• 복식문화연구
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• 제29권2호
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• pp.185-203
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• 2021

The aim of this study was to reveal the modern succession and reinterpretation of brand identity through the case of Balenciaga design presented by Demna Gvasalia through a review of the literature, design collection, and design review analysis. The design collection analysis was conducted from 2016 F/W to 2020 F/W, when Demna Gvasalia commenced responsibility for the Balenciaga collection. A total of 12 articles from overseas fashion magazines and newspapers were analyzed. A modern reinterpretation of Demna Gvasalia's Balenciaga design is as follows. First, he introduced luxury mode to reflect a sense of the times and introduced luxury street looks based on street and sports sensibilities, showing various styles without specific concepts. Second, by sharing universal sensibilities based on pragmatism, he proposed an easy-to-wear outfit for daily life to demonstrate the everydayness of fashion. Third, as a new exploration of traditional structural beauty, the design of Cristobal Balenciaga was reinterpreted through the conversion of items, overlapping outfits, and the introduction of high-tech technologies. Fourth, by taking a conceptual approach to fashion, he has renewed the spirit of experimentation and modernity shown by Cristobal Balenciaga. Fifth, with the presentation of a new icon, new styles of sneakers such as Triple S and Speed Runner are presented as new icons. He inherited the original mindset and creative approach of the house's founder, Cristobal Balenciaga, and reinterpreted it from a contemporary street sensibility and pragmatic perspective.

• 천문학회보
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• 제46권1호
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• pp.46.1-46.1
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• 2021

Hydrated asteroids get widespread attention for the evolution of water in the Solar System, especially thanks to the recent successes of the Hayabusa2 and OSIRIS-REx space missions. The target asteroids of these missions are believed to be fragments that have experienced aqueous alteration in their parent bodies [3]. Although hydrated asteroids have been studied well via spectroscopy, focusing on the 0.7 um or the 2.7 um absorption bands [2, 3, 4], polarimetric properties of these asteroids have rarely been investigated. In this study, we conducted a polarimetric observation of 18 C-complex main-belt asteroids with the 1.6-m Pirka telescope at the Nayoro Observatory of Hokkaido University, Japan. We used a polarimetric imaging mode of the Multi-Spectral Imager (MSI) with the standard Rc-band filter (the central wavelength at 0.64 um) [5]. As a result, we found that all of these hydrated asteroids indicate deep negative branches of their polarimetric profiles. Accordingly, the hydrated asteroids have the polarization minima (Pmin), whose values are significantly lower than any other taxonomic types of asteroids (including C-group asteroids). Because Pmin depends on albedo, particle size, and porosity of the surface materials [1], we suspect that hydrated asteroids are distinctive from other asteroids in terms of these physical properties. In this presentation, we introduce our polarimetric observation and findings. We discuss why hydrated asteroids indicate such low Pmin values, comparing Pmin with spectral features at 0.7 um and 2.7 um based on the observation results.

• Asian Pacific Journal of Cancer Prevention
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• 제15권9호
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• pp.3915-3920
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• 2014

Background: Hepatocellular carcinoma (HCC) is a dismal tumor with a high incidence, prevalence and poor prognosis and survival. Management of HCC necessitates multidisciplinary clinics due to the wide heterogeneity in its presentation, different therapeutic options, variable biologic behavior and background presence of chronic liver disease. We studied the different prognostic factors that affected survival of our patients to improve future HCC management and patient survival. Materials and Methods: This study is performed in a specialized multidisciplinary clinic for HCC in Kasr El Eini Hospital, Cairo University, Egypt. We retrospectively analyzed the different patient and tumor characteristics and the primary mode of management applied to our patients. Further analysis was performed using univariate and multivariate statistics. Results: During the period February 2009 till February 2013, 290 HCC patients presented to our multidisciplinary clinic. They were predominantly males and the mean age was $56.5{\pm}7.7years$. All cases developed HCC on top of cirrhosis that was mainly due to HCV (71%). Most of our patients were Child-Pugh A (50%) or B (36.9%) and commonly presented with small single lesions. Transarterial chemoembolization was the most common line of treatment used (32.4%). The overall survival was 79.9% at 6 months, 54.5% at 1 year and 22.4% at 2 years. Serum bilirubin, site of the tumor and type of treatment were the significant independent prognostic factors for survival. Conclusions: Our main prognostic variables are the bilirubin level, the bilobar hepatic affection and the application of specific treatment (either curative or palliative). Multidisciplinary clinics enhance better HCC management.

• 디자인학연구
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• 제16권3호
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• pp.309-318
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• 2003

예술 작품은 고립되어 존재하는 것이 아니라 그 사회의 문화적 배경과 시대적 상황의 영향을 받아 제작되는 것이며 예술자체는 시대를 반영한다고 할 수 있다. 즉 작가의 내면세계에 뿌리를 두고 그것과 연결된 여러 외부적 또는 시대적 조건들과 상호작용을 하는 속에서 작품이 이루어지며, 이러한 예술창작의 저작물로 인하여 사회의 문화적 코드에 영향을 미치는 순환적인 인과관계를 가진다고 할 수 있겠다. 그러한 이유로 현대 사회처럼 복잡하고 다변화된 사회에서의 개인과, 개인의 의식구조 속에서 탄생되는 예술작품은 가히 전위적인 시각으로 전개되어져 왔다. 다양한 사회적 요구와 보다 다변화된 의식구조들은 그로 인한 예술작품의 다양화에도 많은 영향을 끼쳤으며, 실제로 지난 수 세기보다 최근 1세기 안에 이루어진 문화적, 산업적 변화는 비교할 수 없을 만큼 컸다. 따라서 예술작품의 형식 또한 이러한 시대의 흐름과 무관할 수 없다고 하겠다. 이미 예술 분야에서도 전통적인 형식의 표현 기법에서 탈피한 수많은 시도가 이루어지고 있으며, 점차 장르의 구분을 탈피한 많은 시도가 이루어지고 있다. 그런 의미에서 최근의 멀티미디어 아트란 디지털 화 된 시대의 흐름에 영향을 받아 필연적으로 발생한 것이라 할 수 있겠다. 더 이상 인터넷이나 멀티미디어라는 말이 극소수의 전문가만을 위한 영역이 아니라, 대중의 일상에 깊이 침투한 오늘날에 이르러서는 이미 일련의 멀티미디어라는 도구를 이용한 예술 작품은 테크놀로지 아트, 정보미술, 컴퓨터아트, 디지털아트, 뉴미디어 아트 등의 다양한 이름으로 많은 실험이 이루어지고 있으며, 기존의 예술 작품과는 달리 실제로 이러한 저작물들이 테크놀로지와 결합하여 산업적으로 활용되고 있기도 하다. 이에 이 논문에서는 멀티미디어 아트의 개념을 알아보고, 이러한 멀티미디어 아트의 사회적 작용에 대해 연구하며, 이 새로운 형식의 미술의 현황과, 일련의 작업들이 꾸준한 생명력을 가기고 존재할 수 있을지에 대한 전망을 해 보고자 한다.

• 한국수학교육학회지시리즈A:수학교육
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• 제56권3호
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• pp.301-318
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• 2017

This paper explores students' question generation process and their study in small group discussion. The research is based on Anthropological Theory of the Didactic developed by Chevallard. He argues that the savior (knowledge) we are dealing with at school is based on a paradigm that we prevail over whether we 'learn' or 'study' socially. In other words, we haven't provided students with autonomous research and learning opportunities under 'the dominant paradigm of visiting works'. As an alternative, he suggests that we should move on to a new didactic paradigm for 'questioning the world a question', and proposes the Study and Research Courses (SRC) as its pedagogical structure. This study explores the SRC structure of small group activities in solving ill-structured problems. In order to explore the SRC structure generated in the small group discussion, one middle school teacher and 7 middle school students participated in this study. The students were divided into two groups with 4 students and 3 students. The teacher conducted the lesson with ill-structured problems provided by researchers. We collected students' presentation materials and classroom video records, and then analyzed based on SRC structure. As a result, we have identified that students were able to focus on the valuable information they needed to explore. We found that the nature of the questions generated by students focused on details more than the whole of the problem. In the SRC course, we also found pattern of a small group discussion. In other words, they generated questions relatively personally, but sought answer cooperatively. This study identified the possibility of SRC as a tool to provide a holistic learning mode of small group discussions in small class, which bring about future mathematics classrooms. This study is meaningful to investigate how students develop their own mathematical inquiry process through self-directed learning, learner-specific curriculum are emphasized and the paradigm shift is required.

• 한국근적외분광분석학회:학술대회논문집
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• 한국근적외분광분석학회 2001년도 NIR-2001
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• pp.1620-1620
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• 2001

Forages, both grazed and conserved, provide the basis of ruminant production systems throughout the world. More than 90 per cent of the feed energy consumed by herbivorous animals world - wide were provided by forages. With such world - wide dependence on forages, the economic and nutritional necessity of been able to characterize them in a meaningful way is vital. The characterization of forages for productive animals is becoming important for several reasons. Relative to conventional laboratory procedures, Near Infrared Reflectance Spectroscopy (NIRS) offers advantages of simplicity, speed, reduced chemical waste, and more cost-effective prediction of product functionality. NIR spectroscopy represents a radical departure from conventional analytical methods, in that entire sample of forage is characterized in terms of its absorption properties in the near infrared region, rather than separate subsamples being treated with various chemicals to isolate specific components. This forces the analyst to abandon his/her traditional narrow focus on the sample (one analyte at a time) and to take a broader view of the relationship between components within the sample and between the sample and the population from which it comes. forage is usually analysed by NIRS in dry and ground presentation. Initial success of NIRS analysis of coarse forages suggest a need to better understand the potential for analysis of minimally processed samples. Preparation costs and possible compositional alterations could be reduced by samples presented to the instrument in undried and unground conditions. NIRS has gained widespread acceptance for the analysis of forage quality constituents on dry material, however little attention has been given to the use of NIRS for chemical determinations on undried and unground forages. Relatively few works reported the use of NIRS to determine quality parameters on undried materials, most of them on both grass and corn silage. Only two works have been found on the determination of quality parameters on fresh forages. The objectives of this paper were (1) to evaluate the use of NIRS for determination of nitrogen and moisture on undried and unground forage samples and (2) to explore two mathematical treatments and two NIR regions to predict chemical parameters on fresh forage. Four hundred forage samples (n: 400) were analysed in a NIRS 6500 instrument (NIR Systems, PA, USA) in reflectance mode. Two mathematical treatments were applied: 1,4,4,1 and 2,5,5,2. Predictive equations were developed using modified partial least squares (MPLS) with internal cross - validation. Coefficient of determination in calibration (${R^2}_{CAL}$) and standard error in cross-validation (SECV) for moisture were 0.92 (12.4) and 0.92 (12.4) for 1,4,4,1 and 2,5,5,2 respectively, on g $kg^{-1}$ dry weight. For crude protein NIRS calibration statistics yield a (${R^2}_{CAL}$) and (SECV) of 0.85 (19.8) and 0.85 (19.6) for 1,4,4,1 and 2,5,5,2 respectively, on a dry weight. It was concluded that NIRS is a suitable method to predict moisture and nitrogen on fresh forage without samples preparation.

• 한국HCI학회:학술대회논문집
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• 한국HCI학회 2007년도 학술대회 2부
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• pp.737-742
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• 2007

본 연구는 온라인 기반의 디지털 미디어와 이것의 실천적 상호작용에 있어 사용자를 중심으로 네트워크화 된 유기적 커뮤니티 형성의 문제에서 선택적 참여를 활성화하는 것에 관한 의미를 논구한다. '픽처링 재현(Re-Appearance of Picturing)'은 하이데거가 '기술의 전향(The Question Concerning Technology)'에서 기술과 예술의 근본적 관계성에 대한 구체적 담론을 제시한 논제를 기본으로 기술과 예술의 유비적 고찰을 재해석하는 의도로 제안하는 새로운 개념이다. 최근 HCI기반의 기술이 미디어 아트에서 다양하게 시도되고 있고 디지털 미디어의 역할은 사용자와 결합하여 온라인 커뮤니티와 사이버 문화의 확장에 지대한 영향을 끼치고 있는 것이 사실이다. 이에 대해 본 논문에서는 과거 바그너가 제시한 통합적 예술(Collective Art)의 의미와 규정된 총체적 기술의 정점인 '오페라Opera)'가 현재의 디지털 환경에서는 멀티미디어기반의 컴퓨터의 실제와 물리적으로 어떤 상관관계를 가지고 있는지에 대해 논구하고, 이를 통해 미래의 방향과 가능성을 조망해보고자 한다. 사이버 공간에서의 자아 형성의 욕구는 내적 실천과 더불어 물리적 상호작용을 유도하고, 이것은 집단에 의해 동조된다. 게다가 디지털 미디어 현실에서 이것은 선택적이라고 하는 제한적 기능과 참여성에 크게 의존하고 있는 것이 사실이다. 따라서 사이버상의 소통구조는 온라인의 집단적 협동에 의하여 숙지되는 일종의 필요 불가결한 우연적 이벤트라 할 수 있는 것이다. 표현과 전달의 수단인 미디어를 통해 인간은 무엇인가 자신의 역할을 대신하는 재현의 행위를 끊임없이 실행하고 있으며, 재현은 더 이상 전통적인 의미에서의 재현(re-presentation)이 아닌 재현(Re-Appearance), 즉 해체적 입장으로 내적 징후와 외적 출현의 의미가 간헐적으로 암시 되어 있다는 의미로서 새롭게 정의될 필요성을 갖는다. 본 연구에서는 픽처링 개념과 인간과 컴퓨터가 상호작용하는 문제에 관한 철학적 담론을 기초로 논증하고, 여기서 가장 중심이 되는 세 가지 구성요소인 이미지, 디지털 미디어, 신체의 관계를 통해 개인의 내적/외적 영역을 확장시켜주는 디지털 미디어 즉 컴퓨터가 우리에게 제공하고 있는 새로운 형태의 온라인 커뮤니케이션 문화가 어떠한 의미에서 쉴 새 없이 무한적으로 재현, 생산, 가공 되며, 그에 따른 고난을 우리는 어떻게 헌신 하고 있는 것인지 고찰을 시도하고자 한다.

• 펄프종이기술
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• 제29권1호
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• pp.73-83
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• 1997

Most of the materials used in various industrial fields and also in our daily life are multi-component materials or composite materials, and it is well known that there are many cases where adhesion between the constituents within the bonded systems plays an important role. There are various types of performance evaluation tests for the bonded materials, among which tests for evaluating the bond performance under various conditions may be regarded as the most interesting ones for those engaged in work related to adhesion. I have studied on the mechanism of adhesion form the rheological standpoint with my colleagues, including some students from Korea, and I am very happy to be able to have a talk on some of our research works. In Japan, the so-called "adhesives" are usually classified into two categories;adhesives and pressure sensitive adhesives (PSA). Adhesives are the materials which solidify after bonding and are after used as the structural adhesives because the adhesive strength is comparatively strong. On the other hand, the pressure sensitive adhesives never solidify and are used as PSA tapes, labels or decals. About the adhesives, we have examined the dependence of adhesive strength(shear, tensile, peel) upon both temperature and rate of deformation, and found out some empirical rules which are applicable to most of the adhesive systems. We have also developed a simplified theory of adhesion, which is deseribed in terms of mechanical equivalent mode1 and a few failure criteria. Although some of the common rules can be accounted for according to this theory, it must be pointed out that a fracture mechanical approach ms inevitable especially in the region where the meehanical relaxation time of the adhesive is extremely large [W. W. Lim and H. Mizumachi]. About the pressure sensitive adhesives, we have studied on the PSA performance (peel, tack, holding power) as a function of both the viscoelastic properties and surface chemical properties of the materials, and found out some rules, and again we have developed a theory which deseribes the mechanism. And in addition, we have studied on the miscibility between linear polymers and oligomers, because PSA is generally manufactured by blending gums and tackifier resins. Many phase diagrams have been found and some of them have been analyzed on thermodynamic basis, and it became evident that the miscibility is a very important factor in PSA [H. J. Kin and H. Mizumachi]. In this presentation, I want to emphasize the fact that the adhesion performance is closely related to the structure/property of the adhesives.adhesives.

• 산학경영연구
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• 제14권
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• pp.31-44
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• 2001

현대의 회계감사는 피 감사회사의 재무제표에 대하여 합리적인 확신을 요구하기 때문에 피 감사 회사의 재무제표에 대하여 정밀감사를 실시하여 감사의견을 표명하는 것이 아니라 중요성의 원칙에 따라 피 감사회사의 재무제표에 대하여 표본감사를 실시하는 것을 원칙으로 하고 있기 때문에 감사위험이 필연적으로 발생한다. 감사위험이란 피 감사회사의 재무제표가 중요하게 잘못 표시되어 있음에도 불구하고 적정하게 표시되어 있는 것으로 잘못 판단하는 경우와 반대로 재무제표가 적정하게 표시되어 있음에도 이를 적정하게 표시되어 있지 아니한 것으로 잘못 판단하여 감사범위를 확대하는 경우가 있다. 지금까지의 감사위험은 주로 AICPA의 SAS NO. 47에서 발표한 감사위험모형을 사용하여 왔어나 이 모형은 감사위험수준의 결정문제와 감사인의 판단과정을 적정하게 절명하지 못하는 등의 부정적인 견해가 대두되고 있다. 한편 Dempster-Shafer의 신념함수(belief functions)모형은 수학적 증거이론(Mathematical Theory of Evidence)에 기초하여 주어진 자료가 불충분하고 부정확한 상황하에서 보다 정확한 정보를 얻기 위한 문제들을 다루기 위한 수학적 기법들을 제공하여 불확실한 상황에서 판단의 정확성을 높일 수 있게된다. 이러한 신념함수모형을 사용하여 감사위험모형 보다 판단과정을 더 정확히 묘사하는 것으로 나타나고 있다. 따라서 본 연구는 재무제표의 신뢰성을 제고하고 감사의 유효성과 효율성을 높이기 위하여 감사 위험모형의 문제점을 알아보고 신념함수모형에 대한 이론과 기존연구를 고찰하여 신념함수모형을 제시하고자 한다.

• 한국연극학
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• 제49호
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• pp.75-100
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• 2013

An on-going creative process was the major principle of Kantor's artistic endeavors. Kantor's emphasis on process grew out of his frustration with the experience of creation being isolated from the audience in the present time, during the moments of encounter. At the same time, however, Kantor was always aware of the fact that the first night of each and every performance that he made was the last point of his creative intervention. Despite being performed live in the present time, Kantor saw theatre essentially as an end product. This does not mean that Kantor abandoned the concept of on-going process, for process was for the artist a means to reject the idea of a finished work of art and to denounce the feeling of satisfaction derived from the traditional denouement in representational theatre. For him, theatre that dominated his time isolated the audience from the art work and the artist, and from this perspective his continual emphasis on process should be understood as an aesthetic principle in order to open up and expand the dimension of art into the realm of the spectator so that the experiences of both the artist and spectator may coexist. The heaviest barrier that separated the artist and his work from its audience was the creative structure that governed Western art. In theatre it was the dramatic structure that was the main object of his series of severe challenges. Not only did it fail to represent reality but it distorted reality, creating nothing but artificial illusion. Under this condition, all that was permitted to the audience was mirages. However, Kantor never completely discarded illusion from his theatre. The point for him was always to created a circumstance where the illusory reality of drama comes to exist within the dimensions of our reality. It was Kantor's belief that instead of a total denial of illusion, his theatre should strategically accommodate illusion which comes from reality. And, the aim of Kantor's theatrical experiments was to invite the audience into this ambience and transform the experience of his audience into a much more participatory one. This paper traces the ways in which Kantor transgressed the dominating conventions of representational, literary theatre, and how such attempts induced an alternative mode of spectatorship. The study will begin from an investigation into Kantor's attitude towards illusion and reality, and then move onto a closer inspection of how he spatially and dramaturgically materialized his concepts on stage, giving special focus on Wielopole, Wielopole.