• 한국산학기술학회논문지
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• 제15권5호
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• pp.3203-3212
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• 2014

기업의 문화 예술 지원은 메세나 운동으로부터 시작되었고 이후에는 소비자의 문화욕구를 만족시키고 기업의 이미지를 향상시키며 시대의 요구와 변화로서 기업의 활동을 증가시키는 문화마케팅으로 변화되었다. 그러므로 많은 기업들은 다양한 영역에서 문화마케팅 활동을 발전시키고 있다. 특히 아트마케팅은 예술 활동에 대한 관심과 기대치를 올리고 생산품에 대한 비판적인 관점과 삶의 기준을 높이는 역할로 인해 중요한 업무가 되었다. 그러므로 기업은 전략적 차원과 공공복지에 기여하는 차원에 따르는 이미지 마케팅 활동으로서 자사건물이나 별도의 공간에 전시공간을 제공해 예술과 관련된 다양한 전시, 스폰서, 교육 프로그램을 제공한다. 본 논문은 문화마케팅의 개념, 기업의 문화 예술 지원현황 및 아트 마케팅의 개념과 유형을 분류한다. 동시에 문화마케팅 수단으로서 기업 미술관의 전시공간의 유형을 분류하고 프로그램의 분석을 통해 기업 미술관의 특성 및 유형을 파악한다.

• 한국윤활학회:학술대회논문집
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• 한국윤활학회 2004년도 학술대회지
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• pp.233-236
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• 2004

An experimental study was conducted to evaluate characteristic variation of diluted engine oil by diesel fuel and its effects on engine components. Especially, engine oil was made to have $15\%$ fuel content. To predict existing diesel fuel content in engine oil after test was used the viscosity calibration curve. About $54\%$ percent of diesel fuel in diluted engine oil was distillated by various paths related to reciprocating motion of piston and the rest diesel fuel plays an important role for decreasing engine oil viscosity. Test results show that lowered engine ell viscosity by diesel fuel dilution become a reason of increasing engine elements wear, Therefore, this caused the quantity of blow-by gas to increase and main gallery pressure to decrease.

• 무역상무연구
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• 제66권
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• pp.241-261
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• 2015

About trade show strategic practical use plan, sought practical use plan hereafter with problem in 5 side. First, need that supply reliable and objective information about exhibition utilizing active public relations of domestic trade show certification system and international certification system. Second, I need to reinforce budget support estimation to expand governmental budget support and strengthen professionalism of exhibition operation. Third, need to seek globalization strategy of exhibition industry concretely to overcome realistic limit of domestic exhibition industry. Institutional improvement for long-term public information of exhibition and participation company's satisfaction raising and infra for gallery's management result should be established. Fourth, need excavation of various first-hand field marketing that can dig various interaction method with customers and invite new customers by booth exhibition. Fifth, need professional worker positivity, deflation that fulfill knowledge that is adapted, and precedes in environment worldwide exhibition industry training actively universal exhibition industry professional worker. Foreign exhibition is an one of marketing tactics that is generalized that can approach to oversea market in less expense relatively. To measure exactly fact and participation result of exhibition that select suitable exhibition in one's own company's marketing goal in company's standpoint that participate in exhibition according as exhibition number is increased and function of exhibition is diversified became difficult.

• 한국실내디자인학회논문집
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• 제20권2호
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• pp.94-101
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• 2011

As the existing paradigm of consumption has changed, companies have been actively engaged in targeting culture-oriented emotion, creating added values through appealing to customers' emotion and improving the values of culture and art. Each company has created differentiated space and inner space to lead trends, and has provided space for various experiences as an innovative marketing area to attract customers and promote consumption. In this aspect, we should focus on space marketing which considers cultural background or emotion as a main target Therefore, this study selected a cultural program as a strategic means to identify space marketing in terms of experience. The study speculated marketing in terms of space experience and analysed space for cultural programs with differentiated experiences in order to use the results as basic data for identifying the marketing values of the cultural programs and their uses. The results of the study are presented as follows: when space experience is a factor of marketing and the cultural program is a tactic in terms of marketing, their specific relations are speculated through a certain module. The order of using the cultural program for space experience, features of space representation and tactics for experience were different and the strategies evoked very complicated and mixed experiences.

• Tribology and Lubricants
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• 제21권4호
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• pp.159-164
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• 2005

An experimental study was conducted to evaluate characteristic variation of diluted engine oils in which contains diesel fuels and its tribological effects on engine components. In this study, diluted engine oils with $10\%,\;15\%,\;and\;20\%$ of initial fuel content rate have been used for measuring the viscosity reduction rate, blow-by gas increment rate, main gallery pressure reduction rate, and fuel content rate in engine oils. These parameters are strongly related to the tribological characteristics of key engine components. The kinematic viscosity of engine oils in which is contained by diesel fuels from $10\%\;to\;20\%$ in oils is decreasing to approximately $54\%$ of initial diluted fuel-oil volume ratios. The experimental results show that the distillated engine oil decrease the viscosity of engine oil and its oil film stiffness, and increase the wear rate of rubbing parts of engine components. Thus we recommend that the containing volume rate of fuels in engine oils should be restricted to $3\~4\%$ for a sophisticated Diesel engine and $5\~7\%$ for a standard one.

• 미술이론과 현장
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• 제14호
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.