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Hyperfine structure of Sc@C<sub>82</sub> from ESR and DFT
Morley, G W,Herbert, B J,Lee, S M,Porfyrakis, K,Dennis, T J S,Nguyen-Manh, D,Scipioni, R,van Tol, J,Horsfield, A P,Ardavan, A,Pettifor, D G,Green, J C,Briggs, G A D IOP Pub 2005 Nanotechnology Vol.16 No.11
<P>The electron spin <I>g</I>-?and hyperfine tensors of the endohedral metallofullerene Sc@C<SUB>82</SUB> are anisotropic. Using electron spin resonance (ESR) and density functional theory (DFT), we can relate their principal axes to the coordinate frame of the molecule, finding that the <I>g</I>-tensor is not axially symmetric. The Sc bond with the cage is partly covalent and partly ionic. Most of the electron spin density is distributed around the carbon cage, but 5% is associated with the scandium d<SUB><I>yz</I></SUB> orbital, and this drives the observed anisotropy. </P>
Reflections on a digital photograph of a painting by Lee Ufan
Simon Morley 서양미술사학회 2023 서양미술사학회논문집 Vol.59 No.-
A popular abbreviation online these days is ‘IRL’ – ‘In Real Life’ – used to distinguish between a relationship we have in the digital realm and one in the analogue, ‘off-line’, world. As more and more people spend time online or on smartphones, it is becoming an increasingly significant task to consider the differences between the former and the latter. Because of this, recognizing the role of painting as a material and transformational medium is more important than ever. We are culturally conditioned, indeed, obliged, to accept digital images of paintings as credibly accurate reproductions of the works they document. But it is obvious that these protocols are radically circumscribed. I argue that while an encounter with a real painting is to a significant degree empirical - based on, concerned with, or verifiable by observation or experience – an encounter with its digital document will be overwhelmingly nonempirical, abstract, or theoretical. To focus my analysis, I consider the digital reproduction of one painting in particular: Lee Ufan’s Dialogue (2014). I argue that a normative digital reproduction of Lee’s painting exposes a specific cultural bias towards the visual that is going unnoticed and is therefore all the more insidious.
ANALYTIC AND HOLISTIC APPROACHES TO FINE ART EDUCATION: A COMPARATIVE APPROACH
( I Mon Morley ) 한국기초조형학회 2014 기초조형학연구 Vol.15 No.4
After four years teaching in university Fine Art departments in South Korea I have discovered that pedagogic styles and methodologies, as well as expectations, are very different from those familiar to me from studying and teaching in my own country, the United Kingdom. Recognizing these deep differences has led me to question what l see as certain covertly universalizing tendencies within Westem pedagogic conventions that conceal valuable differences, and this is what l address here. Following the social psychologist Richard E. Nisbett, l define these differences under the rubrics ‘analytic’ (west) and ‘holistic’(East). I discuss how these different cognitive styles affect ‘cultures of leaming’, and conclude that South Korean pedagogy in Fine Art has something to teach us in the West.