• (The)Study of the Eastern Classic
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• no.41
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• pp.477-516
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• 2010

The Korean art history academia has lately been carrying out active research on the Korean art market and art collectors. This area of research is significant in that it attempts to overcome the limitations of previous research trends focused on tracing back and analyzing preeminent masters, their schools and their influence, and approach new subject matters such as art and society, circulation and consumption of art works, which were unapproachable with previous research methods. This paper examines the life, artwork and art collection activities of Songeun(松隱) Yi Byeong-jik(李秉直: 1896-1973), an outstanding painter, calligrapher and art collector during the Japanese colonial period. The primary purpose of this paper is to advance the research project the author has recently initiated on modern Korean art collectors by reconstructing parts of this major art collector's individual lifestyle and to generally identify the art collection activities and the art works that he kept. Yi Byeong-jik, one of the preeminent art collectors during the colonial period, disposed his voluminous collection through two auctions in 1937 and 1941, and then held another auction two weeks before the onset of the Korean War on June 25, 1950 to sell off the remaining works. It seems that the reason why Yi had auctioned off his collections was for the purpose of investing in education. The tale that Yi safely kept 'Sam-guk-yu-sa(三國遺事),' which is considered a national treasure, even through the time of turbulence is evidence of his exemplary behavior as a model art collector. He may be one of the best examples of what an art collector should be in terms of giving back to the society and preserving things of beauty and value. However, one factor that limited and defined Yi's life was that he was a eunuch. This aspect of his life could be pointed out as the biggest factor that stopped him from becoming a mainstream participant in the art world despite his influence as a great painter, calligrapher, significant art collector, and discerning connoisseur.

• Macromolecular Research
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• v.14 no.1
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• pp.59-65
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• 2006

We report a new approach to fabricate electrospun polymer nonwoven mats with porous surface morphology by varying the collector temperature during electrospinning. Polymers such as poly(L-lactide) (PLLA), polystyrene (PS), and poly(vinyl acetate) (PVAc) were dissolved in volatile solvents, namely methylene chloride (Me) and tetrahydrofuran (THF), and subjected to electrospinning. The temperature of the collector in the electrospinning device was varied by a heating system. The resulting nonwoven mats were characterized by using scanning electron microscopy (SEM), field emission SEM (FESEM), and atomic force microscopy (AFM). We observed that the surface morphology, porous structure, and the properties such as pore size, depth, shape, and distribution of the nonwoven mats were greatly influenced by the collector temperature.

• Korean Journal of Heritage: History & Science
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• v.44 no.4
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• pp.70-85
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• 2011

The study of the modern art market and distribution differs in its research focus from that of traditional art history, which traces and analyzes the works of master artists, their schools and influence, in that it attempts to approach such issues as art and society, and distribution and consumption of works of art, based on new research methods and perspectives. This paper examines the life and art collection activities of Park Yeong-cheol, considered to be one of the earliest major modern Korean art collectors. He graduated from the Japanese military academy and served as both a solider of the Greater Korean Empire and a high level officer of the Japanese army. After being discharged, he served as Governor of Gangwon-do and then Hamgyeongbuk-do, and after his retirement from public office, he became a leading businessman. He is well-known as a Japanese sympathizer who approved of and advocated for the aggressive colonial policies of the Japanese empire. As a cultural enthusiast and art collector, however, Park Yeong-cheol published the most accurate edition of Yeonamjip, and donated his collection to Geyongseong University at the end of his life, thus providing the foundation for the Seoul National University Museum. All of these activities are highly commendable. His interest in growing his collection of paintings and calligraphies was largely motivated by his love of paintings and Chinese poems,but it also appears to have been the result of his active collaboration with the Japanese government's policy of trying to discover the distinct, non-western characteristics of traditional Eastern art.

• Journal of the Korea Furniture Society
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• v.20 no.6
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• pp.590-598
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• 2009

The study of Lurelle Van Arsdale Guild (1898-1986)'s vanity table and stool in the Cooper-Hewitt National Design Museum is essential to understand how the stylistic change was made on industrial design in the 1930s caused by economic necessity. The vanity furniture expresses in such relatively inexpensive image transformations that would attract new customers in the Depression. The objects are donated from a collector and became one of CHM's collections in 1997. In curatorial file, other than the designer's and manufacturer's names there is nothing specified for these objects. Therefore, this study is aimed for researching the exact date for these valuable objects for understanding American Art Deco furniture in the 1930s. Moreover, studying social aspect of these objects gives clear vision for the background. Especially, the History of American Standard (Rodengen, 1999) gives great over view to the history of the manufacturer, C. F. Church Company. The record in Fortune of 1934 suggests the designer, Lurelle Guild's position among other industrial designers at that time. And Profoundly, the objects were assigned design patents. Therefore, the vanity furniture set in the CHM was a significant symbol of early modernism rising from functional areas after the Depression.

• Journal of the Korean Solar Energy Society
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• v.26 no.4
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• pp.119-126
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• 2006

This study describes thermal performance of heating and cooling demonstration system using ETSC(Evacuated tubular solar collector) installed at Seo-gu art center of Kwangju. For demonstration study, a reading room with about $350m^2$ was heated and cooled using that system. The demonstration system was consisted of ETSCs, storage tank, hot water supply tank, subsidiary boiler, and subsidiary tank. From January to March in 2006, demonstration test were performed with 4 control mode to find the optimum control condition for solar thermal system. After experiments and analysis, this study found that solar thermal system of control mode IV was corresponded to 78% for the hot water supply and 49% for space heating.

• Proceedings of the SAREK Conference
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• 2007.11a
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• pp.564-569
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• 2007

This study describes thermal performance of solar cooling and hot water for demonstration system with ETSC(Evacuated tubular solar collector) installed at Seo-gu art center of Kwangju. For demonstration study, a reading room with about 350㎡ was heated and cooled with the solar system. The system was consisted of ETSCs, storage tank, hot water supply tank, subsidiary boiler, subsidiary tank, absorption chiller, chiller storage tank, and cooling tower. The results of the experimental study indicated that the total solar energy gain as daily performance on a sunny day (August 25, 2007) with total daily radiation of $606\;W/m^2$ was 671 kWh, the collecting efficiency of 55%. In the case of supplies to heat source more than $83^{\circ}C$, cooling time operated by solar was driven 8.8 hours, cooling energy generated by solar system was 179 kWh and the solar cooling fraction was 79.2%, and hot water supplied with surplus heat source by the solar system was 201 kWh.

• Proceedings of the SAREK Conference
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• 2006.06a
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• pp.832-837
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• 2006

This study describes thermal performance of heating and cooling demonstration system using ETSC(Evacuated tubular solar collector) installed at Seo-gu art center of Kwangju. For demonstration study, a reading room with about $331m^2$ was heated and cooled using that system. The demonstration system was consisted of ETSCs, storage tank, hot water supply tank, subsidiary boiler, and subsidiary tank. From January to March in 2006, demonstration test were performed with 4 control mode to find the optimum control condition for solar thermal system. After experiments and analysis, this study found that solar thermal system of control mode IV was corresponded to 78% for the hot water supply and 49% for space heating.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Journal of Biosystems Engineering
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• v.3 no.1
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• pp.64-76
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• 1978

A dimensional supply of petroleum fuels and increased competition for petroleum products has made the conservation of energy in grain drying an important cost and management factor. Research on solar grain drying is directed toward utilization of a renewable energy source as an alternative to petroleum fuels for drying. There are many technical and economic problems in accepting and adopting solor energy as a new energy source for grain drying. The purpose of this study are to assess the state of the art of solar grain drying and to find out the problems by reviewing literatures available. The results obtained may be summarized as follows; 1.It may be considered that the weather conditions in October of Korea was satisfactory for the forced natural air and solar heated air drying. 2. Solar energy is considered more applicable to low-temperature, In-storage drying systems than to high-temperature, high-speed drying systems. In-storage drying systems require low levels of heat input. The costs of collector systems to provide low temperature are considerably cheaper than for high-temperature systems. 3. Tubular type collector made of polyvinyle film seems to be the most practical at this stage of development and black-painted bare-plate collectors mounted on the outside of a typical, round, low-temperature drying bin can supply an appreciable amount of the energy efficiently needed for low-temperature grain drying at a lower cost. 4. All of the grains in solar drying tests was successfully dried up to safe storaged moisture levels without significant spoilage. Drying rates with solar system were faster than natural air drying systems, and usually a little slower than similar low-temperature electric drying systems. 5. Final grain moisture levels were lower in solar tests than in natural air tests, and generally higher than in tests with continuous heated air. 6. Savings of energy by use of solar collectors ranged from 23% to 55%, compared to the natural and electric ileated air drying systems. However, total drying cost effectiteness tvas not significant. Therefore, it is desirable that solar grain dry-ing sIFstems tvhich could be suitable for multiple heating purposes on farms shouldbe developed. 7. Supplemental heat with solar radiation did little to reduce air flow requirementsbut refuced drying time and increased the p\ulcornerobability of successful drying duringdrying poriod.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1671-1676
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• 2017

In theses days, data has been explosively generated in diverse industrial areas. Accordingly, many industries want to collect and analyze these data to improve their products or services. However, collecting user data can lead to significant personal information leakage. Local differential privacy (LDP) proposed by Google is the state-of-the-art approach that is used to protect individual privacy in the process of data collection. LDP guarantees that the privacy of the user is protected by perturbing the original data at the user's side, but a data collector is still able to obtain population statistics from collected user data. However, the prevention of leakage of personal information through such data perturbation mechanism may cause the significant reduction in the data utilization. Therefore, the degree of data perturbation in LDP should be set properly depending on the data collection and analysis purposes. Thus, in this paper, we develop the simulation tool which aims to help the data collector to properly chose the degree of data perturbation in LDP by providing her/him visualized simulated results with various parameter configurations.