http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
저탄소 Al-킬드강의 연속 어닐링에서 과시효 처리공정 중 탄화물 석출거동에 관한 연구
김성호,한봉희,박용범 대한금속재료학회(대한금속학회) 1986 대한금속·재료학회지 Vol.24 No.8
Precipitation behavior of carbides and texture change in a deep drawing sheet steel were studied by heat treating in a production scale continuous annealing line. Effect of annealing, quenching and overaging temperatures were investigated. The site of carbides precipitated during overaging treatments became larger and the Vickers hardness number decreased as the temperatures for quenching and overaging increased. After a overaging treatment at 350℃, finely dispersed plate-like carbides were precipitated in the matrix, white at overaging treatments of 400℃, carbides precipitated along grain boundaries in a form of film and within matrix in a form of coarse particles. The recrystallized structure showed a (111) type texture with the main component of (111) [1 ̄1 ̄2]. The(111) pole intensity and I_(222) I_(200) became higher as the annealing temperature increased within the α-phase region.
김성호 한국미술이론학회 2014 미술이론과 현장 Vol.0 No.17
This paper examines two key elements of “contraction” and “expansion” in relation to the way in which Wonil Rhee used space in his curatorial practice. Drawing on Gilles Deleuze’s notion of "the fold (le pli)" in a close reading of one of his last texts published in 2010, it explores the implication of the elements in the theoretical context of Rhee's curatorial practice. Along with such concepts as “postcolonialism,” “Asianness,” “technology,” and “creative paradox,” the elements serve to deconstruct confrontations between west/non-west, the cultural colonizer/the cultural colonized, thereby challenging conventional boundaries. The logic of resistance and confrontation in Rhee's early curatorial practice has gradually given way to that of “hybridization, openness, intersection, assimilation, conciliation, and communication” through metaphors such as “thermocline” and “poktanju” (bomb drink; a kind of cocktail comparable to American boilermaker), which he addressed in the exhibition at ZKM in 2007. This show provided a turning point presenting the “pocket model,” that Rhee drew from Deleuze's concept of the fold. Analyzing the exhibitions Rhee curated after the ZKM show, this paper delves into the notion of flexible space, which constantly oscillates between “contraction” and “expansion,” a space that operates like the fold of Deleuze. There is a cycle of innumerable inflection in the world of the fold, creating decentralized, uncertain, and diverse spaces. The inside of the fold is the space of potentiality where differences keep arising but are not realized. This space is after all realized from potential space through the systemization and rearrangement of time. The fold is like the “organ without the body” or the “egg.” This paper suggests that Rhee’s “thermocline” or the “pocket model” unfolds the movement of creation where the fold transforms itself through a repetition of “contraction” and “expansion.”