경춘선 숲길 이용 만족도에 영향을 미치는 요인 분석 연구 - 공원의 안전성, 접근성, 쾌적성 중심으로 -

박세연(Park, Se-Yeon),황성은(Hwang, Sung Eun),최병윤(Choi, Byeong-Yun),강부성(Kang, Boo-Seong) 대한건축학회 2023 대한건축학회 학술발표대회 논문집 Vol.43 No.2

The purpose of this study was to analyze the factors affecting satisfaction of the park by selecting Gyeongchun Line Forest Park as the target site to relieve the inconvenience of people using a park. As the number of park users increased after COVID-19, complaints about using the park also increased. Through the survery the factors affecting satisfaction were identified by dividing them into categories of saftey, accessibility, and comfort and do an on-site investigation. In order to increase the safisfaction of the park, lighting and visual connection were important in terms of saftey, accessibility and guidance width and movement speed were importatnt in comfort.

문화혁명기 이후의 중국의 사회주의 팝아트

박세연,Park, Se-Youn 한국미술이론학회 2008 미술이론과 현장 Vol.6 No.-

This thesis examines contemporary Chinese painting after the Cultural Revolution(1966~76), focusing upon so-called "Chinese Pop art", which I termed as "Socialist Pop art". I considered the art of this period within the broader context of social changes especially after the Tienanmen incident of 1989. After the Cultural Revolution during which idolization of Chairman Mao was at its peak, one of the major changes in communist China was that an anti-Mao wave was generated in almost every social class. For example, novels that revealed the hardships during the Cultural Revolution were published. Posters that openly criticized the Maoism were also produced and displayed on the walls, and demand for democracy spurred widespread activist movements among young generations. These broad social changes were also reflected in art. A variety of art movements were introduced from the West to China, and after a period of experimentation with the new imported styles, artists began to apply the new artistic idiom to their works in order to visualize their own social and political realities they lived in. It was a shift from earlier Socialist Realism to a new expression either directly or indirectly, "Socialist Pop", an amalgam of Socialist Realism and Pop art tradition. After the 1989 crackdown of Tienanmen Square protest, when communist government quelled with brutal measures the students, workers, and ordinary people who rose for democracy, greater urge to protest the Deng Xiaoping regime emerged. This time coincided with the gradual emergence of art using Pop art vocabulary to satirize the social reality, the Socialist Pop art, along with many other art forms all with avant-garde spirit. One of the most frequent subjects of Chinese Pop art was visual images of Chairman Mao and his Cultural Revolution, and new China that was saturated with capitalism, which tainted the Chinese way of life with a Western way of consumerism and commercialism. The reason for the popularity of Mao's image was spurred by the "Mao Craze" in the early 1990's. People suddenly began to fall in a kind of nostalgia for the past, and once again, Mao Zedong was idolized as an entity who can heal the problems of modern China who had been marching towards their ultimate destination, the economic development. But this time Chairman Mao was no more an idol but just a popular, commercial product. He is no more an object of worship of almost religious nature but he has become an iconography symbolizing the complex nature of present Chinese society. During this process of depicting the social reality, Chinese artists are making the authority and sanctity of Maoism ineffective. Dealing with this new trend of contemporary Chinese art in view of "Socialist Pop art" two manners of re-creating Pop art can be illustrated: one that incorporates the propaganda posters of the Cultural Revolution; the other borrows from Chinese traditional popular imagery or mass media, such as photos taken during Mao era. What is worth mentioning is that these posters and photos of the Cultural Revolution can be identified as 'popular' media, as they were directed to educate the popular mass, thus combination of this ingenuous pop media with Western Pop art can be fully justified as a genre unique to China. Through this genre, we can discover a new chapter of the Chinese contemporary painting and its society, as their Pop art can be considered as self-portraits true to their present appearances.

지류에 발생하는 얼룩반점의 성분분석에 관하여

박세연,이규식,한성화,안희균,Park, Seh-Youn,Lee, Kyu-Shik,Han, Sung-Hee,Ahn, Hee-Kyun 국립문화재연구소 1992 保存科學硏究 Vol.13 No.-

The old books which have been colored to brown spots were analyzed chemically to compare with white part. The original raw materials were paper mulberry (Broussonetia Kazine) and woodpulp. White part contained58.8%($\alpha$-37.2%,$\beta$-8.6%, $\gamma$-12.7%)cellulose, 21.7% hemicellulose, 19.8% lignin,4.4% pentosan and brown sopt part contained 49.1%($\alpha$-19.8%, $\beta$-14.5%,$\gamma$-14.8%) cellulose, 27.1% hemicellulose, 23.8% lignin, 4.8% pentosan. Both of brown spot and white parts contained starch without protein. The pH was 4.9 in brown and 5.0 in white part respecitively. The brown spot parts were more solidified than white parts according to SEM observation. Difference of organiccompinent in brown part came from white part were 2-hydroxy-benzaldehydeand phenol.

주변 환경변화에 적합한 개인능력을 보유하라

박세연,Park, Se-Yeon 한국대학교육협의회 2005 大學敎育 Vol.134 No.-

딥러닝 기반 Personal Mobility 안전성 증진 방안

박세연,장한별,김병규,윤준영,정재은 한국ITS학회 2022 한국ITS학회 학술대회 Vol.2022 No.11

BSO와 ZnSe의 전기/자기광학효과를 이용한 광 전압 및 전류센서

박세연,정우기,권원현,최평석,박한규,Park, Seo-Yeon,Chung, Woo-Gee,Kwon, Won-Hyun,Choi, Pyung-Suk,Park, Han-Kyu 대한전자공학회 1989 전자공학회논문지 Vol. No.

본 논문에서는 광섬유 전송로형 센서모델에 근거하여 전기/자기 광학 효과를 이용한 전압 및 전류측정시스템을 유전율 텐서에 의해 이론적으로 해석하고 실험하였다. 실험결과 BSO를 이용한 광전압 센서는 500V까지의 인가전압에 대해 2% 이하의 오차와 1,000V에서 최대 4.93%의 오차를 보였고 ZnSe를 이용한 광 전류 센서는 실효전류 1,000A까지에 대해 최대 4%의 오차를 보였다. 온도 특성은 $-5^{circ}C$~$60^{circ}C$의 온도 변화에 대해 전압센서 및 전류센서 각각 ${pm}1.8%,{pm}2.73%$로 계산되었다. In this paper, voltage and current measurement systems which utilize linear electrooptic and magnetooptic effects of BSO and ZnSe crystals are theoretically analyzed and experimented. In experiments, BSO voltage sensor has maximum 2% error within the applied voltage of 500V, and ZnSe current sensor has maximum 4% error within 1,000 A range. And temperature dependences of sensitivity for voltage and current in the temperature range from $-5^{circ}C\;to\;60^{circ}$C are measured +1.8% and 2.73%, respectively.

에이전트 기반의 NCW 전투모델링 시스템 설계

박세연,신하용,이태식,최봉완,Park, Se-Youn,Shin, Ha-Yong,Lee, Tae-Sik,Choi, Bong-Wan 한국시뮬레이션학회 2010 한국시뮬레이션학회 논문지 Vol.19 No.4

While the future warfare is expected to be appeared as network-centric, effect-based, and coordinated cooperative, most current M&S systems reflect only the unit behaviors and interactions of each weapon system. There are limitations to analyze the behaviors of managing weapons cooperatively and sharing the situational awareness over the networks of distributed sensors, C2, and shooters using them. Therefore, we introduce the new design of the networkcentric warfare modeling system using the agent-based modeling and simulation approach. We have developed a system for engagement-level warfare models and tested with multi-platform battleship warfare. In this paper, we propose the method to design battle agents, environments, and networks for network centric warfare modeling.

전후 일본의 국가표상과 문화정치

박세연(Park, Se Youn) 도시사학회 2017 도시연구 Vol.- No.18

이 논문은 1970년 오사카에서 개최된 ≪일본만국박람회(日本万国博覽會)≫에 나타난 전후 일본의 국가표상과 문화정치에 관한 연구로 ≪일본만국박람회≫를 국가 이미지를 표상하는 문화외교 정책을 위한 장으로 파악하고 시각전략 및 전시를 중심으로 박람회 연출 전략을 검토하였다. 전후 일본은 패전과 전범국으로서의 이미지를 벗고 새로운 일본의 정체성을 정립시킬 필요성을 인식하였고 이를 위해 평화국가, 문화국가를 표방하였다. 이에 전후 복구를 위해 경제 위주의 외교노선으로 진행되던 것에서 나아가 1950년대 후반부터는 문화외교를 중요한 전략으로 주목하게 되었다. 이러한 문화외교의 맥락에서 ≪일본만국박람회≫는 전후의 새로운 일본을 제시할 수 있는 중요한 통로였다. 또한 이러한 흐름은 전후 일본의 보수화 맥락 속에서 진행되었는데 정치적으로 안정된 보수 노선이 지속되는 한편 1960년대 들어서는 시바 료타로(司馬遼太郞)의 역사관으로 대변되는 일본주의의 흐름이 강화되었다. 이러한 전후 보수화의 맥락에서 1964년의 도쿄 올림픽, 1968년의 메이지 100주년 기념행사, 1970년의 ≪일본만국박람회≫가 전개된 것이라 볼 수 있다. 새로운 일본상을 연출하기 위해 ≪일본만국박람회≫에서 목표로 세운 전략은 과학기술의 발달 및 경제 성장으로 이룩할 밝은 미래상 그리고 아울러 전통문화를 강조하는 것이었다. 본 논문은 이러한 두 양상이 박람회 홍보를 위한 시각 디자인 및 일본관(日本館)의 전시에 어떻게 구현되었는지 살펴보았다. 우선 전통을 통한 국가적 이미지를 강조한 시도는 공식 심벌마크에서부터 시작되었다. 벚꽃을 모티브로 한 심벌마크의 양식 및 소재는 일본의 전통 문장(紋章)을 응용한 것으로 이의 근현대적 변용에 대해 검토하였다. 공식 포스터의 경우 특히 해외용 포스터는 일본의 마쓰리를 소재로 사용하는 식으로 해외로 발신하는 이미지에서 전통적 이미지 소위 일본취미가 강조되었다. 이는 일본의 만국박람회 역사 속에서 형성된 오랜 전략인데 일본관(1호관)의 전시와 일본정원에도 반영되어 여전히 이러한 전략이 유효한 것을 볼 수 있었다. 이와 더불어 일본관의 전체적인 전시의 흐름은 일본의 역사를 정치사・사회사적 관점이 아닌 문화사를 중시하여 기획된 것을 볼 수 있는데 이는 ‘문화국가’라는 전후 일본이 강조하는 새로운 국가 정체성을 전시로 제시하려는 의도라고 할 수 있다. 동시에 전후 평화국가로 거듭난 국가 이미지를 함께 강조하고 있는 요소들을 찾아볼 수 있다. This paper is a study on the national representation and cultural politics of Postwar Japan shown in “the 1970 Japan World Exposition(日本万国博覽會)”, held in Osaka. Comprehending the 1970 Japan World Exposition as a forum for policies on cultural diplomacy that represents national image, the paper examines tactics of the exposition, focusing on visual strategies and display methods. Postwar Japan claimed to be a peace-loving and a cultural nation, for it recognized the need to establish a new Japanese identity by casting off its image as a defeated nation and a war criminal state. Hence, from the late 1950s, cultural diplomacy was regarded as an important strategy, advancing from its economy-centered diplomatic route aimed for postwar recovery. It is within such context of cultural diplomacy that the 1970 Japan World Exposition was a crucial pathway for the proposal of a new Postwar Japan. In addition, such trend continued in the vein of Postwar Japanese conservatism. While the politically stable conservative lines carried forward, the strengthening flow of Japanism was also witnessed from the 1960s, a concept represented by the historical viewpoint of Shiba Ryotaro. The 1964 Olympic Games in Tokyo, the 1968 Meiji Centennial celebrations, and the 1970 Japan World Exposition were all held under such context of the postwar conservatism. In order to create a novel Japanese image, the objective that was strategized from the 1970 Japan World Exposition was to emphasize both the traditional culture as well as the bright future image of technological development and economic growth. This paper examines how the two aspects are embodied in the visual design for exposition promotion, and in the display of the Japanese Pavilion(日本館). First, starting with the official symbol mark, attempts for emphasizing the national image through tradition was witnessed. Review was made on the modern and contemporary transformation of the symbol mark that was designed with the motif of cherry blossom, of which its style and material was applied from the Japanese traditional emblem(紋章). In the case of official posters, especially for posters targeted for abroad use, traditional images of Japanese hobbies were stressed by using Japanese Matsuri as key contents when sending them out to overseas. This is a long-established strategy in the history of Japan"s World Exposition that is still valid, as it can be found to be reflected in the Japanese Pavilion(Hall 1) displays and the Japanese Garden. In addition, the whole exhibition flow of the Japanese Pavilion can be regarded as being planned with interpreting Japanese history with emphasis on the cultural history rather than the political-sociological historical viewpoint, which shows Postwar Japan’s intentions to present a new national identity of a ‘cultural nation’. Simultaneously, elements were found that highlight the national image of a postwar peace state.

수어 번역에서의 글로스 활용 가능성에 대한 고찰

박세연(Seyeon Park),김태용(Taeyong Kim),이명진(Myeongjin Lee),손의성(Eisung Son),김우주(Wooju Kim) 한국정보과학회 2023 한국정보과학회 학술발표논문집 Vol.2023 No.6

용액법을 이용한 [C12mim][TFSI] 용매에서의 Alq3 결정 성장 메커니즘

박세연 ( Se Yeon Park ),최세원 ( Se Won Choi ),오용택 ( Yong Taeg Oh ),신동찬 ( Dong Chan Shin ) 조선대학교 공학기술연구원 2016 공학기술논문지 Vol.9 No.2

The organic semiconductor is promising material for flexible electronics due to many advantages such as simple manufacturing process, inexpensive, and flexibility. The high purity single crystal of the organic semiconductor, however, is not easily obtained and thus degradation of electrical property is a big hurdle for organic electronics applications. We have investigated the growth mechanism of Alq3 single-crystal using a [C12mim][TFSI] ionic liquid as a solvent. Isothermal heat-treatment has been carried out at 100℃ for 1h, 3h, 24h, and 120h with 9 mol% composition. We can make high quality single crystal of Alq3 via just one time process using ionic liquid. The shape of Alq3 single-crystal changes from hollow structure to filled hexagonal-rod shape. Now we are trying to measure the electrical properties of the Alq3 single crystal. Our research could be promising process to improve electrical properties of organic semiconductor such as Organic Light Emitting Diode (OLED), Organic Thin Film Transistor (OTFT), and Organic Solar Cell.