인듀서 입구각 변화가 자흡식 진공펌프 성능에 미치는 영향

김재원(Jae-Won Kim),서현석(Hyeon-Seok Seo),지효근(Hyo-Geun Ji),정윤근(Yoon-Keun Jung),김윤제(Youn-Jea Kim) 대한기계학회 2014 대한기계학회 춘추학술대회 Vol.2014 No.11

Self-priming vacuum pump absorbs and transfers slurry by generating the internal vacuum pressure and the rotation of the impeller. Generating the internal vacuum pressure plays an important role in sucking the slurry at the inlet region of self-priming vacuum pump and it is mainly performed by the rotation of inducer. In this study, the hydraulic performance of self-priming vacuum pump was investigated with the changes of inducer inlet angle. Numerical analysis was also conducted under five different rotational speeds(2500, 2700, 2900, 3100 and 3300 RPM) by using commercial CFD code, ANSYS CFX. The results for mass flow rate, head and characteristic curve were prepared with various values of inducer angle.

소형어선의 선외추락 경보장치 개발 방안 연구

김재원(Jae-Won Kim),김병옥(Byung-Ok Kim),임종근(Jung-Gyun Lim),이주한(Ju-Han Lee),임재홍(Jea-Hong Yim),박동국(Dong-Kook Park) 한국항해항만학회 2018 한국항해항만학회지 Vol.42 No.4

국내 연안의 소형어선에서 선외추락 등의 사고 시 대처 방법은 VHF-DSC 무선설비의 경보신호 버튼 조작에 의한 조난 경보 송신과 선박패스 장치(V-Pass)의 경보버튼 작동 또는 비콘 분리에 의한 경보신호 송신 방법이 병행 운용되고 있다. 그러나, 1~2인 승무 소형어선에서 선외추락 시 승조원이 이들 설비를 직접 조작하여 경보신호를 송신할 방법이 없으나, 외국에서는 VHF-DSC 및 AIS, Bluetooth 등의 기술을 사용한 선외추락 경보장치(MOB)를 이용하여 경보신호를 모선과 타선에 직접 송신하여 대처하고 있다. 외국에서 운용 중인 MOB 장치 의 성능 및 기술 분석을 위해 근․장거리 전파환경을 측정한 결과, MOB 장치가 수면 표면에 있을 경우 최대 1해리 이내에서 경보 신호의 수신이 가능함을 확인하였다. 국내 여건에 맞는 MOB 장치는 VHF 통신거리 내의 무선국으로 경보신호를 보내야 하나, 허위의 경보신호를 줄이기 위해서는 선박에 탑재된 VHF-DSC 무선설비와 원격으로 연동되어 운용하는 형태가 가장 적합한 것으로 판단된다. MOB 장치와 VHF-DSC 장치를 연결하기 위한 여러 가지 기술을 검토한 결과, 장치의 소형화 등의 장점이 있는 Bluetooth 방식이 적합하다. MOB 장치에서 비상신호 송신 시, 전용 수신기에서 수신하여 VHF-DSC 무선설비의 외부입력단자를 통해 비상신호를 인지시켜 자체 경보 알람 발생으로 모선에서 인지할 수 있으며, 모선에서 대처하지 못한다면 VHF-DSC 무선설비에 의한 조난경보 신호를 모든 무선국으로 송신하는 방식을 이 용하면 국내 연안의 소형어선 등에서 선외추락으로 인한 비상상황에 대처할 수 있을 것으로 판단된다. A method of transmitting an alert signal in case of man-overboard (MOB) systems in a small fishing vessel navigating within coastal area is being operated as VHF-DSC equipment via a distress alert button and V-Pass Equipment via alert button or beacon separation. However, a small fishing vessel with a couple of crews on board is an inappropriate way to alert a man-overboard condition. However, internationally, MOB equipment using VHF-DSC, AIS, and Bluetooth technologies is used to transmit alert signals directly to the mother ship and other radio stations. In order to analyze the performance and technology of the MOB equipment operating in foreign countries, it was confirmed that the alarm signal can be received within a maximum of one nautical mile when the MOB device is on the water surface. An MOB device that meets domestic conditions needs to send an alarm signal to a station within the VHF communication range. However, in order to reduce the false alert signal, it is most appropriate to operate the VHF-DSC radio equipment installed on the ship remotely. Analysis of various technologies connecting the MOB and the VHF-DSC revealed that the Bluetooth system has advantages such as device miniaturization. When an emergency signal is transmitted from the MOB device, it can be received by a dedicated receiver and recognized through an external input terminal of the VHF-DSC equipment generating its own alarm. If the emergency situation cannot be processed at the mother ship , a distress alert is sent to all radio stations via VHF-DSC for response under emergencies faced by small fishing vessels.

요셉 보이스의 유토피아와 그 (정치적) 실현을 향한 여정

김재원(Kim Jea-won),김향숙(토론자) 현대미술사학회 2008 현대미술사연구 Vol.24 No.-

Joseph Beuys blieb nicht nur als ein avangardistischer Kunstler der Zeit, sondern als ein Politiker auch (kurze Zeit). Aber mußte er da leider gegen seiner Absicht zurucktretten. Dann was fur ein politisches Gedanken hatte Beuys eigentlich, oder welche Idee oder politische uberzeugung hatte er denn? Diese Arbeit analysiert seine politische uberzeugung, die er gesellschaftliche Anderung durch Kunst erreichen konne. Gleichzeitig konzentriert auf seinen Werken, die seine politische Idee veranschaulicht wurden. Dafur einige Beispiele unter seinen Werken wurde naher betrachtet; namlich die Zusammenhange zwischen der Grundung der Deutschen Studentenpartei und Eurasien-Serie, der Organisation fur direkte Demokratie durch Volksabstimmung und der dokumenta V, der FIU: Free International University und der dokumenta VII(7000 Eichen - Stadtverwaldung statt Stadtverwaltung), und die Grunen-Aktivitat. Beuys war ein stark sozialengagierter kunstler, da wird man all sein Gestus oder Mimik ohne vielseitige uberlegungen nicht interpretieren konnen. Wie er selbst erwahnt, wurde sein Skepsis gegenuber hochentwickelter, industrialisierter Gesellshaft der westen Welt seiner Zeit vorrausgesetzt. Er meinte, plazieren kompromisslos starre Ideologien, die nun kalten Krieg verursachten, und hochentwickelte Technik in der Mitte in der heutigen Gesellschaft fest. Da je verwustetes Individuum oder verdorbene Gesellschaft solle eigene, tief verborgene Wunde zeigen, um sie zu heilen. Und durch tatsachliche Realisierung der erweiterten Kunstbegriff endlich solle man zurm urspruglichen Zustand, Wiedervereinigung der Menschen und Natur zuruckkehren. Schließlich zur Utopia, wo wahre Freiheit und Frieden existieren. Man kann von seiner Werken feststellen, wie er uber die Zusammenhange zwischen Kunst und Leben oder uber die Rolle der Kunst in der Gesellschaft so ernst wahrgenommen hat. Im Zentrum seines kunstlerischen Gedanken steht die Menschen. Außerdem hat er seine idealistische Anschauung uber der spirituellen oder geitigen Elemente von den Menschen und von der Natur durch seine zahlreiche Performance zum Ausdruck gebracht. Also gabe es zwei wesentlich eigenschaftlichen Zielsetzungen von seiner Kunst, namlich, erweiterter Kunstbegriff und Harmony der materellen Welt und der geistigen Elemente, um Wiedervereinigung der Menschen und Natur zu erreichen. Eigentlich ist die Kunst bei ihm nicht fur die Kunstler selbst oder fur die einige Kunstliebhaber, bzw. Kunstkenner, sondern fur die allgemeine Menschen in der Welt leben. Seine beruhmte Außerung, “jeder ist ein Kunstler”, teilt seine kunstlerische Absicht in erweitertem Kunstbegriff treffend mit. In diesem Zusammenhang uberzeugte er sich selbst so sehr, daß man durch die Kunst die Gesellschaft andern konne. Diese uberzeugung stammt hauptsachlich von seinem Erlebnis in Russland im zweitem Welt Krieg oder von seiner anthroposophischen uberzeugung aus. Durch frei demokratische Diskussion oder Kommunikation kann man die wahre Harmony oder Frieden zwischen Menschen, zwischen Menschen und Natur erreichen. Da hallte er die Verwirklichung wahrer Freiheit und Frieden der Menschen oder der Natur als Utopia fest. Solche utopische Vorstellung von ihm konnte als fromm oder idealistisch betrachtet werden, weil die Realisierungsmoglichkeit in Wirklichkeit nicht so optimal aussieht. Seine utopische Vorstellungen wurden grundsatzlich auf drei verschidenen Basis entstanden, namlich der langen romantischen Tradition in Deutschland, der anthroposophischen Weltanschauung von Rudolf Steiner(1861-1925) und der radikal kritischen Zeitgeist im 60er Jahren. Beuys wurde extrem verschieden beurteilt; einerseits sei seine Kunst optimal gelungene Showmanship rein aus Sensationalismus, weil er trotz seinen prachtigen Behauptungen und sensationellen Aktionen nichts in der gesellschaftlichen Wirklichkeit geandert habe. Und andererseits sei er ein wahrer heroischer Kunstler, der die geistige Wunde heutiger Menschen wa

사회적 현상과 예술적 반응 : 독일의 1920년대 신즉물주의(Neue Sachlichkeit)를 중심으로 본 사회비판적 사실주의의 특성

김재원(Kim Jea-Won) 서양미술사학회 1998 서양미술사학회논문집 Vol.10 No.-

In the early 20th century one realized an influential stream of art everywhere in Europe. It was an endeavour to develop a new form of artistic expression. We can see its experiment in Cubism, Constructionism and Abstractism. But in a full different way from the above mentioned style there was a artistic movement to try to reflect the realities of the society through its activities. We can call it the German artistic movement “Neue Sachlichkeit”. The artists of “Neue Sachlichkeit” observed the political situation of their society and strongly criticized the responsible leading groups with their works that described the sufferings during the time of after the World War I. The art history indicates that art of form-building and real life have been perceived as a separate thing. The German artists of “Neue Sachlichkeit” tried to find connections between two things. They accepted the negative side of life as a positive object of their art. The movement was originated an exhibition which Dr. G.F. Hartlaub, director of Mannheim municipal museum, had organized with 124 works of 32 young German artists in 1925. They were endeavouring to give new realities form that was clearly differentiated from expressionists. They consisted of two group of artists. Director Hartlaub called one as ‘the leftists’ and the other as ‘the rightists’. The leftists made works in order to criticize the social and political realities, while the rightists had been influenced by classicism since manifestation of ‘Pittura Metaflsica’. Dr. Hartlaub planned an exhibition to view all sorts of new realistic form of expression since the end of the World War I. But the unexpected succession gave a motive to be acknowledged as a style in the end of 1920s. Between the leftists and rightists there were lots of conceptual disorder. It seems that artists of soical critical realism sorted as leftists should be accepted as ‘Neue Sachlichkeit’ wie Wieland Schmied suggested. As the National Socialists of Germany came to the state power, the artists of ‘Neue Sachlichkeit’ was politically and phisically suppressed by Nazi-regime and the movement met its end. The ideas of German social critical artists that confronted the social realities and sought the positive development have been effective through the 20th century. Todays we can see their spirit of art to have a sharp eye to social conflicts and problems continuously happened in the every comer of the world. We can acknowledge that art of ‘Neue Sachlichkeit’ has greatly influenced on the social critical realism in general. We could confirm the three peculiar reactions of the ‘Neue Sachlichkeit’ : Firstly the reaction of sarcastic critic like G. Grosz, secondly the nihilistic reaction like O. Dix and thirdly the reaction of cool observer like Chr. Schad. There were the important works of those artists, which made their typical reations dear. Their attitude toward social unjustice was undoubtful. But in my opinion the ages of the artists played a certain role. For example G. Grosz created no more extreme social critical works, since he drew a selfportrait as Warner(1926). O.Dix expressed his feeling in memory that though he was so pessimistic he loved the pain so much at that time. Chr. Schad almost concentrated his mind on the old masterlike (Sakral Bilder) since 1930s. Through this study the author could come to a conclusion that the social critical art continues its form despite the changing generations of artists and the changing of objects.

볼프강 마토이어(Wolfgang Mattheuer, 1927-2004) : 이상과 현실의 초현실적 간극(間隙)

김재원(Kim Jea-Won) 서양미술사학회 2010 서양미술사학회논문집 Vol.32 No.-

Critical movements of the former East Germany artists against Soviet statism and cultural policy had been slowly but aggressively developed. The centre of the protests was the city Leipzig. The movement had been led by Wolfgang Mattheuer, Bernhard Heisig(1925-) and Werner Tubke (1929-2004), and consequently called as the Leipziger School. Their works had been for the first time introduced to the West in Documenta VI, which Manfred Schneckenburger organized. This article was concentrated on how Mattheuer expressed his consciousness of reality and his political thoughts through visible way of arts, which had not been studied until now in Korea. Like most East German artists, Mattheuer did not choose East Germany as a living place, but he was forced to live in East Germany, because he was born there. What he thought and cherished depends on where he lived. The socialist state East Germany had influenced him during his artist activities. From 1952 to 1974 he teached at the HGB(Hochschule fur Graphik und Buchkunst) in Leipzig. In 1958 he joined the East Germany state party, Sozialistische Einheitspartei Deutschland. In the 1950s he witnessed that the pure socialist idealism was misused in the socialist society like East Germany. He also found that in the history of 20th century Germany was enduring the second catastrophical period of living condition of human beings after the fall of Nazism. His critical consciousness was originated by his experience of Stalinism in East Germany, especially the inhumane, cruel, and dictatorial Soviet system. But probably his discard of Communist party membership(1988) and anti-regime activities did not necessarily mean that he distanced himself from socialism. He incessantly questioned himself what socialist realism was and what’s the meaning of the artists in the socialist society and made a severe critic on the miserable social conditions in East Germany. He did know well that an artist could not change the situation, but he desired a change and a better society. He also insisted that it was a duty of artist to comfort the members of the society who endured pains and conflicts, and to inspire hopes and freedom. Actually he was a social-critical intellect who did not differ politics from culture and an artist who sensitively reacted against domestic and international politics. Moreover Mattheuer was an realist. He was one of socialist artists who had successfully overcome falseness and inconsistencies of the soviet socialist realism. According to themes he handled divided as follows: first, political belief and consciousness of reality, second, false idealism, third, existential unconsciousness and depressed desire. Common subjects which may appear in his masterpieces such like, 〈Erschrecken(1977)〉, 〈Na, und?(1980)〉, 〈Verlust der Mitte(1981-1987)〉, 〈Die Ausgezeichnete(1984)〉, 〈Uber den sieben Bergen (1973/1993)〉, and Sisyphos series are isolations and cover-ups, hopes and frustrations which the common people under the systematic control of East German state had to endure in their daily life. He portrayed the oppressed desires of isolated individuals and the hollow lives of modern citizens searching for unpractical idealism as surreal symbols. His view of realistic value and his critical consciousness of socialist system had been expressed as constrained and full of tension between conflicted things in his surrealistic paintings. Mattheuer’s social belief and socialistic idealism came from humanistic socialism based on German Christian tradition and romantic idealism. He was an artist who had no confidence in any idealism and system that could bring happiness and who realized exactly what’s the meaning of hopelessness and frustration as Sisyphos in the Greek mythology.

일과 직업의 세계 - 무엇을 어떻게 가르칠 것인가 : 여성의 경력개발을 중심으로

김재원(Jea-Won Kim) 한양대학교 디지털경제연구소 1998 디지털경제연구 Vol.3 No.-

Werner Tübke

김재원(Kim Jea-Won) 현대미술사학회 2006 현대미술사연구 Vol.19 No.-

‘리얼리즘’ 미술

김재원(Kim Jea-Won) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

The debate on how realism in the art conceptually can be defined has been a matter of great concern not only in the East but in the West since realism appeared in the art. This article first of all looked into the beginning of realism art and its development in Europe and studied the substance of realism on the basis of the remarkable research results in the art history. Furthermore, the author would like to contribute to overcome the conceptual confusion of realism that has been an imminent issue in the modern and contemporary art history of Korea. It researched into the way how realism of the Korean art has been introduced, developed, and applied. Realism art includes descriptions of what we can discern what is described, but it does not try to copy as what we see. According to Georg Schmidt, realism art is an objective expression of an artist who realizes and conceives things in a subjective way. He said, realism art was an act of describing what the artist really experiences “now and here”. Therefore, timelessness, objectivity and subjectivity would consist of realism in the art. Realism in the general meaning began to appear in the French socialists in the mid-19th century. Under the conservative regime of Napoleon III, the socialists would like to describe the real life of the oppressed general public. One of such socialists, Gustave Courbet, actively took part in the movement that the alienated farmers and laborers should be recognized as new main players in the history. Realism art started with the exhibition of Courbet named 〈Realime〉. He thought that he could take objective realities as work of art and identified the value of true reality with beauty. Realism had a strong progressive tendency to see the real life from the perspective of socialism. At the beginning of 20th century realism happened to have more relations with political power in two ways. The one was the social critical realism (Neue Sachlichkeit) appeared in Berlin of Weimar Republic just after the World War I. And the other was the socialist realism of Soviet Union in the 1930s. The Berliner artists of social critical realism watched the defeated Germany and its social situation from the perspective of socialism and tried to critically show the conflict and contradictions appeared there. On the contrary the socialist realism formed one part of Soviet state ideologies in order to legitimize and propagate the Soviet system and eventually shared the fate with the regime collapsed. While the reality suggested by the social critical realism is an subjective recognition of real life on the basis of the artist’s social value judgement, the reality of the socialist realism is based on the ideologically idealized life. Therefore Schmidt’s thesis that the Soviet socialist realism is not a true realism but a idealized naturalism would be persuasive. The social critical realism and the socialist realism showed strong nationalistic tendency, when they came to meet nationalism. The realism of the progressive intellectuals who denied the concept of nation and state, and showed respect for anarchism, had been changed along with its widening meanings during the first half of the 20th century. The interaction between nationalism and realism had slowly been weakened by the change of society like democratization, protection of human rights and economic development. After all realism had been departing from nationalism together with the political and social change. This disconnecting phenomenon became apparent in the post-ideological era of the 20th century. Now the artists of realism have different perspectives on realities. Their social consciousness varies enormously. The realism art finds its way of expression not only in the paintings, but in photos, installations, videos, etc. Concerning with the realism art in Korea, the social critical realism and the socialist realism has been introduced in a mixture during the Japanese colonial era. Ther

“아, 당신은 나의 라파엘입니다!”

김재원(Kim, Jea-won) 현대미술사학회 2010 현대미술사연구 Vol.0 No.28

인듀서 형상 변화가 자흡식 진공펌프 성능에 미치는 영향

김재원(Jae-Won Kim),김진형(Jin-Hyoung Kim),김태윤(Tae-Yoon Kim),지효근(Hyo-Geun Ji),김윤제(Youn-Jea Kim) 대한기계학회 2014 대한기계학회 춘추학술대회 Vol.2014 No.5-2