포스트모던 사회의 패션에 표현된 옵아트

이민선(Min Sun Lee) 한국복식학회 2004 服飾 Vol.54 No.5

Op-Art was not appreciated by painters and art critics, and accordingly has been forgotten in art history. But recently Op-Art is revitalized in fashion and is in its palmy days. This study intends to re-assess the value of Op-Art, by reviewing its influence on fashion design in the post-modern society. To this purpose, conceptual characteristics of Op-Art was analyzed. And then, on the bases of these characteristics, the figural characteristics and the meaning of Op-Art in fashion design of post-modern society was re-explained. Op-Art is characterized as an art of flatness of picture plane which uses repetition of simple forms and colors. It is also based on trick of visual perception. Finally, it creates an impression which is flickering or vibrating by means of optical illusion. These characteristics give birth to some features such as simplicity, anonymity and mobility in the Op-Art fashion, The meanings of Op-Art in fashion design in post-modern society are as follows. First, repetition of simple units employed in Op-Art produces feeling of simplicity, which makes the Op-Art fashion works perceived as polysemy. In other words, the feeling of simplicity can be interpreted in diverse perspectives within the social context of our society. The material civilization and technology civilization, which causes the alienation and standardization of man, can be the backgrounds of the Op-Art fashion. Second. Op-Art is an art based on perspectives of spectators. Anonymity in the Op-Art fashion enhances participation of spectators, which gives Op-Art a sense of affinity. Third, through the feeling of mobility created by optical illusion techniques, the Op-Art fashion expresses the opposition to the ideal body image made by power group. In post-modern society. Op-Art in fashion gives new meaning to art. Op-Art in fashion proposes new roles of artist and spectators, and new concepts of art related with roles of human beings. Through general sensibility of men, Op-art in fashion can express new recognition of the post-modem society.

정보 생성 예술로서의 바이오아트 : 엔트로피와 노이즈, 그리고 생물학적 변이의 예술적 활용에 관한 연구

신종천 ( Shin Jong Cheon ),윤준성 ( Yoon Joon Sung ) 한국기초조형학회 2018 기초조형학연구 Vol.19 No.1

본 연구는 엔트로피를 중심으로 예술 작품의 특성을 탐구하는 미학적 논의들을 살펴보고, 현대 예술이 궁극적으로 도달하고자 하는 형태를 생물학적 변이를 활용하는 바이오아트를 통해 제안하고자 한다. 그 과정에서 바이오아트는 고정된 정보를 전달하는 것이 아니라 정보를 생성시켜 미학적 목표를 충족시킬 수 있는 예술의 한 형태로 제시되고 분석되어진다. 움베르코 에코(Umberto Eco)는 현대 예술이 추구하고 있는 작품의 ‘개방성’을 좀 더 명확하게 규정하고자 엔트로피 개념을 활용해 예술 작품의 형태적 특성들을 분석했다. 그는 그의 저서 < The Open Work >에서 무질서와 정보가 직접적으로 연관되는 현상은 일상생활에서 뿐만 아니라 예술에서도 통상적으로 찾아볼 수 있기 때문에, 클로드 섀넌(Claude Shannon)처럼 정보를 통계학적 측면의 가능성을 의미하는 엔트로피의 개념으로 사용하는 것이 타당하다고 보았다. 하지만 에코가 말하는 예술 작품의 개방성은 선택 상황에서 경험하는 불확실성뿐만 아니라 정보 전달 과정에서 개입되는 불확실성까지도 포함하는 문제라는 점에서, ‘노이즈의 정보화’ 또는 ‘정보 생성’의 개념을 필요로 한다. 그리고 그와 같은 정보 생성은 생명 현상의 생물학적 변이를 통해서도 경험될 수 있다. 일반적으로 생물학에서의 돌연변이는 유전 정보에 노이즈가 개입되어 유전자의 모습이나 성질이 변하는 것을 의미하기 때문이다. 그런 점에서, 생명 현상과 예술의 형태적 특성이 결합된 바이오아트는 생명 자체의 엔트로피와 예술 자체의 엔트로피가 어떤 방식으로 혼합되어 정보를 생성시킬 수 있는가를 보여주는 유용한 도구이다. 그리고 바이오아트 안에서 실험되는 생명과 예술의 정보 생성은 궁극적으로 생명의 본질과 예술의 본질이 다르지 않다는 것을 확인시켜 준다. 특히, 에두아르도 카츠(Eduardo Kac)의 < Genesis >나 페이-잉 린(Pei-Ying Lin)의 < Smallpox Syndrome >은 작품 속에서 유전 정보와 신체 정보가 어떤 방식으로 생성될 수 있는가를 보여주고, 아직 익숙하지 않은 바이오아트의 잠재적 가치를 제시한다. This study looks into the aesthetic discussions that explore the characteristics of artworks focusing on entropy, and presents the ultimate form of contemporary art as bio-art that utilizes biological variations. In the explanation, bio-art is analyzed as the art form that does not transmit fixed information but generate information in order to meet aesthetic goals. To clearly define 'openness' to which contemporary art aspires, Umberto Eco analyzed the characteristics of artworks using the concept of entropy. In his book < The Open Work >, since the direct link between disorder and information can be found in art as well as everyday life, he used information, like Claude Shannon, as the concept of entropy which means the possibility of statistical aspects. However, the openness of artworks requires the concept of 'informatization of noise' or 'information generation', in that it involves not only the uncertainty experienced in the selection process but also the uncertainty interfered in the process of information transmission. In addition, the information generation can also be observed in biological variations of life phenomena, because a biological mutation is related to a biological variation changed by the involvement of noise in the existing genetic information. In this regard, bio-art, which combines the life phenomena with the form of art, is a useful tool to show how entropy of life and entropy of art can be mixed to generate information. The information generation in life and art ultimately confirms that the essence of life is not different from that of art. In particular, Eduardo Kac's < Genesis > and Pei-Ying Lin's < Smallpox Syndrome > show how genetic information and bodily information can be generated in artworks, and present the potential value of bio-art.

Requirements of Fashion as Popular Art in Contemporary Culture

서승희 한국패션비즈니스학회 2022 패션 비즈니스 Vol.26 No.6

The purpose of this study is to analyze the art world's perspective on popular art and the contact point with pure art and to present the requirements of fashion as a popular art. To analyze the artistic value of fashion, this study analyzed and presented the requirements of art by linking the innate characteristics of fashion premised on mass consumption of popular art. The research method consisted of content analysis focusing on books and papers on art and fashion. A critical perspective on expansion of the artistic field amid the blurred boundaries of art is the basis of a critical comparison between popular art and avant-garde art and a critique of popular art as opposed to value-oriented art. Conversely, as a point of contact with popular art with fine art, art is discussed against the ideological strategy of fine art and the shift in hegemony brought about by erosion of the barrier between art and everyday life. In addition, the non-essentialist perspective contradicts the division theory of popular art. The requirements of fashion as a popular art were analyzed based on the value of self-expression through the aesthetic pursuit of creativity and aesthetic expression, discourse as art, and expansion of modern art from the inessentialist perspective of popular art.

세계 아트페어 동향과 한국아트페어의 전략

정종효 유럽문화예술학회 2016 유럽문화예술학논집 Vol.7 No.1

The art fair depends on the business type and activities of the g머leη , a key player in the art market under the distribution structure of artworks. Nowadays, the art fair has gained more focus in the 따t market as the 따t market evaluation depends on the gallery performance in the art fair, as well as the positive or negative auction result in the global 따t market. Therefore, it may be said that the emergence of art fair is outstanding in the art market for the recent 10 years. The survey on the Korean art market by the Korea Arts Management Service indicated that the total transaction amount of loc머 galleries reached 275.1 billion KRW in 2012 but decreased to 204.8 billion KRW in 2015 even though the total transaction amount of local art fairs marked 42 billion KRW in 2012 but showed large increase to 62.4 billion KRW in 2015. It is the evidence that the artwork transactions by galleries have expanded the sales network through art f려rs and the 따t market maintained by galleries has attracted collectors and ordinary people for robust art fairs and rapid gro찌7th. Art fairs in the world have set up their positions as a new distribution channel in the global art market and the sales revenue of galleries from art fairs increase even though the sales portion of exhibitions by galleries shrink in the aspect of the gallery business. The concept that a gallery holds an individual or group exhibition through internal planning and sells artworks has lost its meaning and collectors have changed their minds to choose wider range of selections rather than narrow range of gallery exhibitions. That is why galleries have sought the breakthrough for their activities from the art fair. In addition, the art fair sells artworks during the event, provides networks for galleries, 따tists , 따t museums and collectors and has taken its root as an influential art event for the 따t culture to be quickly absorbed to the public through the synergy. Another merit of the 따t fair is to expand the 따t market area of the gallery. In P따ticular, it is characterized that countries with weak art market infrastructure or unstable scale and in the economic recession may perform global business beyond the gallery regardless of national or regional boundaries and the 따t fair leads customers worldwide to be within the boundary and utilizes customer base beyond the border. The Korean art market has joined more global art fairs since Jean Art Gallery took part in the FIAC for the first time in 1984 and local art fairs have rapidly increased. Against this backdrop, it is time for one of local 따t fairs to raise its recognition as a global art fair and play a role in vitalizing the Korean art. Here is to mention several key requirements for the local 따t fair. First, the strategy shall be developed for independent organizations and personnel and the expert pool be expanded. Second, it is urgent to secure the database for local and global infrastructure of collectors depending on participating galleries and set up direct management systems. Third, PR marketing strategies by experts sh머1 be e바lanced and contain distinct contents for local and foreign markets. Fourth, the art fair shall overcome its independent features and limited network and enhance functions for converged contents. Last, it is required to provide direct assistance in attracting galleries through realistic marketing strategies for artwork sales and lead a lot of foreign g떠leries. These conditions are prerequisite for setting up long-term strategy and specific vision of the 않t fair and it is important whether collectors visit art fairs and galleries show their willingness to partlclpate in.

미술관 경영과 수장품 정책

최종호(Choe Jong Ho) 한국예술경영학회 2003 예술경영연구 Vol.4 No.-

This is a study on the art museum management and collections policies, which should be executed on the economic principle and in the perspective of a non-profit making permanent institution. An art museum is a cultural and artistic complex for not only the laymen but also the professional in order to relish, study and enjoy essence of arts, information of artists, appreciation of art performances, achievement of aesthetics and art history, etc. Common people, critics, artists, lovers and manias of art museums hope generally to get experimental exhibitions, educational programmes, knowledge and experience in relation with their life. This trend is becoming more focused by the will of the art museum itself to cover the specialized fields of the arts and art museum activities. More effective art museum management is also made by the systematic collections management. Art museums in the future should be subsisted on their account. They should be established and managed in ways to meet the desires of the users and to get funds from the voluntary supporters or devotees of arts. For purpose of self-support management of art museums, they should be managed with the aim to serve for users and they also should be located in easy accessible places. The location of art museum is very important more than its collections in the aspect of accessibility as well as absorptivity. Art museums should be within accessible distance from the visitors or users, who are divided into segments according to the academic level, age, sex, occupation, expectation and so on. Art museums should develop re-visits of the users by constantly developing new items to relish, study and or enjoy. When they find the same as before, their revisits will be reduced, and the efficiency of management is fallen. It is necessary to research and develop new menus on art museum activities and to provide a new serial repertories on the variety of art presentations with users. Supposed previous art museums were focused on originals and manager-oriented institution, they in the future should be developed on artistic resources and user-oriented complex experiencing arts and art performances. The resources of art museums may be largely categorized into tangible art objects and intangible art performances, or into material data and non-material information. The collections policies articulate the art museum activities in its collections care, demonstrating that art museums are behaving legally and responsibly towards its collections. They should be explained why an art museum is in operation and how it goes about its business, and it articulates the art museum’s professional standards regarding art objects left in its care. The collections policies based on the mission of an art museum should be at least covered with the purpose of the its collection goals, with the method of acquiring artistic resources for the collections and with method of de-accessioning and disposing art objects from the collections. Beside, for the best and specialized collections of an art museum, the policies of the art museum should be executed in a specialized category of or a subject of artistic resources related to art objects and art performances. In conclusion, an art museum management should be necessarily based on the economic principle included the maximum efficiency and common benefit of management. And collections policies should be also based on characteristics of collections and on the economic principles for better getting originality in artistic resources related to art objects and art performances.

미술교육과 평가: 미술교육에서 평가는 아직도 적인가?

김형숙 ( Hyung Sook Kim ) 한국예술교육학회 2008 예술교육연구 Vol.6 No.2

"미술 교육에서 평가는 과연 가능한 것인가?" 라는 질문은 평가(evaluation, 評價), 사정(assessment, 査定), 시험(testing)과 같은 개념과 실천 과정 속에서 지속적인 논쟁의 대상이 되어 왔다. 왜냐하면 미술의 영역은 정서적이고, 직관적이며 예측 불가능한 영역이기 때문이다. 그러나 미술교육의 역사에서 평가나 사정에 관해 부정적인 관점이 있어왔음에도 불구하고, 평가는 필요하다. 미술을 미술교과 특유의 특성을 고려하여 적합한 방법으로 평가하지 못한다면, 미술교과는 전문성이 존재하지 않는다는 의미다. 또한 교육의 책무성의 관점에서 보면, 미술교육에서 평가와 사정에 대한 논의와 연구가 부재하다는 것은 교육적 실천의 발전을 가로막는 지성적 공백을 창출하게 된다. 교육적 실천들이 생산해 내는 결과들을 측정할 방법들이 존재하지 않는다면, 교육적 활동과 그 결과 사이의 관계를 이해할 수 있는 어떠한 적합한 방법도 없다는 의미다. 따라서 본 연구에서는 미술교육에서 평가와 사정에 관한 이론적 쟁점들을 논의함으로 해서 미술교육에서 적절한 평가의 방법에 대한 가능성을 모색하고자 한다. 평가와 사정을 둘러싼 개념과 특성, 기능에 관해 고찰하고, 미술의 지식구조 안에서 평가와 사정의 독특한 특성은 과연 무엇인지 논의한다. 또한 미술교육의 평가와 사정은 교육현장에서 어떻게 실천될 수 있는지, 최근의 교육적 동향과 관련하여 수행평가를 조명한다. Is it possible to evaluate visual art in the context of art education? Evaluation, assessment, and testing have been controversial issues in the history of art education as well as education. Art emphasizes content growing out of one`s personal experiences, especially those having to do with matters of feeling. Testing typically is predicated on the assumption that the desired outcomes of educational activities are known in advance, while artistic creating seeks reality and surprise. Such matters of emphasis are so fundamental that it seems as though testing and the arts reside in different worlds. However, evaluation and assessment in art education are necessary, even though tradition has historically separated the arts from evaluation and assessment. Art education has not developed the kind of assessment practices and achievement texts that other subjects, in particular mathematics and language arts. However, that art educators have failed to assess art education in ways congruent with the unique features of the arts is a form of professional dereliction. Additionally, the absence of assessment in art education creates an intellectual vacuum that impedes the improvement of pedagogical practice. Therefore, this study, first, examines the concept of evaluation and assessment in art education. Second, evaluation and assessment in the context of art museums as well as schools are investigated. Finally, this stud proposes issues and prospects of evaluation and assessment in the context of art education.

나치시대의 미술사와 박물관

송혜영 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-

본 논문은 나치시대의 미술사와 박물관이 어떤 성향으로 전개되고 어떤 정책을 추진해나갔는지를 다음의 세 가지 관점에서 조명한다. 즉, ‘민족’과 ‘인종’이 가장 중요한 핵심어로 등장하는 나치시대 미술사의 학문적 성향, 나치시대의 박물관이 주요 정책으로 내세운 민중교육운동의 대표적 예인《독일미술대전》과《퇴폐미술전》, 유럽의 모든 걸작을 소유하고자 했던 나치의 문화재약탈과 히틀러의 최종목표였던 ‘린츠박물관’을 고찰한다. The purpose of this study is to research which tendencies art history and museums in the Nazi period were unfolded in and which policies they promoted. Nazi ideology results in racism to advocate Aryan superiority through suggesting anti-Semitism and anti-Bolshevism. Like reflecting this fact, art history in the Nazi period represented as the key words of 'nation' and 'race' was developed in the tendency to harmonize with Nazi ideology from a viewpoints of nationalism out of the objectivity of pure study, and, mainly, concentrated on German art from the Middle Ages to the Baroque period. Therefore, A great number of scholars in art history had to leave Germany, and, as a result, the center of art history to have originated from the German area was extended to Courtauld Institute in London and American famous universities as the English area. The art in the early 20th century to position currently itself as the classic of modern art was regarded as decadent art by the Nazis, and relevant works in all museums and galleries were confiscated. Especially, the works of Die Bruecke were severely suppressed through 'decadent art' exhibition, but, on the contrary, German expressionism happened to well known to the international world of artists on this opportunity in the late 1930's. In addition, the New York painting circles positively accepted the modern art the Nazis suppressed, so to get the chance to lead postwar modernism. Even though the nazis established museums and art galleries with the justification of popular educational movements on purpose to enlighten the mass of people, they actually intended to propagate Nazi ideology as 'Great exhibition of German art' and 'decadent art' exhibition. Nazi Germany, that started a war, tried to possess the whole great works of the occupying nation, and, especially, Hitler promoted to establish Linz museum on a international scale. But, despite of Hitler's ambitious plan, leaning to German art, the large limits of Linz museum are found in the collection lists to have denied the experimental art of contemporary. After Nazi defeat, the universities and the museums in Germany had to make all efforts to recover self-regulation, and all the museums and art galleries in Europe, to return to the condition prior to a war. The Nazi period in which the ideology ruled everything left an instruction that only freedom is an absolute condition of all scholarship and arts in the end.

'Art to Wear'전시에 나타난 국내외 의상의 유형별 분석 연구 -광주비엔날레 국제미술 의상전시회를 중심으로-

유명의 한국일러스아트학회 2010 조형미디어학 Vol.13 No.2

The costume has to developing with the infinite possibilities of expression as representing to aesthetic consciousness and psychology of our contemporaries. It become more important in the culture. Especially, aesthetic movement create various forms of costume and continue to grow in the early 20th century which art included the costume. Since the mid-19th century, 'Aesthetic Movement' propose a new concept of art including costume. people are interested in the phenomenon of ‘Art to Wear Movement' from the late 1960s to 1970s with America as the center. 'The international art to wear' exhibited in the Gwangju biennale for 5 times over the last decade. The interest of 'Art to wear' spread into many related organizations and exhibition was rapidly grow. I was faithful to continuing role in Gwangju biennale 'The international art to wear ' and feel the need to research for the 'The international art to wear' which was representing to movement of the 'Art to wear' on the international stage. In this study, I analyzed into types for the meaning and art works. The exhibition consisted of art work which was emphasized central aspect of the theme and divided in to two types which were wearable and unwearable. The concept of 'Art to wear' was in the main theme of the biennale exhibition. In this research, I found out the relation with development of American or Europe and change of the aesthetic value of a sculpture, symbolism and image by exhibitions. The costume as an art, 'Art to wear' is the art work which take position near human body. It is basically identical with paintings or sculpture to display on the wall and appreciate art. Follow advanced cultural country, costume is one of important product display both in the showcase and art gallery or museum. In Korea, it is our expectation that costume related exhibition will held in the museum and gallery frequently. From this research, I look forward to massive development in field of 'Art to Wear' and to create with specialist and interest for 'Art to Wear'. 현대인들의 미의식과 심리를 반영하는 다양한 표현수단으로서, 문화적 중요성이 더욱 커지고 있는 의상은 무한한 표현의 가능성을 가지고 발전하고 있다. 특히 20세기 초 의상을 포함시켜 이루어졌던 예술분야의 많은 움직임들이 의상을 다양한 형태로 계속 발전시켜왔다고 할 수 있다. 19세기 중반 영국에서 시작된 'Aesthetic Movement'는 의상을 포함한 예술에 대한 새로운 개념을 제시하였고, 1960년대 후반에서 1970년대에는 미국을 중심으로 ‘Art to Wear Movement'현상이 관심을 받게 되었다. 우리나라에서는 순수미술의상행사인 광주비엔날레(1995-현재)에서 ’국제미술의상전시회‘가 10년 동안 5회에 걸쳐 개최된 바 있다. 이를 계기로 예술 의상에 대한 관심이 확산되어 관련단체와 전시회가 급속하게 늘어나게 되었다. 광주비엔날레 ’국제미술의상전시회‘에서 지속적인 역할을 담당해온 본 연구자는 한국에서의 ’Art to Wear'에 대한 관심의 시발점이자 수도권을 중심으로 한 다른 지역, 또 국제무대에서 한국의 ’Art to Wear'의 움직임을 보여준 광주비엔날레 국제미술의상전시회에 대한 연구가 필요하다고 판단되어 그 의미와 출품작품들에 대한 유형별 분석을 하였다. 광주비엔날레 ‘국제미술의상전시회’는 미술행사인 본전시의 주제에 맞추어 의상의 예술적인 측면을 강조한 작품들이 주류를 이루며 Wearable과 Unwearable의상이 함께 전시되었다. Art to Wear의 Item이나, Silhouette, Material은 비엔날레 전시주제와 그 맥락을 같이 하였고 출품된 Art to wear작품의 조형성, 상징성 및 Image에서도 전시 차수에 따른 변화는 물론, 유럽 또는 미국의 예술 의상의 발달과 서로 관련성이 있음을 파악할 수 있었다. 예술로서의 의상, 'Art to wear'는 벽에 걸어놓고 감상하는 회화나 조각 작품처럼 인체와 가장 가까이 위치하는 예술품의 하나로도 볼 수 있었다. 의상도 상품의 진열장에서 뿐 아니라 미술관 또는 박물관에서 전시되는 중요한 예술품의 하나인 문화선진국의 예처럼, 우리나라에서도 앞으로 많이 확충이 될 박물관과 및 갤러리에서 예술의상 관련 전시회가 빈번하게 이루어질 것으로 예견된다. 따라서 이 연구를 계기로 ‘Art to Wear’에 대한 많은 관심과 전문가의 탄생으로 ‘Art to Wear’분야의 더욱 큰 발전을 기대한다.

문화예술교육의 교수-학습 방법으로서 ‘통합’과 ‘융합’ 개념 탐색: 실험적 소고

곽덕주,박혜연 한국문화교육학회 2021 문화예술교육연구 Vol.16 No.1

The paper aims to show how the concepts of integration and convergence are internally related to the nature of arts, especially their principles of creation, and to clarify the main principles of pedagogical principles of teaching and learning in arts and culture education, which can be employed in the actual practices of teaching arts and culture education in Korea. This is expected to greatly contribute to improving the quality of teaching practices in arts and culture education in Korea. To do so, we first comprehensively and critically examine how the concepts of integration and convergence have been understood in the discourse of arts and culture by researchers in Korea. Here we can see how the conceptual confusions and un-clarities have derailed the directions of arts education practice in Korea. And then we attempt to categorize three different kinds of arts’ ways of thinking, by drawing upon Gilles Deleuze’s and Susan Langer’s theories of arts, to show how they can be interpreted as three distinctive ways of integrating and converging our everyday experiences into meaningful forms and events. Lastly, the paper tries to clarify the pedagogical principles of teaching and learning in arts education practice in Korea by applying the examined concepts of integration and convergence to the three dominant approaches to arts education in Korea: cross-arts integration approach, knowledge related arts education and, community related arts education. 본 연구는 우리나라 문화예술교육의 실천에 질적인 차이를 가져다 줄 교수-학습 방법의 원리를문헌 연구에 기초한 논증의 방식으로 탐색하는 데 일차적 목적이 있다. 이를 위해 ‘통합’과 ‘융합’의 개념이 예술의 창작 원리와 어떻게 내적으로 연결되어 있는지를 보여줌으로써, 예술의 고유한 사고가 작동하는 방식으로 이루어지는 ‘통·융합적’ 문화예술교육의 실천적 원리를 제안하고자 한다. 연구 문제로는 첫째, ‘통합’과 ‘융합’ 개념이 우리나라 문화예술교육 담론에서 어떻게 이해되고 적용되는지를 비판적으로 검토한다. 둘째, 예술적 창작 활동에 고유한 세 가지 수준의 예술 언어를 다소 조작적으로 구분하여 기술함으로써 예술이 우리 경험을 어떻게 ‘통합’하고‘융합’하는지 살펴본다. 셋째, 이를 토대로 예술의 고유한 힘으로서 ‘통합’과 ‘융합’이 현재우리나라에서 실행되는 세 가지로 구분되는 대표적인 문화예술육의 접근들에서 어떻게 의미 있게적용되고 또 작동될 수 있는지 기술한다. 결론적으로 본 연구는, 예술장르 간 통합, 교과연계통합, 그리고 지역연계통합 예술교육에서 세 가지 차원의 예술 언어가 어떻게 각각 다르게 연루되는지체계적으로 보여줌으로써, ‘통합’과 ‘융합’ 형태의 교육적 경험을 창출하는 문화예술교육의실천적 방법 원리를 시론적으로나마 제안한다. 이것은 문화예술교육 강사들의 프로그램 기획 및실행의 질적 향상에 기여할 것이다.

고전기 그리스에서의 테크네-튀케와 테크네-엠페이리아

반덕진(BAN Deokjin) 大韓醫史學會 2011 醫史學 Vol.20 No.1

In Classical Greece, works defining the nature of art appeared in the various disciplines like medicine, rhetoric, dietetics, architecture and painting. Hippocratic authors tried to show that an art of medicine existed indeed. They contrasted the concept of art with that of chance, not experience that Plato and Aristotle distinguished from art. In fact there are similarities and discrepancies between Hippocratic epistemology and Platoic epistemology. Hippocratic authors maintained that the products of chance were not captured by art. They distinguished the domain of art charactered by explanatory knowledge and prediction from the domain of chance ruled by the unexplained and the unforeseeable. They minimized the role of luck and believed the role of art. Hippocratic authors thought that professional ability contained both knowledge and experience. In Hippocratic corpus, experience is a synonym of competence and usually has a positive meaning. But Plato gave empirical knowledge the disdainful sense and decided a ranking between two types of knowledge. Both Hippocratic authors and Plato held that a genuine art had connection with explanatory knowledge of the nature of its subject matter. A common theme that goes through arguments about art-chance and art-chance is the connection between art and nature. Hippocratic authors and Plato regarded art as a highly systematic process. Art provides us with general and explanatory knowledge of human nature. Art and nature is a mutual relationship. The systematic understanding of nature helps us gain the exactness of art and an exact art helps us understand nature well.