류인 작품의 격정성과 추상충동 재고

최태만(Choi Tae Man) 인물미술사학회 2019 인물미술사학 Vol.- No.14·15

류인의 작품은 모두 근육이 강조된 남성의 육체를 재현하고 있으나 건강하고 완전한 신체라기보다 변형, 왜곡, 과장되거나 뒤틀리고 절단된 상태를 보여주면서 표정 대신 손을 통해 주제를 전달하는 특징이 강하다. 이러한 파토스적인 국면은 문학적인 제목과 함께 그의 작품을 서사적 구조로 이끄는 요소이다. 그가 표현하고 있는 그로테스크한 형상은 파괴적이고 공격적인 본성을 가지고 있으면서 동시에 형편없이 무기력하고 나약한 존재이지만 사고와 성찰을 통해 자아를 갱신할 수 있는 존재로서의 우리 자신의 초상이다. 그래서 지금까지 발표된 류인의 조각에 대한 연구는 대체로 인본주의와 실존주의에 초점을 맞춘 것이었다. 그러나 내가 류인의 조각을 관찰하며 발견한 것은 유동성과 불완전함이며, 그것을 압축하는 것이 ‘격정성’이다. 이런 점에 착안하여 나는 류인의 작품을 해석하기 위해 매너리즘과 바로크에 나타나는 정신주의와 격정성에 주목하고자 한다. 덧붙여 그의 작품에서 두드러진 격앙된 정서가 만들어낸 불편하면서도 불안한 형태의 뿌리를 보링거(Wilhelm Worringer)의 ‘추상충동’에서 츶고자 한다. 특히 하체를 지워버린 형태에서 예술가였던 아버지로 향한 오이디푸스 콤플렉스를 발견할 수 있음도 주목하고자 한다. 나의 이러한 시도는 류인의 작품에 대한 새로운 접근이자 그의 작품을 해석하는 또 하나의 지평을 여는 기회를 제공할 것이다. Ryu In’s sculpture represents human body, particularly focused on the body of male whose muscles are emphasized. Despite his work showing the state of deformation, distortion, exaggeration and cutting rather than healthy and perfect body, it has a strong characteristic of conveying themes through hands instead of facial expressions. This phase of pathos, along with the literary title, is the element that leads his work to the narrative structure. The grotesque image he expresses is a human bondage lived in contemporary society as well as our own portrait as a being who has a destructive and offensive natures and at the same time a poorly helpless and weak, nevertheless, who can renewal of self esteem through thought and reflection. In this reason, most of essays on Ryu In’s sculptures so far focused on humanism and existentialism. However, what I discovered while observing Ryu In’s sculpture is fluidity and imperfection, and the concept of compressing it is ‘passion’. With this in mind, in order to present new interpretation of his work, I would like to pay attention to spiritualism and passion appearing in mannerism and baroque art. In addition, I want to find the roots of the uncomfortable and insecure form created by the violent emotions prominent in his work in the ‘abstract impulse’ of Wilhelm Worringer. In particular, this paper attempts to clarify the reason why he erased the lower body in connection with the Oedipus complex towards his father who was a prominent artist in Korean abstract painting. This attempt will provide a new approach to Ryu In’s work and an opportunity to open another aspect to interpret his work.

지역 관광농원 이용실태 및 선호도 분석

최태길(Tae Kil Choi),최세현(Se Hyun Choi) 한국농업경제학회 1998 農業經濟硏究 Vol.39 No.2

N/A

함대정, 척박한 시대의 비극적 모더니스트

최태만(Choi, Tae-man) 인물미술사학회 2009 인물미술사학 Vol.- No.5

재활승마에 대한 잠재수요 추정

최태길 ( Tae Kil Choi ),홍나경 ( Na Kyoung Hong ),임청룡 ( Qing Long Lin ),김태균 ( Tae Kyun Kim ) 한국축산경영학회 2010 농업경영정책연구 Vol.37 No.4

This study estimates potential demand for therapeutic riding. 159 consumers were sampled and surveyed to examine their preference on therapeutic riding. Both ordered logit model and ordered probit model were used to estimate. Based on estimated coefficients from the models, the results show that cost, income, and age are important factors in explaining potential demand for therapeutic riding. The results also indicate that the potential demand for therapeutic riding is sufficient. With the increase in personal income and in government subsidy for the cost, the potential demand for therapeutic riding will grow. The results of this paper may provide useful information in order to expand the market size of the therapeutic riding in Korea.

渤海 婚俗에 대한 고찰

崔泰吉(Choi Tae-Gil) 한국민속학회 1993 韓國民俗學 Vol.25 No.1

정광식의 풍경조각

최태만(Choi Tae-man),안정원 현대건축사 2009 마루 Vol.- No.84

The Evaluation of UV-induced Mutation of the Microalgae, Chlorella vulgaris in Mass Production Systems

Tae-O Choi(최태오),Kyong-Ho Kim(김경호),Gun-Do Kim(김군도),Tae-Jin Choi(최태진),Young Jae Jeon(전용재) 한국생명과학회 2017 생명과학회지 Vol.27 No.10

미세조류 Chlorella vulgaris는 바이오 디젤 생산을 위한 중요한 대체원료 중 하나로 간주되어 왔으나, 이러한 미생물의 산업적 적용은 낮은 바이오 매스와 지질 생산성에 의해 제약을 받아왔다. 따라서 이러한 문제를 극복하기 위해 본 연구는 자외선을 이용한 무작위 돌연변이 유발 기술을 통해 높은 지질 및 바이오 매스 생산성을 가지는 C. vulgaris 균주를 분리하고 그 특성을 규명하였으며, 두 가지 유형의 대량 생산 시스템을 이용하여 바이오 매스 및 지질 함량의 산출량을 비교하였다. 분리된 돌연변이 균주 중, 특히 실험실 조건에서 UBM1-10으로 명명된 돌연변이 균주는 야생형 균주에 비해 약 1.5배 높은 세포 수율 및 지질 함량을 보였다. 이러한 결과를 바탕으로 UBM1-10을 선택하여 TBPR (tubular photobioreactor)과 OPR (open pond type reactor)의 두 가지 유형의 반응기를 사용하여 실외 배양 조건에서 배양하였다. 그 결과 TBPR에서 재배된 돌연변이 균주의 세포 수율은(2.6 g l<SUP>-1</SUP>)OPR에서 배양된 균주의 세포 수율(0.5 g l<SUP>-1</SUP>)과 비교하였을 때 약 5배 이상의 높은 세포 수율을 나타내었으며, 대량 배양 후, UBM1-10 및 모 균주의 조 지방 함량 및 조성 등에 대해 추가로 조사를 실시하였다. 그 결과 C. vulagris UBM1-10균주의 지질함량(0.3% w/w)이 모 균주의 지질함량(0.1%)에 비해 약 3배 이상의 조 지방 함량을 보유함을 확인하였다. 따라서 이 연구는 바이오 디젤 생산 자원으로서 C. vulgaris의 경제적 잠재성이 photoreactor type의 선택 및 전략적 돌연변이 분리 기술을 통해 증가 될 수 있음을 보여 주었다. The microalgae Chlorella vulgaris has been considered an important alternative resource for biodiesel production. However, its industrial-scale production has been constrained by the low productivity of the biomass and lipid. To overcome this problem, we isolated and characterized a potentially economical oleaginous strain of C. vulgaris via the random mutagenesis technique using UV irradiation. Two types of mass production systems were compared for their yield of biomass and lipid content. Among the several putatively oleaginous strains that were isolated, the particular mutant strain designated as UBM1-10 in the laboratory showed an approximately 1.5-fold higher cell yield and lipid content than those from the wild type. Based on these results, UBM1-10 was selected and cultivated under outdoor conditions using two different types of reactors, a tubular-type photobioreactor (TBPR) and an open pond-type reactor (OPR). The results indicated that the mutant strain cultivated in the TBPR showed more than 5 times higher cell concentrations (2.6 g l<SUP>-1</SUP>) as compared to that from the strain cultured in the OPR (0.5 g l-1). After the mass cultivation, the cells of UBM1-10 and the parental strain were further investigated for crude lipid content and composition. The results indicate a 3-fold higher crude lipid content from UBM1-10 (0.3%, w/w) as compared to that from the parent strain (0.1% w/w). Therefore, this study demonstrated that the economic potential of C. vulgaris as a biodiesel production resource can be increased with the use of a photoreactor type as well as the strategic mutant isolation technique.

1950년대 이경성의 미술비평관

최태만(Choi Tae Man) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

The purpose of this paper is to reassess the contribution of Lee Kyung-sung as art critic who became active since 1953, focusing on his criticism published in the 1950s. Although some artists also wrote criticism on artwork, Lee was the only professional art critic during the decade. Despite harsh milieu, he developed his own critical viewpoint while writing reviews on exhibitions, in which he claimed that Korean artists should seek reality and modernity in their artworks for the development of Korean art. He was able to publish his criticism in limited venues such as newspapers and magazines. Thus, most of his writings tend to be brief, yet his criticism was severe and pointed. Although his criticism tends to provide evaluations rather than close analyses and profound interpretations about his contemporary art, his criticism published in the 1950s provides important basic information of art and art criticism of the period, which serves significantly in restoring Korean modern art.

폭염기간 인공지능 센서를 이용한 아파트 정전예방 방안

최태일(Tae-Il Choi) 대한전기학회 2019 전기학회논문지 Vol.68 No.9

A record-breaking heatwave of long-term disasters last summer was a serious threat to public safety. Since the power equipment of an apartment is owned by the customer, there is a limit to the power company providing the service in case of power outage. In order to overcome this problem and continuously supply stable electric power to the people, we developed a remote monitoring and control system of apartment power equipment using artificial intelligence (AI) sensors. AI sensors can prevent power outages by notifying power companies and apartments managers in real time when an overload or an unbalance occurs in the transformers of an apartment power equipment. A pilot system was installed in two apartments in the Seoul area, and after evaluating the effect of the operation, the system will be expanded to other areas.

미술비평의 효용성에 대해 다시 묻는다 : 아서 단토의 ‘미술종말론’에 대한 비평적 독서

최태만(Choi Tae Man) 현대미술학회 2006 현대미술학 논문집 Vol.10 No.-

'The End of Art' written by Arthur Danto has caused diverse discourses on the definition of art as well as the use and abuse of art criticism. He proposes that, since Andy Warhol presented his quasi ready-made objects 'Brillo Box' in 1964, contemporary art has been confronted with the end of art. It means not the crucial end of art itself but the end of a narrative insisted by Clement Greenberg, that is, the end of the modernist narrative. In fact, since Marcel Duchamp introduced the ready-made, the notion of art has been deconstructed. Insertion of non-art materials in art started to be proliferated. Moreover, Joseph Beuys manifested that 'Everyone can be artist', and Andy Warhol's Brillo Box also generated disputation about what is art. According to Danto, in Brillo Box, the long tradition of mimesis in art cannot be established, so it pronounced 'the end of art' . Because contemporary art is professional and self-defined, it has to do with philosophy. He said, after Warhol's Brillo Box, the history of art also reached the point where it had to tum into its own philosophy. Therefore, contemporary artworks need to gam assistance from philosophy, and this condition allowed plural possibilities. Dance's approval of pluralism and recognition of equality in art provides a new vision against old conventions which were produced and commonly enforced by art history and criticism in the modern era. In this article, I raise a question that his contention, on the one hand, can evoke abuse of art criticism. On the other hand, it can stimulate non-necessity of criticism. He argues that artwork is faced with every possibility without any norms. Though, his theory on the end of art is not supported by precise evidences except Brillo Box. In conclusion, I propose that the necessity of art criticism should be still efficient, even though it belongs to the art world as an institution, for the interpretation and evaluation of art. Philosophy is not the only one resource but an applicable means for art criticism. Art criticism is not merely based on the philosophical approach but also might be influenced from other institutional systems including education, journalism, gallery, museum, market, etc.