과학 실천은 학습 소재에 해당하는 대상이나 관찰과 측정을 위한 도구와 같은 ‘이질적인 것’들과 새로운 관계를 맺는 과정이다. 최근 전공 교과에 대한 과학 실천이 점차 강조되고 있는 시점에서 본 연구에서는 천체 관측이라는 지 구과학 교과의 특유한 과학 실천을 새롭게 들여다보고자 했다. 이를 위해 천체 관측을 경험한 학생들과 수많은 물질들 이 만들어 낸 의미를 ‘-되기’의 경험으로 바라보았다. 연구의 방법으로는 A고등학교의 천체 관측 활동에 참여하는 17명 의 학생들이 작성한 활동 일지, 사진 자료 등을 수집하고 심층 면담을 진행하였다. 수집한 자료는 상황 분석 방법을 재 구성하여 살펴보았다. 주요 연구결과로는, 학생들의 존재-인식론적 ‘-되기’의 과정으로 1) 반복을 통해 새로움을 발견하 는 과정, 2) 천체 관측 활동의 정동을 전달하기 위한 ‘설명 기계’가 되어가는 과정, 3) 안정적인 영토를 벗어나 문턱을 넘는 과정을 발견하였다. 연구 결과를 바탕으로 지구과학교육과 교육 연구를 위한 교사의 실천과 새로운 접근 방식에 대해 제언하였다.

의미 있는 ‘하나의 경험’은 성장을 가져온다. 존 듀이는 ‘하나의 경험’을 하나의 예술작품이 만족스럽게 완결에 이르게 되고, 계속해서 고민하던 어떤 문제에 대한 해결책이 마침내 도출되는 것이라 말한다. 독서를 하거나 책을 쓰는 것 등도 언젠가는 종결에 이르게 되는데, 이러한 경우의 종결은 단순히 중지(cessation)가 아닌 하나의 과정의 결과라고 보는 것이다. 경험이란 하나의 통일된 결합이며 그것 자체는 개별화된 특질과 자발성을 갖추고 있다. 이러한 특징을 갖는 경험을 ‘하나의 경험’이라고 부른다. 학교 현장의 교육과정에서 또는 평생교육 차원에서 ‘하나의 경험이 되는 배움’이란 교육적인 의미와 가치로서 인정되고 평생 기억에 남는 교육 경험 활동이라 할 수 있다. 학습자 입장의 배움과 교수자 입장의 배움은 학습자와 교수자의 만남과 접속을 통해 발생된다. 기호학습에 근거 한 들뢰즈의 ‘배움’ 이론이 ‘하나의 경험’으로 기억되는 의미 있는 가치로의 가능성을 ‘만남’과 ‘과정’을 통해 탐구하고 접근해 보고자 한다.

Nomadism means 'divide share' and 'drift where allocated'. The word to express a variety of modern people without being tied to a fixed time and place, constantly moving to new areas and explore the possibility. The progress of this study, first, to research on the conceptual study of Nomadism through Deleuze's theory of art and to organize Nomadism patterns and design paradigms in modern society. Second is to analyze and investigate cases of Nomadism based on the theoretical background in a way to reinterpret to the contemporary fashion, and to suggest the formative characteristics and inherent expressiveness of Nomadism expressed in modern fashion. Theoretical considerations made through the collection data were select from ready-to-wear women's collections 2005 S/S~2013 S/S presented in ‘Style.com’. The results of the analysis of the formative characteristics of Nomadism in the 21st century fashion are ‘mixed expressions of time ․ space and gender’, ‘pursuit of diversity through self-dismantling’, ‘clothing systemization of mobile and deformable’ and ‘temporary amusement, lightness, an expression of the ride rules’. The inherent expressiveness of Nomadism through these types of figurative representation are ‘unbounded fashion’, ‘multi-center, multi-functional’ and ‘emotional directivity’. As such, philosophy and artistic trends started Nomadism is harmoniously expressed in terms of the design transcending the boundaries of existing stereotypes.

21st century post digital society orients co-existence, fusion, and blurring boundary than conflict, differentiation, and boundary, and makes a try liberal combination of various different objects. Furthermore, radical development of science and digital equipments offer technical possibility that could combine various fields. Hence, many different departments demolish their boundary, and combine for development of multi-functional and complex shape’s products. For job-nomads, fashion attempts to combine with architecture, furniture, daily necessities, and digital equipments spontaneously. This paper aims at consideration about the blurring phenomena expressed in complex fashion space of 21st century throughout empirical fashion photographs analysis, which show combination among fashion and various different fields. Blurring boundary phenomena of complex fashion space are classified with 4 parts as follows as: 1) furniturizing, 2) wearable dwelling, 3) lumiduct, 4) becoming fashion. Each parts are examined 8 aesthetical characteristics such as movement and lightness, hyper-link and openness, immateriality and inter-activeness, and diversity and ambiguity. 21st century fashion has changed more simple and light, and creates new form throughout combination with many other fields, and enlarges its function and sphere. I think this paper would help certificating practical use of fashion space as multiple and complex space, and makes contribution to forecast about fashion development of the future and offer inspiration about creative and innovative fashion design.

The primary object of this study lies in reilluminating the meaning of the Baroque, through studying arts and architecture by means of the features of Baroque aesthetics suggested by Deleuze in his writing 'Le Pli' on the basis of Leibniz's 'Pli' concept. Through this study we can see the following. In the first place, the six features - pli, separation between the inner and the exterior, highs and lows, unfolding, texture and paradigm presented as the features of Baroque aesthetics - have to be understood not as being independent features but as those derived from a series of continuous process of folding and unfolding. In the second place, Deleuze's thinking ranging from the 'Pli' of the Baroque to the paradigm derived on the ground of Leibniz thinking is a dynamic world of folding and unfolding, ultimately seeking unity through the topological changes and succession repeating deterritorization and reterritorization. In the third place, most architectural trends claiming 'Fold Architect' or the 'Pli' of Deleuze as their architectural philosophy are committing errors of mass-producing standardized designs by confining the meaning of Deleuze's 'Pli' concept into a simple reproduction of plied superficial things. With this finding in mind, the concept of folding and unfolding examined through reilluminating the Baroque Architecture where the 'Pli' concept is embodied, suggests to us that the problems of contemporary architecture should be rightened, and shows us that it can become an architectural philosophy which can be concretely realized in architecture.

This paper is to show how properly the contagious concepts stemmed from Deleuze can be applied to literary text, even if Deleuzean reading that has flooded as yet home or abroad is hard to practice. However, we always feel it troublesome that the challenge is so hard and even fatuous in the sense that Deleuze’s texts are inclined to decline to be grasped by readers. Moreover, even the poem of T. S. Eliot’s also would get out of reader’ obsessional desire to ‘territorialize’ the poem. In the dilemma, we find a aphorism of Lacan’s as a western high monk: we can’t read all texts of an author and can’t grasp all of his/her identity even if he/she has scoured all of his/her texts thoroughly. Thus what we know is no less than broken knowledge, so someone who argues that he/she is a know-all must be totalitarian or paranoiac. Deleuzean reading can be practiced in view of not ‘systematic reading’ but ‘affective reading.’ The former chases after comprehensive ideas as if readers would be gods in the Olympus mount, but the latter enjoys ‘intensity’ or velocity of each part composing of text as asserted by Spinoza. After passing through this poem, the trend of ‘deterritorialization’ is perceived just like a form of melody, ‘rondo,’ in which main melody is recurring with marginal variations intervened every movement and at last reduced to ultimate themes which can be summarized such as state of thought without image, enlightenment and revision. To reach the poetic truth, Eliot mobilizes a collage of intertextual images such as a gruesome world of Dante’s hell to which ‘line of flight’ or ‘singularity’ as death takes human in which confession makes possible atonement or salvation. “a patient etherized” means lethargic being castrated by the norm or value of community and paralyzed by the conventional images in ‘socius’ such as primitive, despotic and capitalistic state. “yellow fog” seems to veil falsehood of reality, but indicates difficulty of rational judgement and “time” as ‘abstract machine’ of self-contradiction frees oneself from oneself with the same identity made up of present(‘chronos’), past and future(‘aion’) articulated only by human as subject of thought. Ego riding on timetable is determined to be confined in routine of life, which means that we must take off each conventional mask. Thus “ragged claws” cut causation as ‘rigid line’ of world and Apostle John and “Lazarus” as saints undergo metamorphosis of death or rebirth in that the one was martyred and the other returned from across Lethe of oblivion as Zarathustra would face against his fate. “the eternal Footman” functions as self-disciplined subject succeeding to regime or prisoner contained in ‘panopticon.’ “Hamlet” and “the Fool” mean that the former as ‘war machine’ tries to subvert ‘the State apparatus’ or ‘molar aggregates,’ and the latter denies despotic ‘normalization’ or generalization. Contrary to the mundane situation, “mermaids” and “sea-girls” stand for becoming-imperceptible through ‘decoded flow’ happening when the poetic narrator fed up with stuffed images drowns himself as moving ‘phenotext’(the signifying system) to ‘genotext’(not reducible to the language system), and awakes himself in the revision of Things. At last Eliot completes “the love song” with the esoteric tree diagram erasing image by image, and shows us the terrible road to enlightenment.