• 한국자기학회지
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• 제21권6호
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• pp.231-236
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• 2011

X-선 자유전자레이저(XFEL)는 펨토초의 펄스형태, 완벽한 결맞음 및 고휘도 특성으로 X-선 실험과학분야의 새로운 시대를 예고하는 꿈의 X-선 광원장치로 언급되고있다. XFEL에 관한 간략한 소개와 현재 세계적으로 진행되고 있는 XFEL 시설현황을 살펴보고, 대표적인 실험장치를 개념적으로 분류해서 정리해 보고자 한다. 특히 자성연구분야와 관련된 제안 및 연구사례를 간략하게 언급하고, 지금 현재 진행 중인 포항가속기연구소의 XFEL 프로젝트의 개요와 XFEL 활용을 위해서 제안된 대표적인 과학프로그램을 살펴보고자 한다.

• Smart Structures and Systems
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• 제30권4호
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• pp.411-420
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• 2022

Monitoring large structures is a significant issue involving public health on which new studies are constantly carried out. Although the Global Navigation Satellite System (GNSS) is the most preferable method for measuring structural displacements, total stations, one of the classical geodetic instruments, are the first devices that come to mind in cases that require complementary usage and auxiliary measurement methods. In this study, the relative displacements of the structural movements of a tower were determined using robotic total stations (RTS) and GNSS. Two GNSS receivers and two RTS observations were carried out simultaneously for 10 hours under normal weather conditions. The spectral analysis of the GNSS data was performed using fast Fourier transform (FFT), and while the dominant modal frequencies were determined, the total station data were balanced with the least-squares technique, and the position and position errors were calculated for each measurement epoch. It has been observed that low-frequency structural movements can be determined by both methods. This result shows that total station measurements are a helpful alternative method for monitoring large structures in situations where measurements are not possible due to the basic handicaps of GNSS or where it is necessary to determine displacements with short observations.

• 한국콘텐츠학회논문지
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• 제18권5호
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• pp.167-174
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• 2018

일본정부는 급격하게 고령화 되어가는 사회에 대응하기 위해 지속적으로 노인복지를 확대해왔다. 그리고 일본의 노인 복지제도의 바탕을 이루고 있던 조치제도는 2000년에 들어서면서 개호보험이라는 사회보험적 형태의 노인복지 시스템으로 변화, 정착되었고 일본의 노인복지 시스템은 획기적인 변화를 맞게 되었다. 본 연구에서는 이러한 개호보험이 가지는 주요 특징 중에 특별히 주목하는 점은 다음과 같다. 첫째, 개호보험은 사회보험시스템으로서 의무적인 가입을 해야 하며 상당한 양의 보험금과 자기부담금을 부담해야한다. 둘째, 복지제도의 이용자는 소비자로 인식되며, 그들은 다양한 소비자로서의 초이스를 가질 수 있도록 하고, 이를 위해 복지서비스 제공자는 자유시장에서의 경쟁의 원리를 바탕으로 활동하게 된다. 그리고 이전의 조치제도 하의 복지서비스 제공자들이 정부 주도의 시설과 단체들로서 그에 대한 규제가 엄격하였다면, 개호 보험에서의 서비스 제공자들은 훨씬 유화되고 간단해진 관리와 규제를 받게 되었다. 이러한 개호보험의 특징은 재일조선, 한국인 조직들이 재일 고령자라는 소비자에게 일본 복지서비스에서는 찾기 힘든 한민족의 민족적 콘텐츠를 노인 복지 영역에 도입하는 활동을 기획하고 실천하는데 있어 그 동력을 제공하였다. 즉, 한민족 콘텐츠를 복지 서비스의 판매에 유리한 조건(selling point)로서, 동시에 예상되는 복지이용에서의 민족적 불이익에 대한 대안으로 삼음으로써 일본의 노인복지서비스 영역을 다양화하는 결과를 가져왔다.

• 건축역사연구
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• 제21권5호
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• pp.19-32
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• 2012

The purpose of this paper is a study on the dome plan of S. M. del Fiore Church of F. Brunelleschi. The results of study are as follows: 1. The planning of floor, elevation and cross section plan of S. M. del Fiore church is basically planned by each other correlation. In particular, the octangular form of geometrical standard which is formed with altar as the center at the crossing part is important component elements which is decided by not only the dome, but form and size of the drum and floor plan form of the lantern 2. The dome which has been planned by F. Brunelleshi has completed the new dome, preserving gothic thought intended by the church plan after study on architecture of ancient Rome with Pantheon. And the dome which is a main space of church through all aspects of plan, structure, function and construction about the dome is a opportunity in the beginning of Renaissance architecture which is a new epoch and a turning point of architecture on various point of view. 3. The dome which is constructed by F. Brunelleshi has been planned through the innovative solution by the refusal of traditional semicircle form dome, centering use and creation double-shell structure form for the first time in history. And the construction of dome has been solved with the invention of various construction equipments and machineries, the stone rib planned for connection and reinforcement about shells of the octangular form, the support method for reduction the gravity of bricklayers work and the brick work of nock-patterned shape which is masonry construction method of the architecture of ancient Rome.

• 한국지구과학회지
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• 제40권4호
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• pp.353-381
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• 2019

The general world model for homogeneous and isotropic universe has been proposed. For this purpose, we introduce a global and fiducial system of reference (world reference frame) constructed on a (4+1)-dimensional space-time, and assume that the universe is spatially a 3-dimensional hypersurface embedded in the 4-dimensional space. The simultaneity for the entire universe has been specified by the global time coordinate. We define the line element as the separation between two neighboring events on the expanding universe that are distinct in space and time, as viewed in the world reference frame. The information that determines the kinematics of the geometry of the universe such as size and expansion rate has been included in the new metric. The Einstein's field equations with the new metric imply that closed, flat, and open universes are filled with positive, zero, and negative energy, respectively. The curvature of the universe is determined by the sign of mean energy density. We have demonstrated that the flat universe is empty and stationary, equivalent to the Minkowski space-time, and that the universe with positive energy density is always spatially closed and finite. In the closed universe, the proper time of a comoving observer does not elapse uniformly as judged in the world reference frame, in which both cosmic expansion and time-varying light speeds cannot exceed the limiting speed of the special relativity. We have also reconstructed cosmic evolution histories of the closed world models that are consistent with recent astronomical observations, and derived useful formulas such as energy-momentum relation of particles, redshift, total energy in the universe, cosmic distance and time scales, and so forth. The notable feature of the spatially closed universe is that the universe started from a non-singular point in the sense that physical quantities have finite values at the initial time as judged in the world reference frame. It has also been shown that the inflation with positive acceleration at the earliest epoch is improbable.

• 공학교육연구
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• 제24권4호
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• pp.21-29
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• 2021

The objective of this research is to devise a BARS evaluation system as a performance evaluation plan for non-face-to-face capstone design and to verify the validity through the expert FGI as the remote education is highlighted as a new normal standard in the post corona epoch. The conclusion of this research is as follows. First, the non-face-to-face capstone design is a competency centered subject that allows you to develop the engineering and majoring knowledge and its function and attitude, and the achievement of program outcome is the objective competency, and the researcher proposes the BARS method evaluation, one of competency evaluation method, as a new performance evaluation plan. Second, for the evaluation of PO achievement of non-face-to-face capstone design, the researcher deduced 20 behavior identification standard(anchor) of BARS evaluation system, and developed the achievement standard per 4 levels. Third, as the evaluation tool of non-face-to-face capstone design, the presentation data(PPT), presentation video, product such as trial product(model), non-face-to-face class participation video, discussion participating video, team activity report, and result report for the evidential data of BARS evaluation were appeared as proper. Finally, the BARS evaluation plan of non-face-to-face capstone design would be efficiently made through the establishment of evaluation plan, the establishment of grading standard of BARS evaluation scale, the determination of evaluation subject and online BARS evaluation site.

• 디자인학연구
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• 제13권4호
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• pp.95-103
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• 2000

빠르게 변화하는 사회 구조와 생활환경 안에서 다양해진 소비자의 욕구를 충족시키고 제품이 갖는 독특한 캐릭터를 창출하기 위해서, 현대의 디자이너들은 보다 새로운 아이디어를 지속적으로 시도해야만 하게 되었다. 지난 20세기는 기술의 획기적인 진보와 더불어 산업화로 인한 다양한 측면에서 디자인의 성장이 이루어졌고, 시대의 흐름에 따라서 그 의미와 스타일이 각기 다른 양상으로 변화되어 왔다. 과거에 유행했던 디자인과 스타일을 차용하여 현대적 의미와 개념의 디자인으로 재창조하는 레트로(Retro) 디자인이 최근의 디자인 트렌드로 확산 적용되고 각광받고 있다. 이러한 복고적 스타일의 현상은 다양한 분야에서 과거를 회상하게 하는 이미지로 나타나고 있으며 새로운 감각으로 또 다른 가치로 인정받고 있다. 제품디자인 측면에서 가장 대표격인 자동차 디자인은 지난 100여 년 간의 스타일의 변천사에 있어서 시대적 사회·문화적인 변화와 기술의 진보에 의하여, 점차 다른 형태로 나타났으며 다양한 디자인이 끊임없이 시도되어 왔다. 최근의 자동차 스타일의 흐름은 첨단과학기술의 비약적인 성장으로 인해, 그 스타일의 변화가 빠르고 다양한 형태로 나타나고 있는 반면에, 과거의 디자인을 재 도입하는 레트로 스타일이 새로운 트렌드로 관심을 끌고 있다. 자동차디자인에 있어서 복고적 스타일의 의미는 트렌드 이전의 인간의 감성을 자극하고 인간성 회복이라는 또 다른 차원에서, 과거의 문화와 자신과의 연결을 회복하는 의미에서 현대적 감각으로 재창조되어, 향후 미래 디자인 영역을 확장시킬 것으로 보이며 새로운 디자인 트렌드로 발전을 예측할 수 있다.

• 미술이론과 현장
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• 제2호
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• pp.7-26
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• 2004

Since the 20th century, it was often announced that a painting was dead, but it is still alive. Even in the epoch of recently increasing virtuality, painting is still appealing, consistently pursed by many with a thirst. Thus, it is said that the mission of a picture is to maintain its reality without being trapped in virtuality. In the history of Western painting spanning over several hundreds of years the myriad of techniques and styles have emerged, going though a huge variety of changes: namely, its not possible any longer to find the new ways of expression in painting. Hence, painters today feel that it becomes more gradually difficult for them to execute something. In the midst of swiftly changing, diversely evolving trends of contemporary art, the painters incessantly pose a question why they go on working on painting, and seek to find its answer. Why the painters still try to say something about painting? Is that because they consider it the quintessence of fine arts or think that it is in no way possible or meaningful to comment on fine arts without relying on painting? If then, is there any avenue of escape for the painting? The question of the 'crisis of painting' is still raised, when reviewing the rapidly changing conditions of inventing artworks. That is also why the recent works failed to offer a conceptually unified, universally shared perspective of painting. Moreover, painting is left to shrink comparatively with the pervasive existence of videos and installations briskly employing digital images and technologies in their creations. Whats more problematic is the fact that there is a growing sense of crisis not only in the sphere of painting hut also in the entire realm of art. As the organizers and curators of big-scale exhibitions and art projects tend to exploit their space spectacularly, focusing primarily on their abilities to control the space, there is a pervasive notion amongst them that painting is a medium that is not properly to suit such purposes and requests. Today, the death of painting is, in fact, the death of modernist painting, which assumed a central role in the history of art for a considerable amount of time, rather than the death of painting itself. Employing a new paradigm of invention, a picture is now entering a new domain which is perhaps unknown to us. Moving beyond the stereotypical concepts of painting, physical property and flatness, pictures today reveal the introduction of time and space and the penetration of new media such as installation, photography, video and the Internet. Despite such trends, the dexterity and tactile capability of painters is still to be considered significant in the future. The renewal of painting is made in an entirely unexpected manner and place.

• 한국연극학
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• 제48호
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• pp.51-84
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• 2012

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the "phantom of history" making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

• 대순사상논총
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• 제50집
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• pp.33-68
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• 2024

변찬린(1934~1985)은 한국적 정신의 근간인 '풍류(風流)' 또는 '선(僊)'의 관점에서 기독교와 불교, 도교, 유교 등의 세계종교들을 상호 텍스트적으로 회통했을 뿐만 아니라 근대 한국 민족종교들까지 포괄하는 새로운 종교관을 제시하였다. 그는 풍류라는 '대도(大道)의 정맥(正脈)'에서 벗어나서 '피안(彼岸)의 종교'로 전락한 채 특정 종교 전통에 매몰된 세계종교들의 배타적 한계를 극복하기 위해서 '새종교'의 필요성을 역설했다. 또한 증산사상을 비롯한 다양한 근대 한국의 자생신종교들을 혹세무민(惑世誣民)의 '미신(迷信)' 혹은 '신흥종교'로 폄하하던 관점에서 벗어나고자 한 '새종교'로 보면서 높이 평가하였다. 특히 제국의 지배종교가 아니라 식민지 민중의 대안종교라는 관점에서 민족종교의 후천개벽사상과 증산의 천지공사 및 해원상생사상을 세계 종교들의 모순과 한계를 극복하는 종교의 창조적 진화로 이해하면서, '종교성'의 한계에서 벗어나서 '영성'의 새로운 가능성을 모색하는 SBNR의 시대를 예고하는 구도자적 통찰을 선보였다.