An artist, Oh Yun(1946~86)’s theory of people’s art during his final period issummed up in his essay ‘Expansion of Artistic Imagination and World’(1985).Emphasizingthe mystic and traditional characteristics of Oh Yun’s artistic oeuvre during his final period,some critics focus on Oh Yun’s experience of medical treatment and shamanistic custom atJin Do island, and his belief in Jeung San Do, the dao of Jeung-san, the Ruler of theUniverse. However, they forget the practical intention and implication of his theory of artduring his final period, which aimed to overcome the contradiction of revelation itself. Oh Yun’s essay criticized the loss of artistic imagination and the ignorance oftraditional culture that resulted from the elevation of science to a religion, and insisted thatthe stereotyped idealism, scientism and elitism in art should be overcome in order torecover the full reality in realism and to continue traditional cultures. The essay iscomprised of 18 paragraphs. Oh Yun criticized monochromatic art, conceptual art, hyper-realistic art, objet d’art,and neo-dadaist art, saying that they were simply mechanical forms of modern art derivedfrom scientism and a fetishistic lens culture. In addition, he criticized naturalism in art,which had continued as a tendency in the development of western art, for the samereason. He pointed out that even the world of realism had been diminished by elitestereotypes and diagrams. He declared the need to overcome the imitation of shells orstereotyped propaganda, and recover full realism, which seems to have started with areflective examination of current problems in ‘Reality and Utterance’, in which heparticipated. Especially, he thought that universality and the extension of full realism could be achieved by building on the views of traditional cultures, which is meaningful. This logic issame as the theory of epic theatre that Bertolt Brecht(1898~1956)has developed under theancient Greek masque and Pieter Bruegel the Elder(1525~69)’s story-like picture style. Theuniversality of realism and the extension of acquisition to include incantation art,rather thanmove toward incantation art, is what Oh Yun intended to propose in ‘Artistic Imagination’.This attitude is same as Bertolt Brecht’s aesthetic viewpoint in the 1930s. But regrettably,Oh Yun’s style wording, which seems covert and far-sighted, is often misunderstood as‘mysticism’. In the flow of people’s art in the 1980s, Oh Yun was a traditionalist in a narrowsense, and an realist in a broad sense. However, his critical mind, which comprehendstradition and reality, was attempting to expand universality and extend full realism, and thisattempt found many sympathizers and had an influence on the next generation of people’sartists, such as 「Levee」which is field-centered, to which we should pay attention. Thismeans that while their works thought about ‘tradition’, we should be careful not to connectthem with‘aesthetic conservatism’or ‘classical art’. This is the why the meaning of Oh Yun’stheory of art during his final period should be closely examined again.

In this paper, we present a learning platform for robotic grasping in real world, in which actor-critic deep reinforcement learning is employed to directly learn the grasping skill from raw image pixels and rarely observed rewards. This is a challenging task because existing algorithms based on deep reinforcement learning require an extensive number of training data or massive computational cost so that they cannot be affordable in real world settings. To address this problems, the proposed learning platform basically consists of two training phases; a learning phase in simulator and subsequent learning in real world. Here, main processing blocks in the platform are extraction of latent vector based on state representation learning and disentanglement of a raw image, generation of adapted synthetic image using generative adversarial networks, and object detection and arm segmentation for the disentanglement. We demonstrate the effectiveness of this approach in a real environment.

본 연구는 최근 국내에서 세계시민교육에 대한 이념적․정책적 담론의 급부상과 달리, 학교현장에 기반을 둔 경험적 연구가 상대적으로 미미하다는 문제의식에서 출발하였다. 특 히 연구자는 정책적 투입이 있기 이전부터 세계시민교육을 자발적으로 수행해오던 교사들 의 세계시민교육의 개념에 대한 이해와 현실적 딜레마에 초점을 맞추었다. 이를 위해 사례 연구방법을 활용하여 총 34명의 교사들을 대상으로 면담 및 포커스그룹인터뷰를 수행하였 다. 이들 교사들을 공통적으로 입시위주의 경쟁구도로 대변되는 전통적 패러다임을 대체할 수 있는 대안적 패러다임으로 세계시민교육을 인식하고 있었으나 여전히 그 개념을 명료히 정의내리는 데 어려움을 호소하였다. 분석 결과 대안적 교육패러다임이라고 인식되는 세계 시민교육의 관점을 가진 교사들은 전통적 교육패러다임이 주류를 이루는 학교현장이란 모 순적 현실 속에서 필연적으로 다양한 딜레마에 직면할 수밖에 없었다. 이는 시간 찾기의 딜레마, 색다른 교육의 시도와 경직된 교사문화 사이에서의 딜레마, 평가의 딜레마로 구현 되어 나타났다. 연구 결과를 바탕으로 연구자는 교사들이 인식하고 있는 세계시민교육 개 념의 모호성과 현실적 딜레마를 해결하기 위한 정책적 제안과 함께 세계시민교육 담론의 방향성을 제시하였다.