• 한국조명전기설비학회:학술대회논문집
• /
• 한국조명전기설비학회 2002년도 학술대회논문집
• /
• pp.375-378
• /
• 2002

An arc/spark detector (ASD) was developed is to early detect wire failures and insecure connections that may lead to fire in residents and commercial and industrial facilities. A detailed circuit design for ASD implementation along with prototype product is reported. The tests of ASD, which were successful in phase identification, in many different arc/spark locations under different loadings, and in false alarm probability, showed the ability and capability of the state-of-the-art detector in the electric fire hazard prevention.

• 한국군사과학기술학회지
• /
• 제4권2호
• /
• pp.97-104
• /
• 2001

Performance specifications leave out unnesessary “how to” or detail and give the manufacturer latitude to determine how to best meet our stated needs. This will increase MND's access to commercial, state-of-the-art technology. However, we find that it is too early to expand the use of performance specification due to the poor domestic infrastructure. To expand the use of performance specification in defense area, this paper suggests the basic principles about which items we should select and which procedeure we should follow.

• 한국콘텐츠학회논문지
• /
• 제17권4호
• /
• pp.510-519
• /
• 2017

지구촌은 디지털 네트워크로 시공을 초월하여 소통하고 있다. 이러한 시대에 인간들은 더욱더 풍족한 테크놀로지 세상 속에서 휴머니티를 찾고 아날로그적 감성을 갈망한다. 예술은 아날로그적 감성을 자극하고 디자인은 개인의 감성적인 부분을 쉽게 표출할 수 있는 대표적인 도구이자 분야이다. 본 논문은 디지털과 아날로그 예술의 융합에 관하여 본인의 작품 <결합체> 시리즈를 중심으로 연구하였다. <결합체>시리즈는 <지도> 시리즈 작품들에서 파생된 작품이며, 실제 원본을 분해, 해체 하여 나온 조각들을 디지털화 하여 그래픽 편집기술을 이용해 만든 작품이다. 본 연구자는 예술과 디자인의 성공적 콜라보레이션 사례들을 살펴보고, <결합체> 작품 이미지들을 이용하여 다양한 디자인 상품들을 연구 및 개발 하여 보았다. 그리고 이를 통해 네트워크로 연결된 세계의 관람객들과 친숙하게 소통하고자 한다. 이미 세계의 많은 순수미술 작가들이 본인의 작품들을 아트상품화 하여 판매하고 있고, 문화 예술과 상업적 제품과의 콜라보레이션은 기업, 작가 그리고 소비자에게 서로 상생효과를 주며 새로운 상품과 가치를 창출하고 있다. 본 연구자는 자신의 예술 작품을 이용하여 다양한 제품으로 디자인 해보고, 어떻게 작가 와 아트상품을 효과적으로 홍보를 할 수 있을 것인가에 대하여 연구하였다.

• 무역상무연구
• /
• 제78권
• /
• pp.1-29
• /
• 2018

This article demonstrates that both the Warsaw Convention Systemand the Montreal Convention are not designed for multimodal transport, let alone for "Door to Door" transport. The polemic directed against the "Door to Door" application of the Warsaw Convention systemand the Montreal Convention is predominantly driven by the text and the drafting philosophy of the said Contentions that since 1929 support unimodalism-with the rule that "the period of the carriage by air does not expend to any carriage by land, by sea or by inland waterway performed outside an airport" playing a profound role in restricting their multimodal aspirations. The drafters of the Montreal Convention were more adventurous than their predecessors with respect to the boundaries of the Montreal Convention. They amended Art. 18(3) by removing the phrase "whether in an aerodrome or on board an aircraft, or, in the case of landing outside an aerodrome, in any place whatsoever", however, they retained the first sentence of Art. 18(4). The deletion of the airport limitation fromArt. 18(3) creates its own paradox. The carrier can be held liable under the Montreal Convention for the loss or damage to cargo while it is in its charge in a warehouse outside an airport. Yet, damage or loss of the same cargo that occurs during its surface transportation to the aforementioned warehouse and vice versa is not covered by the Montreal Convention fromthe moment the cargo crosses the airport's perimeter. Surely, this result could not have been the intention of its drafters: it certainly does not make any commercial sense. I think that a better solution to the paradox is to apply the "functional interpretation" of the term"airport". This would retain the integrity of the text of the Montreal Convention, make sense of the change in the wording of Art. 18(3), and nevertheless retain the Convention's unimodal philosophy. English courts so far remain loyal to the judgment of the Court of Appeal in Quantum, which constitutes bad news for the supporters of the multimodal scope of the Montreal Convention. According the US cases, any losses occurring during Door to Door transportation under an air waybill which involves a dominant air segment are subject to the international air law conventions. Any domestic rules that might be applicable to the road segment are blatantly overlooked. Undoubtedly, the approach of the US makes commercial. But this policy decision by arguing that the intention of the drafters of the Warsaw Convention was to cover Door to Door transportation is mistaken. Any expansion to multimodal transport would require an amendment to the Montreal Convention, Arts 18 and 38, one that is not in the plans for the foreseeable future. Yet there is no doubt that air carriers and freight forwarders will continue to push hard for such expansion, especially in the USA, where courts are more accommodating.

• 한국철학논집
• /
• 제39호
• /
• pp.221-235
• /
• 2013

본 논문은 중 미 일 애니메이션영화를 통해 그 창작스타일을 분석하기 위해 삼국의 주요 예술적 특징 및 그 표현 스타일을 사례를 통해 비교하여 각각 자신들의 전통 회화예술, 심미적 습관, 사유방식과 깊이 연계되어 있으며 독특한 애니메이션영화 예술형식을 만들어냈음을 발견할 수 있게 된다. 미국은 사실주의 예술표현과 뉴테크놀로지에 대한 활용을 중시한다. 일본은 전통 회화예술과 스토리텔링 애니메이션의 표현을 중시한다. 상업적인 측면에서 볼 때, 그들은 그들의 국가와 글로벌 엔터테인먼트 마켓의 다양한 서로 다른 수요에 따라 각기 다른 시장의 수요를 만족시켜왔으며, 서로 다른 비즈니스 방식을 개발하였다. 내용적 측면에서 보면, 보편적 가치인 선악관을 알리고 개인주의의 영웅관을 만족시키며, 다양한 상업적인 예술 애니메이션영화를 개발하여 전세계적으로 수많은 관중의 사랑을 받아왔다. 미국과 일본 양국에 비해 중국은 50-80년대에 사회주의 의식형태의 수요와 사고에 기초하여 애니메이션영화를 창작하였다. 80년대 개혁개방 이후에서야 다시 엔터테인먼트 마켓과 관중의 다양성의 수요에 따라 창작하게 된다. 그러나 그 결과는 여전히 지금의 중국 애니메이션영화에까지 영향을 주고 있다. 창작 동력과 원작 인재가 끊어지게 되었고 다양한 창의적 스타일과 상업시장 운영의 매카니즘이 결손되었다. 일본은 미국 스타일로부터 시종 자신의 위치와 성공을 찾게 되었다. 오늘날의 중국은 미국과 일본 스타일 중에서 자신의 창작 스타일과 위치를 찾고 정부관리방식, 업계규범, 국제화 인재양성 및 경험 등을 체계적으로 분석하는 것이 그 근본이라 하겠다.

• 미술이론과 현장
• /
• 제1호
• /
• pp.93-108
• /
• 2003

The aim of this thesis is to evaluate visual arts policy during Kookmin government period(1998-2002). In the beginning, many artists had expected president Kim Dae Jung to enlarge arts support But the evaluation of them was very negative because the government was only interested in the development of cultural industry. First, I analysed the government expenditure in the visual arts. Department of Culture and Tourism took the responsibility of visual arts policy. The budget of arts and culture increased to 1 % of total government expenditure in this period. But the main factor was the increasement of cultural industry and tourism expenditure. The budget of visual arts in 2002 was only 6,600million won. Second, I analysed visual arts support programs. (1) The government introduced studio programs for the first time. For 5 years, 2 national studios and 23 public studios were established. (2) The number of art museum was increased to 62. (3) It introduced alternative space support program and supported 200million won annually. (4) Percent for art scheme reduced from 1% to 0.7% of total construction cost, but still 27 public sculpture gardens were built. (5) Business support for visual arts reduced because of IMF. (6) Also arts market froze and many commercial galleries were closed. (7) In order to revitalize region through arts and to promote international exchange of culture, Gwangju Biennale was created. Third, I analysed Arts Plan 2002. It had a radical limitation because it was established in the last year of Kookmin government period. Also it showed special favors to some arts organizations. In general, I think that positive outcomes are the introductions of the studio program and the alternative space support program. Especially alternative space support program enforced the diversity of visual arts, and encouraged creative young artists. But policy of arts market failed because of IMF and visual artists had to go through rough times.

• 한국실내디자인학회논문집
• /
• 제16권2호
• /
• pp.278-286
• /
• 2007

Postmodernism, the theory and philosophy that swayed the world in the late 20th century, can be interpreted in various ways as a critical reaction against modernism as well as, in one way, the logical extension of modernism itself. Thus, an extensive understanding of the social and temporal background of the birth of postmodernism and a macroscopic and correlative approach toward the related artistic circles, especially art, were carried out before a formative discussion on the furniture design of postmodernism. Postmodemism in the field of furniture design shares the history of birth and spirit with Memphis, the progressive design group established by Ettore Sottsass in Milan, 1980. This study identifies the formative features of pestrnodernistic furniture design around those works that express the trend of postmodernism, in particular, chairs, as well as the designers who participated in the first Memphis exhibition at the Milan Furniture Fair. By identifying such features, the correlation between postmodemism and those features expressed in the works of postmodernism paintings were examined. The works of Anselm Kiefer, a German nee-expressionist who became famous through the Venice Biennale 1980, and five young Italian trans-avant garde authors were selected as the scope of this case study. The characteristics of postmodernism in modern art were analyzed in terms of themes, shape, and content and were derived as follows; Firstly, borrowed and past-oriented themes, secondly, deconstructive, atypical, plural, emotional, and intuitional shapes, and thirdly, basic, metaphorical, and abstract content, The formative characteristics of chair design in postmodemism furniture design are as follows; Firstly, deconstructive, symbolic, and abstract shapes, past-oriented, reactionary, and primitive colors and closing, as well as the characteristic of delivering commercial and metaphorical messages. The subjects and motives of art have been succeeded by the characteristics of color and closing in furniture, the shape and techniques of fine arts by the characteristics of furniture shape, and the content of art by that of furniture. They share key words and characteristics.

• 무역상무연구
• /
• 제66권
• /
• pp.25-46
• /
• 2015

The purpose of this paper is to provide a legal implication about conformity of goods in the international commercial transactions. There are so many legal relationship after the formation of contract. The most of important thing among the obligations of seller is to provide conformal goods which are of quantity, quality and description required by the contract and which are contained or packaged in the manner required by the contract. If seller violate above duties, seller take the warranty liability. However, CISG describe the conformity of the goods instead of the warranty as follows. First, CISG Art.35(1) states standards for determining whether goods delivered by the seller conform to the contract and Art.35(2) describes standards relating to the goods' quality, function and packaging that, while not mandatory, are presumed to be a part of sales contracts. Article 35(2) is comprised of four subparts. Two of the subparts (article 35(2) (a) and article 35(2)(d)) apply to all contracts unless the parties have agreed otherwise. Second, CISG Art.36 and 38 deals with the time at which a lack of conformity in the goods must have arisen in order for the seller to be liable for it. If seller lack of conformity becomes apparent only after that time, seller is liable for a lack of conformity existing when risk passed to the buyer. Third, CISG Art.49 describe that a buyer who claims that delivered goods do not conform to the contract has an obligation to give the seller notice of the lack of conformity. The most of important things about CISG articles and precedents is that buyer is aware of the lack of conformity and notice it to seller. Failure to satisfy the notice requirements of article 39 eliminates a buyer's defence, based on a lack of conformity in delivered goods, to a seller's claim for payment of the price. Consequently, parties of contract had better agree to the notifying times about lack of conformity. Also, If seller fined the non-conformity, seller has to notify this circumstance to the buyer within short period or agreed time.

• 문화기술의 융합
• /
• 제6권4호
• /
• pp.219-224
• /
• 2020

Maecenas를 비롯한 다양한 초기 블록체인 기반 예술품 거래 플랫폼이 상업적으로 실패힌 주요한 원인 중 하나는 예술품을 지분화한 소유자가 소유권을 온전히 회복하기 위한 방법이 명확하지 않은 것이다. 본 논문에서는 블록체인 시스템 상에서 예술품을 지분화한 소유자가 지분을 회수하여 소유권을 온전히 회복하기 위한 절차를 제안했다. 제안한 절차를 활용하면 소유자와 투자자 사이에서 균형 가격을 찾은 후, 지분 공개 매수를 통해 소유권 회복이 가능하다. 균형 가격은 소유자가 비합리적으로 낮은 가격을 제안하는 것에 대해 불이익을 부여하고, 합리적인 가격을 결정하는 것에 대해 보상을 지급함으로써 유도될 수 있다. 제안한 소유권 회복 절차는 블록체인 기반 예술품 거래 플랫폼뿐만 아니라 다른 응용 분야의 블록체인 기반 거래 플랫폼에서도 활용될 수 있을 것으로 기대된다.

• 한국조경학회지
• /
• 제13권2호
• /
• pp.13-26
• /
• 1985

^x The enviroment defines the living conditions for people and has at the same time the possibility to create new environment. In Korea, where the rate of urbanization reached more than 50% in 1970′s the priority has been put on the economic development and administrative function. Under the circumstance, visual environmental field was dealt lightly and it resulted in undesirable environment. The techniques of Mordern Arts (Montage, Depeysment, Tromp L′oeil, P.O.P Art, etc.) helped Super Graphics appear in the urban areas. Environmental Art has been expended into the public space and people came to recognize the Arts as the "Street Art" or "Street as Gallery". Super Graphics has four types 1) Resident′s Super Graphics ; Minority groups came to maintain social equality and rights, in cooperation with each other. Such maintenance required general urbanites to form communities which gave birth to the community art, Mural Painting. 2) Environmental Super Graphics ; Beauty has come to be stressed in order to improve the quality of urban lives in the course of inescapable urban development. Instead of renewal of all established construction conservation oriented renewal was encouraged. 3) Super Graphics as Population Arts ; In the 1960′s artists repulsed the establishments in an efforts to open new phase independent from the expressional in the arts. They recognized the relationship between painting, society and the public in different angle and tried to describe all living space on canvas. 4) Super Graphics as Advertisement ; Super Graphics functions as efficient media to deliver images to the urbanites. Super Graphics as media plays the role for political propaganda and commercial advertisements according to their purposes. In Korea, especially, it is required to introduce the environmental Super Graphics. But it is desirable to introduce Super Graphics with Korean culture and sense of beauty. Designers themselves are also required to have responsibility to improve the quality of urban culture.