한 흐름 속에서 무용교육의 나아가야 할 방향에 대해 고찰한 연구이다. 민주주의 이념과 신자유주의 시장경제 체제 속에서 세계의 문화예술교육은 보다 발전하게 되었고, 문화유산의 보존과 전승․국가 정체성 확립․문화적 다양성 강화․창의적이고 전인적 인재육성․문화예술 체험의 대중화 등을 목적으로 국가적 수준의 정책사업으로 추진되었다. 이러한 적극적인 지원과 노력으로 범지구적 세계문화예술교육 활동의 하나인 ‘세계문화예술교육대회’가 출범하게 되었고, 제2차 서울 대회에서 채택된 ‘서울 어젠다(Seoul Agenda): 예술교육 발전 목표’를 통해 세계는 문화예술교육 실천을 위한 지식과 경험을 전지구적으로 공유하게 되었다. 세계 문화예술교육의 역사적 흐름과 ‘세계문화예술교육대회’의 지침들을 바탕으로 한 무용교육의 나아가야 할 방향은 다음과 같다. 1. 세계문화예술교육의 거시적 안목으로 무용교육을 이해하고, 바라 보아야 한다. 2. 무용의 대중화, 저변확대를 위해 대중 중심의 교육으로 변해야 한다. 3. 춤문화의 보편성을 추구하되, 동시에 각 지역과 나라의 정체성을 지켜야 한다. 4. 정부를 비롯한 민간단체, 무용교육 관계자 및 실천가들의 창조적 협력관계가 형성되어야 한다. 5. 이론과 실제의 간극을 줄이기 위해, 무용교육 관계자와 실천가들의 이론적․실천적 역량을 강화해야 한다.

국내·외 미술교과서 분석을 통한 디자인교육의 강화방안

정보민(Jeong, Bomin) 한국디자인지식학회 2014 디자인지식저널 Vol.31 No.-

현대 사회는 끊임없이 변화하고 있는 정보통신의 발달로 급속도로 확장되고 있는 시각적 문화를 청소년들이 무분별하게 정보를 인식하고 있다. 지금의 미술교육은 빠르게 변화하고 있는 상황을 제대로 반영하지 못하고 있으며, 다양한 시각문화의 발달의 부정적 현상을 막기 위해선 미술교육을 통한 올바른 이해와 창의적 사고능력을 기르고, 이에 미술교과에서는 기존의 미술교육에서 탈피하여 실천 가능한 시각문화교육 프로그램이 요구되는 때이다. 특히나 미술교육은 학습중심이 아닌 조형 요소와 전문적 기술을 요하는 융합형 교육이 필요함에도 형식만을 추구하는 실정이며, 교과는 회화위주로 치우친 교과 편성의 문제점을 가지고 있다. 또한 얼마 전 정부는 내년 중학교 1학년부터 소프트웨어 교육을 의무화함에 따라 초등학교는 2017년부터 정식적으로 소프트웨어가 교과목으로 채택하는 방안이 추진되고 있으며, 미술교과과정 또한 이를 뒷받침해줄 교과내용 및 콘텐츠 개발과 그에 따른 시스템을 구축할 필요가 있다. 이에 본 연구에서는 현재 국내 중학교 미술교과서 중 4종을 바탕으로 미국, 일본, 프랑스의 국외 미술교과서와 비교하여 국외의 미술교육에서 실시되고 있는 다양한 디자인 교육의 사례를 살펴보고, 미술 교과서에서 다뤄지고 있는 디자인의 영역을 분야별로 분석하여 현 시대에서 제시하고자 하는 미술교육의 방안을 연구해 보고자 함이다. 또한 최근 대두 되고 있는 창의인성 교육과 시각문화를 미술교육에서 디자인 교육을 통한 융합형 창의 교과과정을 제안해 보고자 한다. Although development in science and information communication technology is constantly changing in modern society, it has led adolescents to perceive information indiscreetly, and has debilitated them physically and mentally due to problems resulting from that perception and the rapid expansion of visual culture. Today"s fine art education does not appropriately apply this situation to its education fields. To protect adolescents from the negative phenomena arising from the development of diverse visual cultures, the diverse visual culture education programs for fine art textbook that are practically conducted in education fields, breaking from existing fine art education. In particular, fine art education should try to focus on the integrated curriculum which needs professional or creative skills instead of theory-based curriculum, but in fact, current fine art curriculum puts too much emphasis on theory and drawings. Further, as the government recently has made software education compulsory beginning with 1st-year middle school students, and it is currently pushing software as a curriculum subject in elementary school starting in 2017, fine art curriculum is required to develop the content of the curriculum that can support the government"s policy and construct systems concerning relevant content. Therefore, this study aims to investigate various cases of design education conducted in fine art education at home and abroad by comparing four existing middle school art textbooks in South Korea with foreign art textbooks in the U.S., Japan, and France. It also aims to conduct research on fine art education measures that should be presented in our age by analyzing design areas that are covered in the fine art textbooks. Moreover, the study also aims to suggest an integrated creativity curriculum through design education in fine art education with the creative personality education and the visual culture that are recently emerging.

浅析高校美术教育观念的革新与思考

刘晓明 대한중국학회 2023 중국학 Vol.83 No.-

Under the educational background of The Times, the core thought of aesthetic education has played an indispensable part in the whole educational thought system, which is directly related to the level of the whole aesthetic level of the whole society, and even determines the aesthetic style of the whole nation. Thus it can be seen that the importance of fine arts education in colleges and universities is particularly important as the pyramid and wind vane of the popularization of aesthetic education, and now “aesthetic education” has received further attention and development. The most direct way to implement aesthetic education is “education”, which is actually the implementation and research of fine arts courses in colleges and universities, so as to cultivate comprehensive talents of fine arts majors in various stages. The course of aesthetic education in colleges and universities has gradually become one of the compulsory courses for the development of aesthetic education in colleges and universities. It is also a key art discipline for implementing quality education in colleges and universities. It plays an irreplaceable role in shaping the noble personality of college students and cultivating the aesthetic taste of art. At the same time, the idea of diversified art education has gradually pointed out a new direction for the innovation of college art education and provided more possibilities. In this regard, according to the necessity of the innovation of the concept of art education in colleges and universities, the problems existing in the current art education and teaching process in colleges and universities are carefully studied, and the correct direction of the current innovation of the concept of art education in colleges and universities is directly related to the direction and purpose of the path of the innovation of the idea of art education in colleges and universities is analyzed. Therefore, the innovation and thinking of college art concept plays a decisive role in college art education curriculum thought.

미술교육과 봉사학습의 연계 가능성

안혜리 한국조형교육학회 2011 造形敎育 Vol.0 No.41

This paper examines the possibility of connecting art education to service-learning from the perspective of community-based art education. The advantage of service-learning is that it allows students to apply curriculum content to real-life problems and subjects in a specific context of their community. The service-learning also allows students to experience service activities in a systematic curriculum framework. The service-learning is distinguished from other service activities for it has two essential components: one is self-reflection and the other is reciprocity. Self-reflection makes our service activities more meaningful. Reciprocity enhances the interaction between the service-givers and service-receivers. By combining service-learning with art content, students can connect theory to practice, while expanding their personal interest towards social issues. The combination of service-learning and art education will be attuned to community-based art education, whose purpose is to support art education as social engagement and to increase civic consciousness and citizenship skills. The study also has examined several service-learning cases in the U.S. and Korea. Most American arts-based service-learning can be found in art education courses in higher education. They are usually based on the partnership between the universities and public schools, museums, galleries, or service organizations in the community. However, its Korean counterpart is currently at the beginning stage. To develop service-learning in art education, we need to develop the partnership mentioned above, to find the needs of the community as well as service-receivers.

문화예술교육의 학교교육으로서의 확장가능성 탐색을 위한 관련법 비교 분석 연구

박남정 한국문화교육학회 2023 문화예술교육연구 Vol.18 No.5

The purpose of this study is to examine the possibility of qualitative growth of cultural arts education within elementary and secondary schools from a legal perspective. unlike the confusion during the early stages of policy introduction in 2005. However, due to discrepancies and conceptual ambiguity among similar terms regulated by the law, elementary and secondary schools operating educational processes according to the law face difficulties in incorporating cultural arts education. This study analyzes the Education Act , Elementary and Secondary Education Act , and 「 」 「 」 「 General Principles of Elementary and Secondary Education Curricula , and which 」 regulate the field of arts education in the subject education-centered school system, and analyzes the Promotion of Cultural Arts Act and Support for Cultural Arts 「 」 「 Education Act to explore legal differences between similar terms. By scrutinizing the 」 status and categorization of cultural arts education from a legal standpoint, this research presents a novel approach to understanding the future-oriented role of cultural arts education within school systems. At a juncture when the interest and adoption of cultural arts education is on the rise, the study offers insights into potential legal and administrative modifications. These insights are particularly relevant as they are drawn from an examination of the recently debated amendments to the 「 Support for Cultural Arts Education Act

미술 교과 역량 형성을 위한 미술관 교육

이은적(Lee Eunjeok) 학습자중심교과교육학회 2018 학습자중심교과교육연구 Vol.18 No.9

학교와 달리 미술관은 전시물에 기반하며 즐거운 교육이 가능한 장소이다. 그러므로 학교 교육의 보완적인 체계로서 또한 평생 교육의 차원에서 미술관의 교육적인 역할은 강조되어야 한다. 본 연구는 역량 중심의 교육과정에 따라 미술과 교육은 미 술관과의 연계가 더욱 중요해졌다는 점에 주목하였다. 그리하여 미술관 교육의 특징이 미술교과역량인 미적 감수성, 미술문화이해능력, 시각적 소통 능력, 창의 · 융합능력, 자기주도적 미술학습능력 형성에 어떻게 효과적으로 작용할 수 있는지 논의하 며, 이의 효율적인 실현을 위한 방법을 모색해보았다. 이를 통해 미술교과역량 형성에 초점을 두며 미술관과의 연계 교육의 필요성과 방향을 더욱 구체화할 수 있었다. 또한 미술교과역량 형성에 우호적인 미술관 교육, 즉 도움이 되는 전시 방식이나 교육적 지원 방안을 역량별로 구체적으로 제시할 수 있었다. 이러한 논의로 다음의 제언 내용도 도출하였다. 첫째, 전시구성 단계에서 다섯 가지의 미술교과역량 형성을 고려한 좀 더 교육적인 전시를 기획하고 평가해보는 것이 필요하다. 둘째, 교사교육에서부터 미술관과 연계하여 미술관을 활용할 수 있는 교사 역량을 형성시켜주어야 하며, 이를 위한 다양한 연구가 필요하다. 셋째, 미술관에 파견되어 미술관 교육에 참여하는 교사와 미술관 교육 프로그램을 관리하는 자원센터의 운영과 같은 정책적, 제도적 지원이 수반되어야 한다. Unlike school education, art museums are based on exhibits and are a place where students can enjoy educational activities. Therefore, we should emphasize the educational role of art museums as a complementary system of school education and also as a lifelong education. This study paid attention to the fact that the connection between art education and art museum education has become more important with the emphasis of competency-oriented education in schools. We gave in-depth discussions on the art museum education to build students competencies in art and suggested strategies to maximize its benefit in art education. Our discussions included the aesthetic sensibility, the ability for understanding art culture, visual communication, creativity and convergence, and self-directed art learning. It was possible to draw up art museum education which is favorable to the Art subject competencies, that is, helpful exhibition method and various educational support plan. From the findings of this study, we propose the following three. First, it is necessary to plan a more educational exhibition taking into account the formation of the five art subject competencies. Second, teacher training should address art museum in order to develop teachers competency to use art museum as an educational tool. Third, policy and institutional supports are needed such as delegating teachers to museums to participate in art museum education and building a resource center to manage museum education program.