스테레오 비젼을 이용한 6 축 로봇 메니퓰레이터의 비주얼 서보잉

박정양(Jeong-Yang Park),권자경(Ja-Kyung Kwon),기창두(chang-Doo Kee) 대한기계학회 2002 대한기계학회 기타 간행물 Vol.2002 No.11

베를린의 지역혁신시스템과 가상현실 벤처기업 Playsnak

류용규(Yong Kyu Lew),박정양(Jeong-Yang Park),이원우(Won Woo Yi) 한국경영학회 2019 Korea Business Review Vol.23 No.4

본 사례는 가상현실(Virtual Reality: VR)과 증강현실(Augmented Reality: AR) 분야의 베를린 기반 벤처기업 Playsnak을 다루고 있다. 사례는 수차례 현지 인터뷰와 다양한 경로를 통해 수집한 1․2차 자료를 선별하여 작성하였다. 사례에서 다루는 벤처기업은 디지털 시대에 최신 VR 기술을 활용하여 글로벌 시장을 대상으로 사업을 전개하고 있다. 구체적으로 사례는 VR/AR 산업의 특징, 최근 유럽의 실리콘밸리로 떠오르고 있는 베를린의 지역혁신시스템(Regional Innovation System: RIS), 사례기업의 초기펀딩 과정, 사례기업과 베를린 RIS 간의 상호작용을 다루고 있다. 따라서 본 사례는 4차 산업혁명 시대에 벤처창업을 고려하고 있는 예비 창업가와 제한된 국내 시장을 넘어 국제화를 추진하고자 하는 IT분야의 벤처기업에 전략적인 시사점을 제공하고 있다. This paper draws on a case study of Berlin-based virtual reality (VR) and augmented reality (AR) venture of Playsnak. The data consist of semi-structured interviews and selected secondary data obtained from different sources. The case venture pioneers the latest VR technology in the digital age to develop VR/AR business for the global marketplace. Specifically, the paper details the characteristics of the VR/AR industry and the regional innovation system (RIS) in Berlin, which has recently emerged as Europe’s Silicon Valley. Furthermore, it illustrates the initial funding process of the case venture and its interactions with Berlin’s RIS. The case provides strategic implications for prospective entrepreneurs as well as ventures in the IT sector who wish to pursue internationalization in the era of the fourth industrial revolution.

신규문화예술교육사의 제도 활용 및 인식에 관한 연구

김누리(Nu-Ri Kim),권은경(Eun-kyoung Kwon),박정양(Jeong-Yang Park) 학습자중심교과교육학회 2022 학습자중심교과교육연구 Vol.22 No.21

목적 본 연구는 신규문화예술교육사를 대상으로 현장에서 경험한 문화예술교육사 제도의 활용과 인식에 대한 다양한 측면의 이야기를 그들의 목소리를 통해 의미를 찾고자 하였다. 방법 문화예술교육사 자격증을 취득한 지 1~3년 된 신규문화예술교육사 5명을 대상으로 2021년 7월부터 2021년 10월까지 약 3개월 동안 총 10회기에 걸친 인터뷰 형식으로 진행하였으며, 연구대상자의 개인적인 특성, 문화예술교육사 자격증 취득과정 경험, 문화예술교육사 자격제도에 대한 인식, 신규문화예술교육사로서의 경험에 관하여 반 구조화된 질문 형식으로 진행하였다. 결과 연구 참여자들은 첫째, 예술가의 길이 아닌 다양한 진로를 선택할 수 있다는 점에서 긍정적인 태도를 보였다. 둘째, 문화예술교육사 제도가 취업에 유효하다는 것을 확인할 수 있었다. 셋째, 다른 분야의 문화예술교육사들과 소통할 수 있는 커뮤니티가 형성되길 바라고 있었다. 넷째, 프리랜서로 활동하는 신규문화예술교육사는 경제적 불안감을 가지고 두 가지 이상의 일을 병행하며, 문화예술교육사 자격증만으로 문화예술교육사로서 활동하기에는 한계가 있다는 것을 나타내었다. 이는 문화예술교육사 제도의 활용이 안정적인 일자리 창출을 위한 방안 및 제고가 필요함을 알 수 있었다. 결론 본 연구는 신규문화예술교육사가 더 나은 문화예술교육사 자격제도의 방향성을 발견하고 모색하는 연구의 출발점이 된다는 점에서 그 의의를 찾을 수 있으며, 문화예술교육사의 제도 활용 경험과 인식에 관한 이야기를 신규 문화예술교육사의 관점에서 문화예술교육사 제도 활용과 개선방안에 관하여 논의하였다. 향후 본 연구가 신규문화예술교육사들이 현장에서 느끼는 문화예술교육사 제도 활용과 인식에 관한 질적 연구로 문화예술교육사 자격제도가 올바른 방향으로 개선될 수 있는 기초자료가 될 수 있길 바란다. Objectives This study sought to find meaning through their voices in various aspects of the use and perception of the Arts & Culture Education Instroctor system experienced in the field by Arts & Culture Education Instroctor. Methods Five Arts & Culture Education Instroctor who have obtained certificates of Arts & Culture Education Instroctor from July 2021 to October 2021 were interviewed in a total of 10 interviews were conducted in a semi- structured form. Results The participants showed positive attitude in that they could choose various paths, not the path of an artist. Second, we were able to confirm that the Arts & Culture Education Instroctor system is effective for employment. Third, he hoped to create a community where he could communicate with Arts & culture education instroctor companies in other fields. Fourth, the Arts & Culture Education Instroctor, who works as a freelancer, has shown that there is a limit to working as a Arts & Culture Education Instroctor only with the qualification of a Arts & Culture Education Instroctor. This can be seen as meaningful, and it is found that the utilization of the Arts & Culture Education Instroctor system requires measures and improvements to create stable jobs. Conclusions In this study, the Arts & Culture Education Instroctor experience and perception of the Arts & Culture Education Instroctor system were discussed from the perspective of the Arts & Culture Education Instroctor. We hope that this research will serve as a basis for improving the qualification system of Arts & Culture Education Instroctor in the right direction through qualitative research on the utilization and recognition of the Arts & Culture Education Instroctor system.

신주위 낭종으로 오인된 신동맥류 1례 : Resembling Parapelvic Renal Cyst

박정양,최경수,최한용 高麗病院 1987 高醫 Vol.10 No.-

遊戱와 藝術의 演奏論的 考察 : 演奏의 美學

박정양 安東大學 1986 安東大學 論文集 Vol.8 No.1

Play and art have much similarities both in their forms and the experiences they give us, and many aesthetic studies have been done on their relation. It is true that there are much in common between art and play because many elements of play are mixing in artistic behavior. The purpose of this study is to define the similarities and the differences between them and to illuminate the aesthetic problems of musical performance as an artistic behavior.

音樂演奏에 있어서의 Tempo와 Agogik에 關한 硏究

박정양 安東敎育大學 1973 論文集 Vol.6 No.1

It is true that a subject of tempo and agogik in music attaches primary importance to a musical performance. As to the formless things which can not be expressed on a musical note, their composers had aready been dead and they were composed by a subjective view. Therefore, a player, who delivers a composer's intencion, is unable to give a right expression without understanding the historical and basic background in music and is will be difficult to set up a proper tempo. Though there is a metronome, a real and artistic performance can not be displayed without having a skill gn tempo modifier as well as tempo rubat which is well-balanced methodically in music, and this study is intended to solve this problem for the purpose.

音樂的 時間論 : G.Brelet硏究

박정양 安東大學 1987 安東大學 論文集 Vol.9 No.1

G. Brelet has established the aesthetic time theory in this century with her epochal thesis "Le Temps Musique". She is the one who represents modern aesthetic time theory. G. Brelet`s theory of the musical time is summerized as follows: In music there is an independent musical time apart from the physical time which is created by music itself in which we feel the vitality of life. The vitality of life makes us experience the musical time which is actual, latent and exists as a form of pure durance (Duree Pure). The musical time is the metaphysical essence of time. It is perceived as the present-living time which is einmalig and exists as an act. Because the musical time has an act, music is considered as an art of time. Brelet has tried to define the qualities of the independent time of music based on Husserl`s philosopihcal time of theory and Bergson`s inner-durance time theory. The purpose of this study is to draw the conclusion of Brelet`s aesthetic time theory by researching her writings including her major thesis "Le Temps Musique" with the philosopher`s theories of time and existence as the foundation of her theory.

「비인 無調樂派」의 精神構造

박정양 安東大學 1985 安東大學 論文集 Vol.7 No.1

The art of sound in Europe has been polyphonic with harmonic sound system. Bach`s Fuge, which was originated form modus form of the Fifteenth century, is considered as the beginning of chromatik in the last phase of the development of harmony. Modern music begins with R. Wagner and the tonality system has changed by A. Schonberg. In this study 1) the three masters` works of wiener Atonale Musik are researched and analyzed from the point of view that the determined the stream of modern music with acutest expression and very important declaration, 2) one aspect of the spirit of occidental music is examined by reviewing the change from the beginning of the art in the end of the century until after the war, 3) and finally a method of dealing music scientifically is suggested.

C.A.Debussy의 Poissons d`or 을 中心으로 한 그의 피아노音樂과 演奏技術의 硏究

박정양 安東初級大學 1978 安東初級大學 論文集 Vol.1 No.1

The modern history of music begins with impressionistic music, which brought a new era in the history of music, changing the theory of music applied since the days of Baroque. The functional harmony systematized for the past three hundreds years comes to an end and a study on the new world of sound has been made. The essential quality of Debussy`s impressionistic music is the world impression movable in each moment, and Debussy introduced the technique of painting of impressionism in music. Just as the painter gives importance to color and dark instead of clear lines in the painting of impressionism, so in the music of impressionism melody is not so important, but tone is in terms of fantasic, subjective description, and it should De treated as sensual. Debussy put behind him the structure of sound in the scale major minor, the key in the heptanic scale, and tertian chord, and adopted the followings: many kinds of consecutive chord, interval consecutive, scale diatonic, scale pentatonic, middle modes, fourth chord, added fourth, added sixth, the consecutive 7th of fifth chord of omission third, the parallel of 9th. This kinds of devices make the music of Debussy more charming and wonderful and the fascination of his sensual music is outstanding in the history of music. In piano music, the art of playing developed through Beethoven`s chopin lists is much more improved by his devices. He composed a number of piano music which indicates his own style. And the player who is only familiar only with the classic, romantic should learn about his particular notation in order to adapt to his new idea and tone. We find his new technique of harmony in Reflects dan`leau and Poissons d`or and we can learn about his art of playing by examining on Poissons d`or in connection with the study on the historical background of Debussy`s music.