직장암 환자에 수반된 Listeria 뇌막염

최병길,서환조 慶熙大學校 醫科大學 1987 慶熙 醫大 論文集 Vol.12 No.1

제들마이어의 근대예술 비판론

최병길 범한철학회 2008 汎韓哲學 Vol.50 No.3

제들마이어는 근대 예술작품의 본질 규정에 있어서 경험주의나 유미주의의 한계를 극복하고 구조연구나 구조분석을 통하여 예술의 근원을 파악하는 방법론을 제시하였다. 후기 저서인 『위기의 예술: 상실된 중심』에서 근대문명의 특성을 파악하면서 쇠퇴해진 근대문명이 슈펭글러의 유기체론에 따르면 재생 가능하겠지만, 기계문명의 여파로 실현되지 못했다고 판단했다. 니체의 언급을 빌려 근대문명과 근대예술이 공히 병적인 상태에 처해 있다고 비관했던 그는 잃어버린 중심, 상실된 빛, 인간과 자연 등과 같은 근대예술의 본질 명제들을 제기하면서 정신성 부재를 강하게 비판, 대안제시에 나섰다. 근대예술의 재생 가능한 원천으로 인간의 이상을 내세웠다. 고대문명과 고대예술에서 인간 이상이 쇠퇴기에도 상실되지 않았던 증거를 찾아냈던 그는 근대예술의 지고한 가치로서 그러한 인간 이상의 비유를 제시했다. 그것은 신인조화론적 가치관이나 이성과 감성의 조화를 추구하는 신플라톤적 미학에서 유래한 것이었다. 근대예술의 또 다른 문제점은 예술의 자율성과 순수성이었다. 거기서는 인간의 통일된 중심이 상실되고 신과 분리됨으로써 이성적, 지적 수준이 사라졌으므로 그것을 병적이면서 죽은 비유를 가진 것으로 변질시켰다는 것이다. 그러나 그는 근대예술 전반을 부정하거나 거부했던 것은 아니며, 인간화의 경향을 벗어난 것만을 선별적으로 거부했다. 그는 최종적으로 근대예술의 재생 가능성을 제시했는데, 그것은 유머와 아동스러움이 있는 예술이었다. 그것은 기계공학에 편중된 근대예술의 경향에서 벗어나 인간이 주체적으로 선도할 수 있는 예술형식의 제안으로서 특별한 새로운 예술운동을 지칭하는 것이 아니라 인간성의 회복운동이요, 일종의 도덕재무장 운동을 지칭한다고도 볼 수 있다. Hans Sedlmayr suggested a methodology to grasp at the origin of art through the research or analysis of its structure in defining the essence of artworks in modern times. Its outcome was in disclosing the Zeitgeist and origin of art by overcoming the limit of Empiricism or Aestheticism. His initial art criticism being formed in this manner, was later transformed into an attempt to research in terms of civilizations. He, in the structure of thought, terms, etc. of his later book, Art in Crisis: The Lost Center, paid a keen attention to grasp at the characteristics of modern civilization, influenced by Spengler's book, The Decline of the West. In particular, he foresaw that modern civilization regarded as being in a state of senility from the standpoint of civilization's history can be apparently revived if accepting Spengler's theory of organism, but saw that it was not accomplished by the aftermath of mechanical civilization. Thus he, borrowing a French Existentialist Nietzsche’s remark, expressed a pessimistic opinion that both modern civilization and modern art are in the state of disease. He, raising the essential theses of modern art such as lost center, dead light, man and nature, etc. on the basis of methodology of artwork's structure analysis and intuitional interpretation, attempted to strongly criticize the absence of spirituality in modern art and to suggest its alternative. He stated a highest value of man's ideal as the origin that modern art can be revived. What he, in comparison of ancient civilization with modern civilization, ancient art with modern art, wished to get from the antiquity was in that man's ideal was never lost even in the state of decline of ancient civilization. But modern civilization of 19th and 20th century lost man's ideal and adulterated amidst a whirl of mechanic civilization. He thought that its cause was in a loss of analogy between man and nature that was survived from the ancient civilization. Analogy, by his definition, was a phenomenon appearing in the art arousing the intimacy between man with adequate measure and God. Thus it was nothing but an expression of the theory of harmony between man and God, or a Neo-platonic aesthetics in pursuit of the harmony of reason with emotion. Another problem of modern art that he raised was autonomy and purity in art. He saw that the unified center of man was lost and was separated from God in modern art, from the result of which the rational, intellectual level of art was disappeared. Autonomous art created autonomous man, which led to a separation of man from God, and deteriorated modern art as having a morbid, dead analogy. However, he negated or denied not the whole modern art, but only one escaped from the tendency of humanization. He finally suggested a possibility of revival of modern art, which was an art with humor and childishness. It was a suggestion of art form that man can lead subjectively beyond the trend of modern art leaned upon technology. In a sense it can be called a movement of recovery of humanity as well as moral rearmament, not a simply new art movement.

장기이식 거부반응의 기전

윤수정,박종욱,최병길 啓明大學校 醫科大學 1996 계명의대학술지 Vol.15 No.2

드론 영상의 광학적 원격탐사 방법을 이용한 얕은 하천에서의 수심 추정에 관한 연구

최병길,나영우 한국측량학회 2022 한국측량학회지 Vol.40 No.6

The purpose of this study is to present a method for estimating water depth in shallow rivers using optical remotesensing techniques using drone images. In order to solve the disadvantages of existing bathymetry methods,bathymetry methods based on optical remote sensing have been recently studied, but research on environmentalconditions and data processing methods for bathymetry in shallow water areas is insufficient. Therefore, in this paper,we presented a water depth estimation formula in shallow rivers using drone images taken under various conditionsand directly surveyed bathymetric values using GNSS, and tried to verify the accuracy using checkpoints. As aresult, it was found that the water depth can be estimated more quickly and efficiently than the direct survey methodwhen the index is calculated and estimated with drone images in shallow rivers. In addition, when the reflected lightwas removed using a polarizing filter and high-resolution images were taken at noon without shadows, about 88%of them were within the acceptable range for bathymetry, and about 94% were within the acceptable range whenconverted to low resolution. Finally, when estimating the water depth using the optical remote sensing technique, itwas found that the accuracy was low at deep water depths, and errors could occur due to distortion of pixel valuesdue to water plants or shadows. 본 연구의 목적은 드론 영상으로 부터 광학적 원격탐사 기법을 적용하여 얕은 하천에서의 수심을 추정하기 위한 방법을 제시하는 데 있다. 기존의 수심측량 방법의 단점을 해결하기 위해 최근 광학적 원격탐사 기법에 따른 수심측량방법이 연구되고 있으나 얕은 수심 지역에서의 수심 측정을 위한 환경 조건과 자료처리 방법에 관한 연구가 미흡한실정이다. 따라서 본 논문에서는 다양한 조건에서 촬영한 드론 영상과 GNSS를 이용한 직접 측량된 수심 측정값을 이용하여얕은 하천에서의 수심 추정식을 제시하고, 검사점을 이용하여 정확도를 검증하고자 하였다. 그 결과 수심이 얕은 하천에서 드론 영상으로 지수를 산출하여 추정할 경우 직접 측량에 의한 방법보다는 좀 더 빠르고 효율적으로 수심을 추정할 수 있음을 알 수 있었다. 또한 편광필터를 이용하여 반사광을 제거하고, 그림자가 없는 정오에 고해상도로 촬영한 경우 약 88%가 수심측량 허용범위에 만족하고, 저해상도로 변환한 경우 약 94%가 허용범위에 만족하는 것을 알수 있었다. 마지막으로 광학적 원격탐사 기법을 이용한 수심을 추정할 경우 깊은 수심에서는 정확도가 낮고, 너울, 수초, 그림자 등으로 인한 화소값의 왜곡으로 인해 오차가 발생될 수 있음을 알 수 있었다.

아방가르드 미술의 탈 인간화 과정에 미친 신지학의 영향

최병길 미술사학연구회 2009 美術史學報 Vol.- No.33

In an era being shifted from 19th to 20th century, the European modern artists such as Mondrian, Kandinsky, Kupka, etc. have been pursued for spirituality, being tired of the spread of materialism. Fascinated by the religious trend of theosophy, anthroposophy, etc. that have been widespread at that time, they preferred to approach the representation of nature, namely, to express the transcendental, heavenly thing rather than to express the secular, humane thing. It appeared as an exploitation of a new realm as abstract art. Rejecting the representation of nature and expressing the essence of human-being, the abstract art was for them a tool being capable of enlightening the spirit of the times rightly, as well as a tool for a faithful expression of their inner world. Mondrian was initially affected by Symbolism, but saw the phenomenon of unity between life and death by the effect of theosophy, and declared his special concern upon the concept of evolution. Fascinated by the vertical and horizontal lines, and the shape of the cross created by their intersection in the middle stage, he attempted the combination of the humane with the transcendental. In final, he exploited the realm of new abstraction in usage of three primary colors under Neo-plasticism based upon the color theory by Steiner invented anthroposophy. In that context, Mondrian's art world is called as being expressed a Utopian world. Kandinsky was also initially affected by Symbolism. But, he saw the expression of Steiner's inner necessity as a key purpose of art with a deep concern upon it. He, through the abstract art, regarded the defence of the inevitable spiritual function of art as the index of social, political development. As a means for fulfilling such a goal, he began to study the psychological effect of colors, declaring the color symbolism. In the process of pursuing for the spectator's spiritual harmony and stability with harmonized colors on the canvas, he found out the characteristic of music as the easiest way of expression. Fallen in Schoenberg's atonal music, he attempted to interpret his painting as music. He expressed sympathy with Schoenberg's recognition that the musical experience is not the problem of ears, but that of soul. Through that process, Kandinsky became to express the world of transcendence world beyond the world of human experience in his art. Kupka started as a Symbolist, but revised a pursuit of spirituality as the goal of his art by the effect of theosophy. He fostered a vision of universe with Apollinaire's philosophy of universe, and the trends of the contemporary science, philosophy, etc., and wished to depict the world of universe as simplified geometric shapes. Like Kandinsky, he found it possible to apply music to art, and was absorbed in the composition of classical music through pure color abstraction. The above three artists in common suggested that spirit and soul can be contained within matter such as the paints, in their artworks by the influence of theosophy, etc. connected with the contemporary spiritualism. And they can be also called as modern avant-garde artists who have exploited the realm of pure abstraction through a unique interpretation of line, color and shape under the standpoint that the final goal of art must be not a pursuit of the humane, but that of the transcendental.

J.J.빈켈만 美學에서 實證主義 藝術 批評의 體系

최병길 범한철학회 1993 汎韓哲學 Vol.8 No.-

면역세포와 Apoptosis

윤수정,박종욱,최병길 啓明大學校 醫科大學 1996 계명의대학술지 Vol.15 No.4

면역계의 생리기능은 self와 nonself의 식별로서, 외부 물질에 대한 자신의 방어 기전으로 정의될 수 있다. 면역계는 골수 lymphocyte인 B cell과 흉선 lymphocyte인 T cell로 구성되며, 이들은 여러 가지 apoptosis 관련 유전자들에 의해 그 수가 조절된다. 흉선이나 골수에서의 분화 성숙 과정에서는 Bcl-2계 유전자가, 말초에서 일어나는 autoreactive T cell 및 B cell 의 제거에는 Fas/fas ligand 유전자가 각각 관여하는 것으로 밝혀졌다. 그리고 세포성 면역 반응이 최고에 이른 후 항원특이 세포들의 수가 점차 사라지는 과정, 즉 activation-induced cell death 역시 Fas/Fas ligand 및 TNF/TNF receptor 등의 유전자에 의해 조절되는 것으로 알려졌다. 본 논문에서는 면역세포들의 생존을 조절하는 apoptosis 관련 유전자들에 대해 최신 연구를 중심으로 요약하고자 한다.

크라우스의 연극성 비판과 후기구조주의 조각비평의 전개

최병길 범한철학회 2009 汎韓哲學 Vol.53 No.2

I argued that Krauss's post-structuralist sculpture critique was begun with the criticism of the concept of theatricality. For both her and Fried, the criticism of that concept was on the literal characteristics of minimalist sculpture. It was to criticize that literalism induces the audience to recognize sculptures not by a transcendental way, but by a theatrical way. At first, Fried observed the literalist artworks from the viewpoint of contrast between shape and objecthood. Here his argument was that it has to lay stress upon the concept of theatricality by protecting the objecthood. Thus he said that the way that the artwork recovers the original feature is to return to the original shape the artwork has. And he said about the difference between presence and presentness in the process of discussing the objecthood of minimalist sculpture. Presence is related to theatricality, a self-consciousness to require for attending to the situations of contemplation, whereas presentness is connected with the constant present, a condition that art has to aspire for. Thus he argued minimalist sculpture pursued for presence so that it lost the importance of original quality and concept of value of the artwork. But on the other hand, he equivocated the point of his argument by saying that such an ideal presence also discloses the characteristic of minimalism. Krauss took on a sceptic attitude for such Fried's criticism of the concept of theatricality. She raised an objection against the concept of presentness that Fried suggested as the characteristic of modernist sculpture. She regarded presence as the grace of God rather than him, and suggested a frame, structuralism, as its alternative. By suggesting a structuralistic method such as Greimas's diagram, she rejected the autonomy of artwork, and attempted to transform its temporal development into spatial structure. She saw that it would be possible for translating the vocabulary of art history into the structuralist term. She admitted the historical development of art through that diagram, but was put into a dilemma that she has to supplementarily explain the reason in a historical way. She could not help causing a friction with the artist's desire to create in the course of explanation. For the Greimas's diagram appeals to the structure of a text, and comes to be fallen into the state of impersonalization. It was to negate an appeal to the artist's desire to create that has been traditionally protected. She indicates it as inaccurate when raising the arbitrariness of this tradition. In addition, she rejected a historical definition of art and suggested an ahistorical one, judging that there is a danger that the structuralist analysis can be as arbitrary as historical narratives. Therefore she, as an alternative of the structuralist theory, came to suggest the semantics and the formless theory. She tried to stand away from an appeal to the artist's desire to create through a suggestion of art history to accept the level that the sign and social structure excel the capture of the individual. Through a development of such poststructuralist art criticism, she prepared a basis enough to criticize the sculptures in the 1990s. In particular, she advised to observe the characteristics of the contemporary sculptures under the connection of text with context by accepting G. Bataille's formless theory, and attempted to overcome dualism with a pursuit of the concept of materialism. In recent times, such an attempt got results in developing a new approaching method to project the boundary of sculpture into that expanded culture, by positively accepting diversity of the postmodern culture. 캐리어는 크라우스의 후기구조주의 조각비평의 시발점을 미니멀리즘 조각의 직역주의적 특성인 연극성 개념을 비판했던 프리드의 관점에 두었다. 그것은 조각의 대상성을 주장했던 방식에 대한 이의제기로서 직역주의는 관람자를 초월적인 방식이 아니라 연극적인 방식으로 지각하도록 유도함으로써 저급한 단계로 강등시킨다고 보았기 때문이다. 따라서 그는 작품의 대상성보다는 형상의 구현이 초점을 맞추었는데, 그것이 바로 그 작품이 지니고 있는 본래의 모습으로 되돌아가는 것이라고 믿었기 때문이다. 그는 미니멀리즘 조각이 추구했던 대상성이 현전성을 추구함으로써 미술작품의 본래적 특질과 가치 개념의 중요성을 상실했다고 보았지만, 다른 한편으로는 현전성의 특징도 거론함으로써 자신의 논지를 흐리게 했다. 크라우스는 바로 이러한 프리드의 연극성 개념 비판에 대하여 반론을 제기했다. 그녀는 오히려 현재성을 신의 은총으로 간주하면서 개개의 작품들은 미술사 속에서 위치가 설정되어야만 한다는 확신 아래서 구조주의라는 하나의 틀을 제시했다. 그레마스 도해와 같은 구조주의 방식을 제시함으로써 미술작품의 시간적 발전을 공간적 구조로 전환시키고자 했다. 그 결과 미술의 역사적 발전은 용인할 수 있었지만, 그 이유를 역사적으로 보충 설명해야만 하는 딜레마에 빠졌다. 그런데 그레마스 도해는 텍스트의 구조에 호소하는 것으로서 비개성화의 상태에 빠지기 때문에 그녀는 그 설명의 과정에서 예술가의 창작 욕구와 마찰을 빚을 수밖에 없었다. 아울러 그녀는 역사적인 화술만큼 구조주의 분석도 임의성을 띨 위험성이 있다는 판단 아래서, 미술의 역사적인 정의를 거부하고 비역사적인 정의를 제시하기에 이르렀다. 그녀가 구조주의 이론의 대안으로서 기호학과 무형식성 이론을 제시했던 이유이다. 그것은 예술가의 창작 욕구에 대한 호소를 피할 수 있게 했으며, 그러한 후기구조주의 미술비평의 전개를 통하여 1990년대 조각작품을 평가할 수 있는 근거를 마련했다. 특히 그녀는 바타이유의 무형식성 이론을 수용하여 당대 조각작품의 특성을 텍스트와 콘텍스트의 연관성 속에서 고찰할 수 있게 되었으며, 그의 물질주의 개념을 추종하여 이원론을 극복할 수 있었다. 그러한 시도는 현대에 이르러 포스트모더니즘 문화의 다양성을 적극적으로 수용함으로써 조각의 영역을 그 확장된 문화 속으로 투영하는 새로운 접근방식을 전개하게 된 것이다.

제주섬 정체성 변화에 관한 연구

최병길,권귀숙,강상덕,김현돈,한석지,박찬식 한국사회학회 1998 한국사회학회 사회학대회 논문집 Vol.- No.-

용접기술의 현황과 전망

최병길,Choe, Byeong-Gil 재료연구소 1996 機械와 材料 Vol.8 No.4