• 한국정보컨버전스학회:학술대회논문집
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• 2008.06a
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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.

• Journal of Digital Convergence
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• v.17 no.2
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• pp.363-371
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• 2019

The purpose of this study was to look at the grotesque characteristics of the preface to "Cromwell, 1827" by Victor Hugo and to identify the differences in the ancient Gris Tragedy. Also, Victor Hugo and Nietzsche were interested in the Middle Ages, and wanted to see if there were any differences. The main findings of the study are the grotesque phenomenon of Victor Hugo in the "Satirus" at Dionyson Theater in Nietzsche's Gris tragedy. When you classify them, first, the appearance of humans and animals mixed in. Second, Satyrus uses the mask as a grotesque material in a humorous and funny atmosphere. Although there were many ways to define grotesque aesthetics and philosophy, there was still a lack of research on grotesque. Future studies should be conducted in detail in social phenomena over time.

• Nuclear industry
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• v.36 no.2
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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.

• Journal of architectural history
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• v.12 no.2 s.34
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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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• Korean Institute of Interior Design Journal
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• v.15 no.5 s.58
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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.

• Proceedings of the Korean Society for Language and Information Conference
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• 1995.02a
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• pp.225-229
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• 1995

• Proceedings of the Korea Water Resources Association Conference
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• 2005.09a
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• pp.242-243
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• 2005

• Proceedings of the Materials Research Society of Korea Conference
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• 1992.05a
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• pp.4-4
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• 1992

• Communications of the Korean Institute of Information Scientists and Engineers
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• v.17 no.5
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• pp.20-26
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• 1999