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시민교육으로서의 인문학적 사고와 대화 교육 모델 개발-철학실천적 탐구공동체를 중심으로-
김겸,이진남 한국사고와표현학회 2018 사고와표현 Vol.11 No.2
이 글의 목적은 시민교육의 필요성을 확인하고 그 일환으로 기존 청소년 교육의 문제점을 극복할 수 있는 교육 모델을 제시하는데 있다. 시민으로서 합당한 결정을 하기 위해서는 판단 능력과 추론 능력이 충분히 갖춰져야 한다. 하지만 우리 사회는 판단과 추론을 개인의 문제로만 보는 경향이 있다. 학교에서 이루어지는 시민교육은 정치적 목적으로 이용되곤 했고, 지금까지도 판단과 추론을 통한 지식의 습득이 아닌 ‘입맛에 맞게 정의된 지식’을 주입하는 수준에 머무르고 있다고 볼 수 있다. 이런 문제를 극복하고자 교육 현장에서는 비판적 사고와 창의적 사고를 중심으로 하는 다양한 교육 방법론이 제공되고 있지만 아직도 이를 구체화하는 교육은 요원하기만 하다. 이러한 한계를 극복하는 방안으로 제시되고 있는 것이 비판적, 창의적 사고를 연결시켜주는 배려적 사고의 개념을 더한 매튜립맨의 탐구공동체이다. 이를 활용한 교육 모델도 다양한 연구를 통해 국내에 소개되고 있지만 대부분 해외 연구를 소개하는 수준에 그치는 정도의 연구가 많았다. 논자는 교육 현장에서 진행된 의미 있는 연구로 조성민, 최고은의 탐구공동체 모델을 살펴본다. 그들은 탐구공동체를 중심으로 도덕과 수업에 적용하여 각자의 모델을 제시하고 있지만 제시된 모델이 최종적으로 평가의 도구로 전락할 수 있다는 한계가 존재했다. 따라서 평가를 목적에 두지 않고 학생 스스로 대화 상황을 분석하고 대안을 제시하며 그 과정에서 대화의 기술과 인성함양을 달성하는 ‘인문학적 사고와 대화 교육 모델’을 시행한 결과를 분석하고 그 한계와 발전 가능성을 타진해본다. In this article, we try to show the necessity of citizenship education and to suggest an education model for overcoming the problems in current citizenship education. The capacity of decision making and of inference should be equipped for being a good citizen. Such capacity tends to be regarded as a matter of individual in this society. Citizenship education was abused for political purposes, and ready-made knowledge instead of motivation of thinking was provided for that education. Matthew Lipman’s community of inquiry which is composed of critical thinking, creative thinking and caring thinking is considered as one of the best alternatives for this education. Many studies regarding his community of inquiry have been published in this society, but most of them are limited to mere introduction of the concept or some models based on that. Sung-min Jo’s and Ko-en Choi’s models based on community of thinking are striking ones for moral education, but they might become mere tools for evaluation. For the attainment of dialogue skills and personality, we suggest humanities thinking and dialogue education model in which students analyze the concrete dialogues and develop alternatives
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김겸 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.43 No.-
As part of the exhibition, Kwon Jin-kyu Centennial: Angel of Atelier at the Seoul Museum of Art(SeMA). the replica models that show each stage of production of terra cotta and dry lacquer techniques were produced along the artist’s unique material and techniques. The replication was carried out by reproducing terra cotta and dry lacquer based on my restoration experience and investigation of the artist’s note, tools, and the remaining materials. The purpose of this study is to investigate unrecorded materials and modeling techniques used by Kwon Jin-kyu through the production process of replicas. In the case of terra cotta, after applying iron oxide and ink, it seems to be baked once at a temperature around 800°C to 1000°C. The surface effect seems to be achieved by rubbing after applying plaster or cement after baking. It was found that the gray scale dry lacquer casted after the same plaster mold as terra cotta and partially used cashew along with lacquer as an adhesive. As for the surface effect, it was found that a unique surface texture was created by mixing gypsum, ash, and cement. 서울시립미술관 《권진규 탄생 100주년 기념전》의 전시기획의 일환으로 테라코타와 건칠 기법에 대해 기존의 일반적인 설명문이 아닌 각 제작단계를 모형으로 보여주는 전시물을 제작하였다. 전시물들은 이전 권진규 작품의 복원 경험 및 기록, 작품의 실물조사 및 제작도구, 재료의 유품 조사를 기반으로 테라코타, 건칠을 재현하며 진행되었다. 이 연구는 기록이 남아 있지 않은 권진규가 사용한 재료와 기법을 전시물의 제작과정을 통해 규명해 보려는 것을 목적으로 한다. 테라코타의 경우 산화철, 먹을 바른 후 800℃에서 1000℃가 넘지 않는 온도에서 1회 소성하여 석고, 시멘트 등 바른 후 문질러 표면 효과를 낸 것으로 보인다. 회색조의 건칠은 테라코다와 동일한 석고틀을 사용하였으며 접착제로서 옻칠과 함께 부분적으로 카슈를 사용하였으며 표면에는 석고, 호분, 시멘트를 섞어 독특한 표면 질감을 만들어 냈음을 알게 되었다.
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서양에서의 유물 복제의 의미와 현황 : the Meaning and Techniques in Western Culture
김겸 용인대학교 박물관 2003 丹豪文化硏究 Vol.- No.7
When an artifact receives a treatment for conservation and restoration, it always raises a question of how much its appearance is similar to the original. Restoration in the working regulations of conservator and restorer, adopted by the World Restoration and Science Council in 1984, is defined as recovering the artifact as oldest possible in a recognizable manner. On the other hand, this regulation also explains that, in paintings, revealing its brightness after cleaning helps to make it more enjoyable and interested, but it doesn't assure its original colors before aging. In the end, restoring the original by cleaning, by removing old repair, or by adding is the process of assumption. It is almost impossible to recover the original reflection surface of an antique bronze mirror which surface was lost by corrosion, a varnished surface of a painting, or a faded color of a fabric. Recovering the original by restoration is nearly impossible as &acts always leave the traces of time that it has lived through. Restoration to recover the originality of a cultural artifact is always a very risky process since it deals with only a single artifact that exists. For example, if it is to recover the function of reflection of a bronze mirror mentioned above, it is possible to make a replica to examine the original usage. In other words, a cultural artifact is conserved through stabilization, and a replicate is used for research and educational purpose. When the status of the original artifact is unstable or impossible to stabilize, its replica which is a single solution can be used for a recording purpose. Followings are the cases that are difficult to stabilize. First, architectural and commemorative artifacts exposed to outside are difficult to stabilize because their conserving environment can be hardly changed or removed. Second, an artifact that needs excessive budget to stabilize is another case. Artifacts of enormous size or natural environment are such examples. Third, an artifact which is made of plastic or rubber has unstable original nature and is difficult to stabilize. In this case, certain parts of an artifact such as a door knob can be replicated, and replicated parts can replace the original or be used for a research purpose. In ~e West, another object mentioned for replication is mobile artifacts at exhibition. For example, in case of exhibition of steam engine or automatons, exhibited artifacts are often replicated ones since the motion causes the parts of artifacts ran out. As a recording medium for unstable artifacts, replication is also regarded as a process of conservation and restoration along with documenting photos and drawings. The Fountain(1917) by a French contemporary artist Marcel Duchamp was treated as a blasphemy of an art and attacked by the audience, and its original piece has been lost. In 1964, its replicated version was created based on the photo by Alfred Stiglitz and was authorized by Duchamp. In case of this artistic piece, the artists autograph and title are written on the mass-produced industrial merchandise, a toilet, and the concept of contemporary art, ready-made and interference by an artist, rather than the original techniques and materials, was transferred in the replicated version. In case of The Last of England by Ford Meddox Brown, the original piece OF oil painting was duplicated as the one of water painting by George Rae. Currently, the replicated water painting, having a tag saying a duplicate for the piece by, is now exhibited at the Tate Modern Gallery. It is said that many of this artists pieces were replicated by his own daughter. Thus, in the West, a replica is also defined as a reproduction of the original with a direct and indirect interference by an artist. Pietrasanta in Italy is a famous quarry for marble and is a place to produce new sculptures and also the replicas of works by great artists such as Michelangelo. When reproducing a stone sculpture, a traditional method of moving a plaster mold to another stone is used. It is to place a dot on each part of the original and transfer the outer he to a new stone and carve. This method is widely applied regardless of materials. In spite of an estimated assumption, it is a characteristic of traditional sculpture replicas that many cases have to be dependent on the senses of an artist who are working on it. Replicas produced for exhibition and education at a museum are the copies of original shape made by molding and casting, and then they were retouched. Such method is relatively inexpensive, easy to produce an accurate shape, and able to reproduce unlimitedly. But, in order to get the casting, the original artifact has to be touched directly, and it becomes very difficult to get the casting of an artifact with a complicated appearance. And also since the materials used for the molding are limited, it is difficult to replicate while using similar materials used for the original. Recently, new technologies have been introduced to copy and replicate three-dimensional shapes using a digital technology. This new technology, more and more, is not only applied for the field of industry or medical science but also of cultural artifacts. Scanned three-dimensional images using laser lights can be adjusted to be worked on a computer with a CAD program and to be duplicated by a rapid prototype equipment. The rapid prototype technologies include NC process, materials carved by the machine, stereo lithography, shapes made with resins by photo sensitive liquid polymer, 3D printing, shapes made with powders sprayed adhesive materials, and laminated object manufacturing, made with papers which outer edge of the shape are cut and attached. In the West, when restoring the original artifact by refilling damaged parts, there is tendency to use different materials which can be handled and colortouched easily other than the one used for the original. And concerning the attitude toward replica and replication, many researches have been done to develop new technologies and materials rather than to study the old technologies and materials and succeed them.
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