• 한국정보컨버전스학회:학술대회논문집
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• 한국정보컨버전스학회 2008년도 International conference on information convergence
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• pp.99-102
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• 2008

Mineralogical studies of ore and alteration minerals have been conducted for the Hugo Dummett porphyry copper deposit. The Hugo Dummett porphyry copper gold deposit is located in the South Gobi region, Mongolia and currently being explored. This deposit divided into the Cu-rich Hugo Dummett South and the Cu-Au-rich Hugo Dummett North deposits. The Hugo Dummett deposits contain 1.08% copper(1.16 billion tonnes in total) and 0.23 g/t gold(Oyunchimeg et al., 2006). Copper-gold mineralization at these deposit are centered on a high-grade copper(typically>2.5%) and gold(0.5-2 g/t) zone of intense quartz stockwork veining. The high grade copper and gold zone is mainly within the Late Devonian quartz monzodiorite intrusions and augite basalt, also locally occurs in dacitic rocks. Intense quartz veining forms a lens up to 100 m wide hosted by augite basalt and partly by quartz monzodiorite. Although many explorations have been carried out, only a few scientific works were done in the Oyu Tolgoi mining area. Therefore the nature of copper-gold mineralization and orgin of the deposit is not fully understood. Copper-gold mineralization in the Hugo Dummett deposits occurs in dominantly quartz monzodiorite and minor augite basalt, dacitic rocks and locally biotite granodiorite. Chalcopyrite, pyrite, bornite, molybdenite, tennantite, tetrahedrite, enargite, sphalerite, chalcocite, covellite, eugenite, galena and gold occur as main ore minerals in the Hugo Dummett North and South deposits. These sulfides occur as: (1) a vague vein-like trail 1-3cm long and 2-3 mm wide, (2) minute, discontinuous cracks within quartz(micron scales), and (3) irregular blebs/spots(micron scales)and (4) disseminated within the sericite and plagioclase, commonly concentrated in the quartz. Sulfide minerals commonly display as a replacement, intergrown and minor exsolution texture in the both of the Hugo Dummet deposits.

• 디지털융복합연구
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• 제17권2호
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• pp.363-371
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• 2019

본 연구의 목적은 빅토르 위고(Victor Hugo)의 <크롬웰, Cromwell,1827> 서문의 그로테스크한 특성을 살피고, 니체의 고대 <그리스 비극>에 나타난 '사티루스(Satyros)'의 그로테스크한 현상을 빅토르 위고의 그로테스크와 차이점 및 공통점을 규명하기 위함이었다. 또한, 빅토르 위고와 니체의 공통점은 중세에 관심이 있었는데, 어떤 차이가 있는지 살펴보고자 했다. 연구의 주요결과는 빅토르 위고의 그로테스크 현상은 니체의 <그리스 비극>에서 디오니소스 극장의 '사티루스'에서 드러난다. 그것을 분류하면 첫째, 외형적인 부분에서 인간과 동물이 혼합된 형상을 한다. 둘째, '사티루스'가 익살스럽고 우스꽝스러운 분위기에서 가면을 그로테스크한 소재로 활용한 부분이다. 그로테스크에 대한 미학적, 철학적 정의가 세기마다 다양한 방법으로 있었지만, 아직도 그로테스크에 대해서 연구가 부족한 실정이다. 향후 후속연구는 시간의 흐름에 따른 사회적 현상에서 세부적인 연구가 진행되야 할 것이다.

• 원자력산업
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• 제36권2호
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• pp.53-60
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• 2016

최첨단 휴먼 시스템 인터페이스(Human System Interfaces, HSIs) 기술을 연구 분석하여 설계를 거쳐 채택하는 것이 원전 공학 기술의 중요한 요소 중 하나로 자리를 잡고 있다. 미국 아이다호 국립 에너지안보연구소의 Jacques Hugo와 David Gertman은 기술의 사용 환경, 기술 성숙도, 유용성, 인적 성과가 필요한 직무를 기반으로 한 이 새로운 기술이 원전업계가 선택해야 할 바람직한 방안이라고 제안하고 있다.

• 건축역사연구
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• 제12권2호
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• pp.41-59
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• 2003

Hugo $H\"{a}ring$(1882-1952) belonged to that special generation of architects born in the 1880s which became responsible for the establishment of Modern Movement in the 1920s as W. Gropius, Mies van der Rohe and Le Corbusier, etc. Although he have been overlooked by many historian, He was a key figure of the Modern architecture and as the main theorist for Organic stream in German architecture. He is well-known for his theory of 'Neues Bauen(New Building)', the organic functionalism that is epitomized as the design process from the inside outwards, starting with the life-processes of dwelling. So he argued that the builder must become aware of the life process his building is to serve, and he should not impose a form but try to find the form. These concepts are expressed well in his key-words, the 'Organwerk(organ-work)' and 'Leistungsform(form as achievement)'s. $H\"{a}ring's$ theory can be found in the short early essay, 'Wege zur Form(approaches to form)' of 1925. But His concept of 'function' is based on the speciality and individual identity that concerned him from the start, not purely pragmatic aspects. After 1940s his theory moved increasingly in this direction. He defined this as the transition from 'Organwerk' to 'Gesetaltwerk', from mere anatomy to essence, being, personality, life. It suggest that Hugo Haring's idea of Gestalt is a dimension of mystical or symbolic meaning. This paper Is about the way in which this theoretical transition can be parallel with contemporary philosophers as E. Cassirer's philosophy of symbolic forms and M. Heldegger's phenomenology. And the key example of this viewpoint is (1921-1926) near Lubuk in Germany, with its 'cowshed' of pear shaped plan devised around the requirements and rituals of farm. This study presents the symbolic conception of Hugo $H\"{a}ring's$ theory can propose the ability of a symbolic intuition as a view that re-integrate technical thinking with knowledge of other kinds beyond the immediate material.

• 한국엔터테인먼트산업학회논문지
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• 제13권3호
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• pp.111-119
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• 2019

시간과 공간은 모든 서사의 기초가 되고. 공간은 서사의 대상과 내용으로서 영화 서사에서 점점 더 중요한 역할을 하고 있다. 디지털 기술의 발전 응용으로 영화 공간의 표현력이 크게 강화되면서, 공간 서사는 점점 더 감독과 비평가들의 관심을 끌고 있다. 여전히 발전하고 있는 영화 서사 형식으로서, 공간서사는 서사구조, 서사효과, 창작기법, 관객수용 등에서 큰 우세를 갖고 있어 영화 서사의 창작에 돌파구와 혁신을 가져올 수 있다. 본 문서는 영화공간 이론을 바탕으로 한 영화 <휴고>의 공간표현방식 분석, 그리고 서사공간의 추진요소, 구조적 요인, 상징적 의미와 심리적 요인 등 몇 가지 측면에서 미국 영화 <휴고>의 공간서사의 의미를 구체적으로 짚어본다. 영화 서사공간에 담긴 매력을 발굴하여 영화 서사의 표현에 참고와 귀감을 조금이라도 제공하였으면 한다.

• 한국실내디자인학회논문집
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• 제15권5호
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• pp.12-19
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• 2006

The artistic features of German Expressionism in the early twentieth century are often recognized for its abstract and emotional representation in art and architecture. Expressionism departed from the paintings, notably the works of Der Blaue Reiter and the Bruck, but the architectural works with curve and organic features were also taken as expressive. German architects Hans Scharoun (1893-1972) and Hugo Haring (1882-1958), in this regard, have long been regarded as Expressionist architects, but recent studies suggest that their architectural designs include a profound idea of modem functional building. Scharoun and Haring held a socialist utopian vision as other modernists have also had, but their inherent view upon modern architecture was function which was mistakenly viewed as Expressionism in earlier documents. This paper intends to exemplify how Expressionism is inappropriate to represent the expressive presentations of Scharoun and Haring. Despite the fact that their designs possess certain expressionist elements, their works can also be constructed as an advanced functionalism. Many young architects in Germany were not given chances to build due to economic hardship after the First World War, and they were naturally led to imagery sketch designs for future architecture. Abstract Idea was freely exposed in its preliminary visual form, and it is also uneasy to draw a borderline between expressive presentation and the Expressionism itself.

• 한국언어정보학회:학술대회논문집
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• 한국언어정보학회 1995년도 Language, Information and Computation = Proceedings of the 10th Pacific Asia Conference, Hong Kong
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• pp.225-229
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• 1995

• 한국수자원학회:학술대회논문집
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• 한국수자원학회 2005년도 학술발표회(1)
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• pp.242-243
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• 2005

• 한국재료학회:학술대회논문집
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• 한국재료학회 1992년도 추계학술발표강연 및 논문개요집
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• pp.4-4
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• 1992

• 정보과학회지
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• 제17권5호
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• pp.20-26
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• 1999