• Nuclear Engineering and Technology
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• 제48권4호
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• pp.870-880
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• 2016

A steam generator tube rupture (SGTR) event with a stuck-open safety relief valve constitutes one of the most serious accident sequences in pressurized water reactors (PWRs) because it may create an open path for radioactive aerosol release into the environment. The release may be mitigated by the deposition of fission product particles on a steam generator's (SG's) dry tubes and structures or by scrubbing in the secondary coolant. However, the absence of empirical data, the complexity of the geometry, and the controlling processes have, until recently, made any quantification of retention difficult to justify. As a result, past risk assessment studies typically took little or no credit for aerosol retention in SGTR sequences. To provide these missing data, the Paul Scherrer Institute (PSI) initiated the Aerosol Trapping In Steam GeneraTor (ARTIST) Project, which aimed to thoroughly investigate various aspects of aerosol removal in the secondary side of a breached steam generator. Between 2003 and 2011, the PSI has led the ARTIST Project, which involved intense collaboration between nearly 20 international partners. This summary paper presents key findings of experimental and analytical work conducted at the PSI within the ARTIST program.

• 복식문화연구
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• 제30권4호
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• pp.529-547
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• 2022

The purpose of this study was to understand the concept, form, and structure of the bata de cola through an investigation of the history of the costume and a study of the suitability of its functional elements during performance of 'Caña Flamenco'. Traditionally, Flamenco dance dresses were made by Spanish women from the lower classes, and the 'upward flow' of the dresses represented the women's individuality and unique style. The bata de cola, which appeared later, was an evolution of the Flamenco dress that was influenced by costume styles and silhouettes of the 19th and early 20th centuries, and it was made famous by Flamenco dancers. For practical costume production, a Flamenco artist who had performed in Spain and Korea was proposed as a study participant. The study was conducted using a stepwise wearing evaluation method whereby the Flamenco artist wore prototype dresses and evaluated whether they were practical for the required dance movements or not. A final bata de cola pattern was derived after the experiment was repeated five times based on the feedback of the Flamenco artist, focusing on the factors that were considered most important. Using stepwise clothing evaluation of the prototype, a costume that enabled the Flamenco artist to implement optimal movements was successfully produced.

• 기록학연구
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• 제52호
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• pp.213-240
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• 2017

카탈로그 레조네(catalogue raisonne)는 한 작가의 주요한 모든 작품를 목록화하여 작품과 관련된 학술적으로 중요한 기록정보를 기술한 예술가의 총체적 작품기록물로 정의 할 수 있다. 이러한 카탈로그 레조네는 전시 기획자 및 연구자들의 연구자료는 물론 작품의 진위여부를 가리는 기초적인 자료로 이용된다. 국내의 카탈로그 레조네의 제작은 시작단계에 있으나 국외의 경우 미술관련 기관과 작가의 재단이 주축이 되어 작가의 카탈로그 레조네의 활발한 제작을 진행해오고 있다. 카탈로그 레조네는 작품과 관련된 정보에 대한 기술이 무엇보다 중요한 요소이다. 이러한 카탈로그 레조네의 기술요소는 작가의 작품 및 작업의 특성에 따라 각양각색으로 나타날 수 밖에 없다. 이에 국외에서 출판된 작가의 카탈로그 레조네의 사례를 분석하여 카탈로그 레조네가 가지는 특성 및 기술요소에 대해 상세히 살펴보고, 이를 국내 작가들의 권위있는 카탈로그 레조네의 활발한 제작에 기여하고자 한다.

• 영미문화
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• 제16권2호
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• pp.89-110
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• 2016

Since he was an exile, Henry James himself was well aware of agonies as an outsider in either Europe or America. Such an anguish is deftly depicted in the character of Felix Young with James's unique ironic tone. Unlike James, however, Felix is neither affluent nor distinguished as an artist. Nor is he supported by any patron. Furthermore, at first, he doesn't seem to survive the strict joyless environment in New England, but he possesses his own survival value. His unique esthetic value and his beautiful smile enable him to win Gertrude's heart. His adroit balance between pleasure-seeker and respect for American serious culture without hostility ultimately ends up with his marrying Gertrude. His arrival in Boston might pose a threat as Mr. Wentworth fears. Actually he subverts the traditional idea of an artist. He is armed with amiability and frankness, which are incongruous with a stereotypical idea of an artist: a willful, freakish, and self-righteous person. Felix here suggests to us that a new kind of modern art be possible. Gertrude is also a new woman who opposes to staying put under the patriarchal society. She is always wavering in and out of the house, searching for opportunities to quench her curiosity to see the world by breaking the bond of New England. Her ceaseless quest for independent values results in fortuitous encounter with a new species of artist Felix. Unlike Henry James's other novels, in which male characters assume a role of sophisticated "fortune-hunter," the union of Felix and Gertrude in The Europeans represents the compromise between two different cultures. According to Nietzsche, the birth of superman is possible by the union of Athens and Jerusalem. In other words, the matrimony of Felix and Gertrude means the commingling of his liberal arts and Gertrude's moral seriousness might contribute to the birth of the new culture.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

• 디지털융복합연구
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• 제13권11호
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• pp.409-415
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• 2015

인터넷이나 소셜 네트워크 서비스 등의 매체가 발달함에 따라 아티스트는 자신의 개성을 확립하기 위해 예전보다 보다 많은 노력을 해야 하는 시대가 되었다. 과거의 아티스트가 가창력이나 무대 매너 등 표면적으로 드러나는 요소만으로도 충분했다면, 최근에는 음악성, 삶의 철학, 사회 참여 등 자신의 정체성과 관련된 많은 분야에도 세심한 주의가 필요하다. 이러한 관점에서 1990년대 발라드를 대표하는 아티스트중 하나인 이승환을 주목하고자 한다. 그의 음악에서 나타나는 특징은 록 사운드를 기반으로 한 다양한 악기를 활용, 월드뮤직 사운드, 대규모 합창, 새로운 스타일에 대한 도전, 삶이 담겨있는 가사 등 크게 다섯 가지로 나눌 수 있다. 이승환은 싱어 송 라이터로서 수많은 앨범을 자신만의 색으로 채우며 한 시대를 풍미했으며, 지금도 활발하게 활동하고 있는 현재 진행형 아티스트이다.

• 한국디지털건축인테리어학회논문집
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• 제3권2호
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• pp.14-19
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• 2003

In this paper, I tried to apply the viewpoint and the method of "Cultural Study" to the analysis of a Architecture. "SE HAN DO(歲寒圖/ Jeonghee Kim 金正喜/ 1844)", the masterpiece of the "literary artist's paintings"(文人畵) is used as a 'TEXT‘(: parole) and analysed to show how artist's value and social-cultural ideology (as a 'CONTEXT':langue) are projected to the space and architectural vocabulary.

• 월간산업보건
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• 통권146호
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• pp.13-25
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• 2000

• 한국문화재보존과학회:학술대회논문집
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• 한국문화재보존과학회 2004년도 제20회 발표논문집
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• pp.25-32
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• 2004

All the works including sculpture created by modern artists contain a message that represents both the ideas and spirit of an era. We are entrusted with the responsibility of transmitting to future generations modern art in as nearly as perfect condition as possible. Thus despite the challenges we face in preserving modern art, we are obliged to conserve it. Especially, outdoor sculpture can be considered as not only works of art themselves, but also a public art. The work of contemporary sculptors often refers to the complexity of social relationships between the art and the public space, so that the public space tends to include the actual public in the art. The conservator at this point needs to preserve tile concept of the public art which is incorporated in the public participation in the sculpture, in addition to the materials of the sculpture itself. Once the sculpture is damaged, it will need restoration. Restoration may be essential to prevent further deterioration, or it may be necessary in order to make an object usable again. It is difficult to generalize about restoration because, as with preventive treatment, the acceptable degree of intervention varies from one discipline to another The degree of treatment including restoration may depend on such variables as available resources, the future use of the object, and the needs of the particular discipline to which it belongs. When conservators start to treat artworks or during the treatment, they will face many moments where they have to make a choice. Codes of ethics are necessary in order to provide a basis for making choices. Even though ethics have always been subject to change depending on an era or culture, the ethics subject will be much easier to reached an agreement on than one involving aesthetic value. The aesthetic value will be one of the most prominent factors for defining the damage: even minor loss of parts or discolouration can be considered as fatal damage for artworks. Sometimes, an alteration of the appearancecould be intended by the artist himself so that the artist's intention could be important factor for judging the damage of artworks. But, modern hermeneutic theories show that the artist's intention cannot be the only factor for consideration, so that the interpretation and application of artist's intent should be an interdisciplinary task regarding distinctive social and cultural backgrounds.

• 조형예술학연구
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• 제11권
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• pp.153-199
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• 2007

동양회화에서 '형사(形似)'와 '신사(神似)'는 대상을 표현하는데 중요한 화두로 인식되었으며 특히 인물화에서는 인물의 정신을 전달하는데 있어 '형사'와 '신사'는 더욱 중요하게 다루어져 왔다. 고개지(顧愷之, 약$345{\sim}406$)는 형사와 신사를 표현하는데 있어 '전신(傳神)'의 개념을 명확하게 제시함으로써 회화비평의 중요한 기준으로 삼았다. 그는 먼저 형(形)을 통해 정신을 드러낼 수 있음(이형사신(以形寫神))을 제시함으로써 창작자는 작품에 '의(意)'를 그려내고 감상자는 표현된 '의'를 체험하는 것을 중요한 예술행위로 인식하였다. 따라서 인물화는 형상의 재현이라기보다는 그려진 대상의 인격과 성품을 드러내는 것이며, 창작자 스스로 인격을 도야하여 성인의 도(道)를 표출하는 것을 예술이라 여김으로써 예술적 심미주체인 작가의 의를 중시하였는데 이른바 이것이 전신의 개념으로 발전되었다. 본고에서는 고개지의 '전신사조론(傳神寫照論)'이 소식(蘇軾)의 '사의론(寫意論)'으로 계승되고 이러한 사상이 한국에서는 이형사신(以形寫神)의 원리에 충실한 윤두서(尹斗緖)의 '화도론(畵道論)'으로 이어지는 사의론의 전개과정을 알아보고자 한다. 또한 인물화에 내재된 사의성에 대하며 논하고자 하는데 작품에서 형사와 신사의 구분이 모호하듯 '사의성(寫意性)'의 판단의 기준 또한 명확하게 정의하기는 쉽지 않으나, 역대 작품분석을 통하여 보면 작품제작 시 입의단계(立意段階)에서 작가와 대상과의 관계가 중요하며 본고에서는 그 요소를 네 가지로 제시하였다. 현대미술은 기법의 홍수라 여길 정도로 많은 기법들이 혼재하고 있으며 마치 상품 특허를 내듯 기법이 작가를 대신하는 현상이 벌어지고 있는 현실이다. 본 논문은 인물화에 내재된 '사의성을 파악함으로써 기법 보다는 작가의 구사인 의(意)가 중요함을 입증하여 무분별하게 유행에 편승하는 기법의 남용보다는 창작자의 철학적 기반과 정신적 수양이 중요함을 주장하고 사의론과 실제 인물화를 대입시켜 살펴봄으로서 동양회화의 특성인 사의성을 규명하여 살펴보는데 그 목적이 있다.