• 펄프종이기술
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• 제34권5호
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• pp.18-38
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• 2002

A previous study on the model coatings based on latex-bound plastic pigment coatings (1) has been extended to latex-bound No. 1 clay, ultra-fine ground calcium carbonate (UFGCC), and clay-carbonate pigment mixture coatings, which are being widely used in the paper industry. The latex binder used was a good film-forming, monodisperse S/B latex or 0.15$\mu\textrm{m}$. No. 1 clay was representative of plate-like pigment particles, whereas UFGCC was of somewhat rounded rhombohedral pigment particlel. Both of them had negatively skewed triangular particle size distributions having the mean particle suet of 0.7${\mu}{\textrm}{m}$ and 0.6$\mu\textrm{m}$, respectively. Their packing volumes were found to be 62.5% and 657%, respectively. while their critical pigment volume concentrations (CPVC's) were determined to be 52.7% and 50.5% ( average of 45% caused by the incompatibility and 55.9% extrapolated) by coating porosity, respectively. Each pigment/latex coating system has shown its unique relationship between coating properties and pigment concentrations, especially above its CPVC. Notably, the clay/latex coating system hat shown higher coating porosity than the UFGCC/latex system at high pigment concentrations above their respective CPVC's. It was also found that their coating porosity and gloss were inter-related to each other above the CPVC's, as predicted by the theory. More interestingly, the blends of these two pigments have shown unique rheological and coating properties which may explain why such pigment blends are widely used in the industry. These findings have suggested that the unique structure of clay coatings and the unique high-shear rheology of ground calcium carbonate coatings can be judiciously combined to achieve superior coatings. Importantly, the low-shear viscosity of the blends was indicative of their unique packing and coating structure, whereas their high-shear rheology was represented by a common mixing rule, i.e., a viscosity-averaging. Transmission and scanning electron and atomic force microscopes were used to probe the state of pigment / latex dispersions, coating surfaces, freeze fractured coating cross-sections, and coating surface topography. These microscopic studies complemented the above observations. In addition, the ratio, R, of CPVC/(Pigment Packing Volume) has been proposed as a measure of the binder efficiency for a given pigment or pigment mixtures or as a measure of binder-pigment interactions. Also, a mathematical model has been proposed to estimate the packing volumes of clay and ground calcium carbonate pigments with their respective particle size distributions. As well known in the particle packing, the narrower the particle size distributions, the lower the packing volumes and the greater the coating porosity, regardless of particle shapes.

• 한국언론정보학보
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• 제77권
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• pp.111-136
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• 2016

본 연구는 특정 장소에 설비되어 공간을 실체적으로 장악하며, 어디에서나 가시화됨으로써 일반의 시각을 지배하는 태극기 게양의 현안에 주목한다. 나/우리를 애국적 '국민' 주체로 호명 소환하는 태극기 게양대라는 장치의 주제에 천착한다. 2015년 내내 추진되고 10월이라는 우연성의 시간에 집중된 태극기 게양과 게양대 설치를 정국 변환을 읽어 낼 중요한 상징 정치적 배치물로 파악한다. 그럼으로써, 국면 변화에 비판적으로 간섭하는 래디컬한 국면주의 문화 연구가 되고자 한다. 연구자는 전국 각지의 태극기/게양대를 인위적 구축의 결과, 의도적 설계의 산물로 본다. 보다 구체적으로, 신자유 신보수주의 자본국가를 현시하는 시각적 장비이자, 오늘날 대중의 사이코 이데올로기를 구성 표출하려는 공간적 장치로 읽는다. 국기 게양대를 국가이데올로기 장치의 한 양태로 간주하는 연구자는, 먼저 급증한 태극기 및 그와 관련된 미디어 담론을 살펴볼 것이다. 그 다음, 위로부터 조직화되고 아래로부터 추동된 '나라사랑 태극기 선양운동'의 실체를 해부한다. 이후, 연구자는 새로이 설치되는 대형 국기 게양(대) 문제를 정치적으로 논한다. 마지막으로, 그 지배의 효과를 정리하고 저항의 가능성을 논하면서, 국가이데올로기 장치론 비판 및 지배 헤게모니 정치 전망의 결론을 맺을 것이다.

• 미술이론과 현장
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• 제14호
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• pp.125-158
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• 2012

After liberation from Japanese colonial rule in 1945, there was the three-year period of United States Army Military Government in Korea. In 1948, Democratic People's Republic of Korea, and Republic of Korea were established in the north and south of the Korean Peninsula. The Republic of Korea is now a modern state set in the southern part of the Korean. We usually refer to Koreans as people who belong to the Republic of Korea. Can we say that is true exactly? Why make of this an obsolete question? The period from 1945 when Korea was emancipated from Japanese colonial rule to 1948 when the Republic of Korea was established has not been a focus of modern Korean history. This three years remains empty in Korean history and makes the concept of 'Korean' we usually consider ambiguous, and prompts careful attention to the silence of 'some Koreans' forced to live against their will in the blurred boundaries between nation and people. This dissertation regards 'Koreans' who came to live in the border of nations, especially 'Korean-Japanese third generation women artists'who are marginalized both Japan and Korea. It questions the category of 'Korean women's art' that has so far been considered, based on the concept of territory, and presents a new perspective for viewing 'Korean women's art'. Almost no study on Korean-Japanese women's art has been conducted, based on research on Korean diaspora, and no systematic historical records exist. Even data-collection is limited due to the political situation of South and North in confrontation. Representation of the Mother Country on the Artworks by First and Second-Generation Korean-Japanese(Zainich) Women Artists after Liberation since 1945 was published in 2011 is the only dissertation in which Korean-Japanese women artists, and early artistic activities. That research is based on press releases and interviews obtained through Japan. This thesis concentrates on the world of Korean-Japanese third generation women artists such as Kim Jung-sook, Kim Ae-soon, and Han Sung-nam, permanent residents in Japan who still have Korean nationality. The three Korean-Japanese third generation women artists whose art world is reviewed in this thesis would like to reveal their voices as minorities in Japan and Korea, resisting power and the universal concepts of nation, people and identity. Questioning the general notions of 'Korean women' and 'Korean women's art'considered within the Korean Peninsula, they explore their identity as Korean women outside the Korean territory from a post-territorial perspective and have a new understanding of the minority's diversity and difference through their eyes as marginal women living outside the mainstream of Korean and Japanese society. This is associated with recent post-colonial critical viewpoints reconsidering myths of universalism and transcendental aesthetic measures. In the 1980s and 1990s art museums and galleries in New York tried a critical shift in aesthetic discourse on contemporary art history, analyzed how power relationships among such elements as gender, sexuality, race, nationalism. Ghost of Ethnicity: Rethinking Art Discourses of the 1940s and 1980s by Lisa Bloom is an obvious presentation about the post-colonial discourse. Lisa Bloom rethinks the diversity of race, ethnicity, sexuality, and gender each artist and critic has, she began a new discussion on artists who were anti-establishment artists alienated by mainstream society. As migration rapidly increased through globalism lead by the United States the aspects of diaspora experience emerges as critical issues in interpreting contemporary culture. As a new concept of art with hybrid cultural backgrounds exists, each artist's cultural identity and specificity should be viewed and interpreted in a sociopolitical context. A criticism started considering the distinct characteristics of each individual's historical experience and cultural identity, and paying attention to experience of the third world artist, especially women artists, confronting the power of modernist discourses from a perspective of the white male subject. Considering recent international contemporary art, the Korean-Japanese third generation women artists who clarify their cultural identity as minority living in the border between Korea and Japan may present a new direction for contemporary Korean art. Their art world derives from their diaspora experience on colonial trauma historically. Their works made us to see that it is also associated with postcolonial critical perspective in the recent contemporary art stream. And it reminds us of rethinking the diversity of the minority living outside mainstream society. Thus, this should be considered as one of the features in the context of Korean women's art.

• 한국지반공학회논문집
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• 제19권5호
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• pp.133-144
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• 2003

국내 남해안 해성점토 지반의 압밀특성을 파악하고자 Piezocone 시험으로 평가한 수평방향 압밀계수와 표준압밀 시험결과를 비교하였다. 기존에 제안된 수평방향 압밀계수 추정 방법들은 상호간의 편차가 클 뿐만 아니라 실내 압밀 시험값과 비교해도 그 차가 커서 사용하기에는 많은 불확실성을 갖고 있는 것으로 알려져 있다. 제안된 방법중에서 Torstensson(1977)의 구형모델과 공동확장이론, 수정 Cam-Clay모델의 한계상태이론을 적용한 Burns and Mayne의 방법(1998)은 본 연구지역과 같은 고소성 지반에서 신뢰성이 높은 것으로 나타났다. 이중 Burns and Mayne의 방법(1998)을 사용하여 소산시험결과를 정규화한 분석결과에 따르면 50% 압밀시의 시간계수($T_{50}$)는 0.015로 추정되었다. 또한 본 연구 지반조건과 유사현장의 시험성과를 활용하여 비교 분석한 결과 새롭게 제안한 Bums and Mayne의 방법(1998)은 실내 시험값에 비해 약 1.5배 작은 것으로 나타났다. 이러한 연구결과는 표준압밀시험 결과차가 상호간에 3～4배 차를 보이는 것을 감안할 때 상당히 양호한 것으로 나타났다. 이외에도 또 다른 차원에서 소산시험결과로부터 압밀계수를 직접 산정하는 방법으로서 국내에서 널리 사용중인 Robertson 등(1992)의 제안방법을 이용하여 새로운 도표를 제안하였다. 제안된 도표는 Burns and Mayne(1998)의 이론적 방법을 활용한 방법으로서 소성이 높은 지반에서 활용할 경우 신뢰성이 높은 것으로 나타났다.

• 한국지리정보학회지
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• 제16권2호
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• pp.75-87
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• 2013

본 연구에서는 정부의 연안용도해역제 법제화에 따른 실질적인 용도해역 분류에 필요한 GIS 기반의 연안해역 적성평가 모형을 개발하였다. 먼저 본 연구에서는 연안지역과 관련된 여러 가지 법규, GIS 데이터베이스 그리고 활용시스템을 조사하였다. 또한 용도해역 적성평가 지표들을 계산하기 위한 GIS 분석 모델은 격자자료 모델을 선정하였으며, 물리적 특성을 비롯한 해역 및 공간적 입지특성을 구성하는 지표들을 계산하기 위한 격자 기반의 분석 기법을 제시하였다. 지표들의 임계치는 연안관련 법규와 토지적성평가에서 제안된 기준들을 이용하여 제시하였으며, 특히 GIS 자료의 특성을 반영하기 위해 퍼지함수와 같은 연속적인 형태의 산정 기법을 제시하였다. 그리고, 본 연구에서는 표준화점수를 이용하여 적성등급을 구분하고, 이로부터 보전관리우선해역, 이용관리우선해역 그리고 계획관리우선해역을 지정하는 모형을 개발하였다. 본 연구에서 제시된 연안 용도해역 적성평가 모형이 실무에 적용될 때, 대상지역의 공간적 범위와 GIS 데이터베이스를 고려한다면 매우 효과적인 업무 수행이 가능해질 것으로 판단된다.

• 한국구조물진단유지관리공학회 논문집
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• 제22권2호
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• pp.161-168
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• 2018

이 연구는 CRC기둥강도곡선의 비탄성영역에 대한 해석적 고찰이다. CRC기둥강도곡선의 비탄성영역은 최대 잔류응력 크기 $0.5{\sigma}_y$와 Bleich이론을 기초로 하고 있다. 이는 실제로 알려진 최대 압축 잔류응력의 크기가 $0.3{\sigma}_y$인 경우 보다 다소 보수적이다. 본 연구는 열압연강재의 최대 압축 잔류응력의 크기를 $0.3{\sigma}_y$으로 고려하여 그에 따른 기둥강도곡선과 접선탄성계수 Et를 제안하고 이를 CRC에서 제안하고 있는 값들과 각각 비교 고찰한다. 축 압축력을 받는 비탄성 기둥의 응력은 기둥에 작용하는 하중이 좌굴을 일으키기 전에 재료의 비례한도를 넘어 항복점에 도달할 것이다. 따라서 점차적인 단면의 항복 상태에 따른 기둥강도곡선을 검토할 필요가 있다. 본 연구는 최대 압축 잔류응력 ${\sigma}_r=0.5{\sigma}_y$을 사용하여 재료의 항복에 따른 임계하중 곡선식을 유도하고 이를 CRC기둥강도곡선과 비교 고찰한다.

• 미술이론과 현장
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• 제4호
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• pp.145-180
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• 2006

In Korea, nation and nationalism are undeniable justice, absolute virtue and moreover system of desire. From the late Chosun Dynasty when the Korean Peninsula had to survive from the critical situation of being the arena of competition, and through the colonial period under Japanese imperialism, nationalism became stronger as a logic of survival. The policy of seclusion under closed and exclusive nationalism that didn't recognize the world situation well enough, eventually gave more pain to the nation. Nationalism in colonial Korea which was as reformed nationalism and on the other hand, as intransigent, resisting nationalism. Since the purpose of this writing is not for clarifying the argument raised on Korean nationalism, there is no use mentioning how it went with the change of time. But we have to focus on the fact that the word 'nation' which appeared under the influence of popular revolution and capitalism meaning 'a group of people', was translated and understood as a racial concept for strengthening the unity of 'single-race nation with five thousand years' history. First of all, there is nationalism used to fortify the system. 'The Charter of National Education' and 'The Pledge of Allegiance' were ornaments to intensify the ruling ideology and dictatorship to militarize entire South Korea for 'settling Korean democracy' professed nationalism. Also, another ruling ideology armed with 'self-reliance' put North Korea into the state of hypnosis called nationalism. Nationalism, claiming 'nation' outwardly, but in reality, being an illuminating, instructing ideology isolating each other was indeed a body with two faces. This made 'nation' in Korea mysterious and objective through work such as. The statue commemorating patriotic forefathers' and picture of national records' in South Korea art. Nationalism used to strengthening the system encountered the magical 'single-race' and made 'ghost' being an extreme exclusion to other nations. We can find pedigreed pureness not allowing any mixed breeds from the attitude accepting western art -via Japan or directly- and making it vague by using the word Korean and Asia. There's nationalism as a resistant ideology to solidify the system on the other side. It came out as a way of survival among the Great Power and grew with the task of national liberation to became as a powerful force facing against the dictatorship dominating South Korea after the liberation. This discussion of nationalism as a resistance ideology was active in 1980s. In 1980, democracy movement against the dictatorship of 5th Republic originated from military power which came out suppressing the democratic movement in Gwangju, spread out from the intellects and the students to the labors, farmers and the civilians. It is well known that the 'Nation-People(Minjoong)'s Art Movement could come out under this social condition. Our attitude toward nationalism is still dual in this opening part of 21st century. On one hand, they are opposing to the ultra-nationalism but are not able to separate it from nationalism, and on the other, they have much confusion using it. In fact, in a single-race nation like Korea, the situation of being nationalism and jus sanguinis together can cause dual nationalism. Though nationalism is included in the globalization order, it is evidence that it's effective in Korea where there are still modern fetters like division and separation. In particular, in the world where Japan makes East Asia Coalition but exposed in front of nationalism, and China not being free from Sinocentrism, and American nationalism taking the world order, and Russia fortifying nationalism suppressing the minority race after the dissolution of socialism, Korean nationalism is at the point to find an alternative plan superior to the ruling and resisting ideology.

• 한국조경학회지
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• 제51권2호
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• pp.42-53
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• 2023

이 논문은 다변화하고 있는 환경미학의 최근 전개 양상을 고찰하고, 환경미학의 중요한 갈래로 부상하고 있는 일상미학의 주요 의제와 주장, 쟁점과 의의를 비판적으로 검토한다. 1960년대의 문화 변동과 환경주의를 바탕으로 싹튼 환경미학은 20세기 후반 이론적 기반을 다지며 성장했고, 21세기에 들어서면서 대상과 주제의 다변화 과정에 진입했다. 학문적 성숙기를 맞은 환경미학은 도시를 포함한 인문환경 전반으로 이론적 영토를 확장했으며, 도시 환경과 경관의 계획·설계 담론으로서 실천적 좌표를 제시했다. 특히 2000년대 중반 이후 환경미학의 가장 주목할 성과는 '일상미학'의 성립이라고 할 수 있다. 일상미학 연구를 주도하고 있는 유리코 사이토는 미학 이론의 대상과 범위를 일상의 사물, 사건, 행동, 환경으로 확장한다. 그는 기존의 예술 중심적 미학이 간과해온 일상의 미시적이고 감각적인 국면을 미학의 시선으로 발굴해 현대 도시의 환경과 경관, 공간과 장소에서 벌어지는 현상의 다양한 층위를 새롭게 해석하며, 일상에 숨겨진 '미적인 것의 힘'이 삶의 질과 세상의 상태에 미치는 심대한 영향을 분석한다. 그는 일상의 대상과 환경에 내재한 특유의 성질과 분위기에 대한 감상을 고찰하고, 일상의 미적 감상과 판단이 낳는 환경적, 사회적, 정치적 결과를 경계하기 위해 '도덕적-미적 판단'을 제안한다. 이 논문은 일상미학의 쟁점과 의의를 첫째 미학의 확장과 모호한 일상, 둘째 도덕적-미적 판단과 돌봄의 미학, 셋째 도시 재생 경관과 미학적 문해력으로 파악한다. 특히 사이토가 주장하는 일상미학의 도덕적 덕목, 즉 돌봄, 사려 깊음, 감수성, 존중 등은 동시대 도시재생 경관의 실천에 대한 비평적 준거를 마련해준다. 그가 강조하는 '미학적 문해력'은 일상의 도시 환경과 경관 해석에 환경미학의 관점이 필요한 이유를 입증하는 핵심 개념이다.