석남 이경성(石南 李慶成, 1919-2009)의 뮤지엄 인식과 실천

이인범(Lee, Ihn Bum) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-

The intention of this essay is to give light on Lee Kyung-Sung(1919-2009)’s museum related activities. He was born in Incheon in 1919 when the March First Independence Movement occurred. He had been grown up under the Japanese Imperialism in his youth, and since the age of 26 when he had become the director of Incheon Municipal Museum after gaining independence from Japan, he was solely in the field of museum establishment until his death in 2009. Lee particularly contributed much in establishing the National Museum of Contemporary Art Korea and its process of settlement. What motivated him to be involved in the activities for the museum in Korea where the field was so barren and alien? What was the value he was seeking for while concentrating on the task of museum establishment throughout his whole life? How do his activities in the field associate with the national development of museum system, formation of nation-state and the worldwide development of museum system after the Second World War? These questions are the starting points of this writing. His activities in the field began amid the flow of the Western invasion on the East and Japanese colonization of Korea. Being immersed in ‘the fine art’ was his way of transcending the unfortunate reality of the nation, and therefore working on the issue of museum system became his place of act. As soon as gaining liberation from the Japanese regime, he served as a director of Incheon Municipal Musuem, which is recorded as the nation’s first public museum that was both established and managed by him. After that, Lee worked as a staff in museums of Ehwa Woman’s University and a director of Hongik University respectively. And subsequent to the April 19 Revolution, he derived a conclusion for establishing the National Museum of Contemporary Art Korea ? in 1986, he directed and developed schemes for the settlement of the museum as a director, pioneering a public realm for the fine art in Korean society for the first time. As he set an objective for going beyond the ill-fated Korean historic reality during the modern period, his perception and practice regarding the museum in the field of fine art was first designed to focus on forming ‘subjectivity’ within the formation of nation-state, which was foundered during the colonial era. So the concept of ‘rationalization’, ‘modernization’ and ‘globalization’ were taken into account, paving the road for a public realm in the fine art by the establishment of National Museum of Contemporary Art. In that respect, Lee’s vision and practice for museum establishment was anchored in reality of the time, and his lifelong commitment in the activities were closely related to the task of forming a nation-state. It is doubtlessly the fact that the field he strived for was no one ever stepped into before him during the postwar years in Korea. His task of objective was that of Louvre Museum signifies the symbol of the French Revolution in one hand; and since then the museum contributed to the internalization of the revolutionary spirit, modern museum system in the West function as a project in order to form a nation-state or to overcome the difficulty it faces in other hand. Given that points, Lee’s activities in the field of museum establishment provide interesting comparisons to be explored with the cases. However, what kind of ‘modern fine art’ he actually sought for with the application of ‘rationalization’, ‘modernization’ and ‘globalization’ is still remained as an issue.

해상풍력발전기 Pitch Drive 감속기 하중분포에 관한 연구

이인범(I. B. Lee),류성기(S. K. Lyu) 한국기계가공학회 2013 한국기계가공학회 춘추계학술대회 논문집 Vol.2013 No.11

적응형 듀얼레벨 로드리미터 개발

이인범(In Beom Lee),강신유(Shin You Kang),김석현(Seock Hyun Kim),유원화(Won Wha Ryoo) 대한기계학회 2011 大韓機械學會論文集A Vol.35 No.10

이 응용논문에는 적응형 로드리미터에 대해 기술되어 있다. 적응형 로드리미터는 안전벨트의 구성품 중 하나이며, 이는 승객의 다양한 체중과 키에 따라 하중량을 고하중과 저하중으로 변환시킬 수 있는 장치이다. 최근, FMVSS 208규정은 다양한 더미크기에 대해 엄격한 안전기준을 요구하고 있다. 이에 따라 우리는 고하중 조건과 저하중 조건 시 각각 더미에 흉부 상해정도를 알아보았고, 실험을 통해서 벤치마킹모델의 하중조건을 확인하였다. 이를 토대로 적응형 듀얼레벨 로드리미터를 개발하여 성능실험을 실시하였고, 유한요소해석을 통해 설계 개선점을 확인하였다. In this paper, the development of an adjustable load limiter is presented, which is a component of the seat belt. The adjustable load limiter is loaded at different levels for varied weights and heights of occupant. The recent regulation FMVSS 208 demands strict safety standards for different percentiles of dummy size. In this work, high- and low-level load conditions are proposed according to dummy scale and thoracic injury criteria. The suggested load conditions were verified by performing a sled test using the benchmark model. A dual-level load limiter has been developed on the basis of these tests. Experiments were conducted on the product performance, and finite element analysis was carried out; the results confirmed the points for improvement.

외부 환경변화와 국내 건설기업에 대한 조직구조 개선안 제시 프레임워크

이인범(Lee, In-Beom),이현수(Lee, Hyun-Soo),박문서(Park, Moon-Seo) 대한건축학회 2013 대한건축학회 학술발표대회 논문집 Vol.33 No.1

연구발표논문초록 ( 공정시스템 (Ⅲ) ) : 다중기간 조업하에서의 열교환망 합성

이인범 (정) ( In Beum Lee ) 한국화학공학회 1989 춘계학술발표회 Vol.- No.-

불교 미학,예술학 시론

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2006 美學·藝術學硏究 Vol.23 No.-

백색담론에 대하여: 한국인의 미의식 논의에 대한 비판적 고찰

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2004 美學·藝術學硏究 Vol.19 No.-

1.4리터급 가솔린 엔진용 터보차저의 기계마찰손실 이론계산 및 시험적 분석

이인범(Inbeom Lee),김구성(Kusung Kim),김정배(Jungbae Kim),최복록(Boklok Choi) 한국자동차공학회 2017 한국자동차공학회 부문종합 학술대회 Vol.2017 No.5

Most turbochargers are supported by two oil lubricated journal bearings and a thrust bearing. This is a main cause of the mechanical friction losses which strongly influence on the mechanical efficiency of the turbocharger. In this paper, theoretical and experimental methods were used to identify the mechanical friction losses of the torbo rotor. The Petroff’s equation was used for numerical calculating the mechanical friction losses in theoretical method. The calorimetric measurement technique was used in experimental method. In order to know the mechanical friction losses of two radial journal bearings without a thrust bearing, the experimental measurement was proceeded in the range which has no axial thrust loads. The turbocharger for a 1.4L gasoline engine was used to measure and calculate the mechanical friction losses and the SAE 10W-30 grade engine oil was used for lubricating the Bearings. In the results of this paper, it was identified that the magnitude of mechanical friction losses due to the oil lubricated bearings. Through the comparison of theoretical result and experimental result, that was verified.

오브제 담론의 현대적 지평

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2015 美學·藝術學硏究 Vol.43 No.-

오브제와 무관한 예술은 없다. 그 자체가 오브제이거나 그에 관한 표상이거나 그를 향한 욕망의 산물이다. 오브제가 특별하게 이슈로 떠오른 것은 20세기초 유럽에서 피카소를 비롯한 입체파 화가들이 파피에 콜레(papiers colles)나 콜라주 등에 의한 이른 바 타블로 오브제(tableau objet) 또는 회화 오브제(peinture objet)가 발표되면서다. 하지만 오브제 담론 자체가 본격적으로 촉발된 것은 마르셀 뒤샹에 의해서다. ‘레디메이드’ 산업 생산품을 끌어들여 예술의 경계를 교란시키는 등 그는 도발적으로 오브제를 현대예술 담론의 한 가운데에 위치시켰다. 이러한 20세기 초의 시도들은 한 마디로 르네상스 이래 회화의 본질이라 여겨져 온 재현의 위기에서 비롯된다. 이후 오브제 작업은 초현실주의 작가들을 거쳐 제2차 세계대전 이후에도 팝아트, 누보레알리즘, 프럭서스, 미니멀리즘 작가들의 작업으로 이어졌으며 최근엔 설치, 오브제 작업들에서 확인되듯이 지속적으로 현대미술의 두드러진 양상으로 전개되어 왔다. 그리고 그를 둘러싼 담론도 사물이 지닌 정신분석학적 함의, 조형예술의 장르적 고유성이나 대상성 논의, 소비사회와 사회학적 기호학적 문제 등으로 그 논의의 전개 양상과 층위는 한층 복잡해졌다. 최근 디지털 매체의 전면화, 유전자 복제기술의 발전, 새로운 소재의 등장등 과학기술의 가파른 발전과 더불어 사물의 체계나 그와 변증법적인 관계에 있는 예술 개념도 크게 바뀌고 있다. 이에 따라 예술사, 뮤지엄, 미술학교, 미술시장같은 여러 예술제도들의 패러다임들도 크게 요동치고 있다. 그런 점에서 무엇보다도 새로운 현실에 적합한 예술 개념에 도달하기 위해서는 주체-대상의 이원론에 근거한 서구의 근대적 예술 개념은 근본적으로 재고할 필요가 있다. 20세기 미술의 전개에서도 확인되듯이, 발견된 오브제로서 예술과 그렇지 않은 집합적 사물들 간의 관계는 변증법적이다. 따라서 관습화된 오브제에 대한 선입견이나 덧 씌워진 침해행위로부터 벗어나 상투성을 극복하고 새로운 예술로서의 오브제 개념을 일구기 위해서는 이 시대에 걸 맞는 사물과의 새로운 변증법에 주목할 필요가 있다. 그런데, 비 유럽권에 속한 우리를 비롯한 동아시아의 경우 사물의 체계와 예술의 역사적 맥락이 다르다. 그런 점에서 예술과 사물의 변증법에서 유럽적 전통과 비 유럽적인 고유의 전통 사이의 상호작용이 고려될 필요가 있다. 우리를 포함한 동아시아의 경우 애초부터 서구의 예술 개념만으로 그 진실에 제대로 다가서는 데에는 한계를 지닌다. 그런 점에서 한 때 서구 예술 개념에 몰입했던 야나기 무네요시가 조선예술과의 만남이나 거기에서 비롯되는 민예론을 통해 서구의 근대적 예술 개념의 경계를 넘어서고자 한 것은 주목할 만하다. 그의 민예론과 불교미학은 주-객 이원론에 기초한 서구의 근대적 예술 개념을 비서구적 전통의 불이론적(不二論的) 세계관에 의해 재구성한 사례이다. Arts, unrelated to objects, cannot be imagined. Arts is the objects themselves, their perceived appearance, or the products of desire towards them. Object became a special issue in early 20th century Europe when works by cubist artists such as Picasso went under the spotlight. Their works were on ‘papiers colles’, ‘tableau objet’ and ‘peinture objet’. However, Marcel Duchamp triggered the full-fledged discourse on object. He blurred the borderline of art by bringing industrial products in ‘readymade’, which placed the object in the center of contemporary art discourse. These 20th century attempts roots from the crisis of representation, which was considered the defining characteristic of art since the Renaissance. Work on object continued on from surrealist art to Pop art, Neuveau Realism, fluxus, and to Minimalism. Recently, as we can confirm from installations and works on object, it has been continually passed on through the conspicuous state of contemporary art. Also the surrounding discourse has been complicated by the psychoanalytical implications of objects, the debates on the characteristic of plastic art, and the problems of mass consumption society and sociologic and semiotic issues. Recently, the spread of digital media, development of DNA cloning, appearance of different materials, and other rapid advancements in science and technology is affecting the concept of art. As such the paradigm of art history, museum, art school, and the art market is shifting. In this respect, to approach the new concept of art, it is important to revisit the subject-object oriented contemporary western thought. As we affirmed through the development of 20th century arts, the relationship between objects discovered through art and the other collective objects is dialectical. As such, it is important to depart from the routinely biased infringement of object and approach the concept of object as a new art, it is crucial to find a new dialectic of objects that fit this day and age. For non-European countries such as Korea and the rest of East Asia, their concept of object and art history is different. In this regard the dialectic of art and object should be considered in the context of the interaction between European tradition and non-European tradition. East Asia faces limitations when approaching the truth from the Western concept of art. It is worth pointing out that Yanagi Muneyoshi, who was immersed in Western concept of art, tried to overcome its barriers through his encounter of traditional Korean Art and the development of Mingei theory. His Mingei theory and Buddhist art is a case transforming the subject-object based western contemporary art concept into a non-Western tradition of ontological non-dualism(不二論).

고유섭 해석의 제 문제

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2005 美學·藝術學硏究 Vol.22 No.-

This essay is written for honoring one hundredth years of remembrance of Yu-Seop Ko(高裕燮, 1905-44) who was born and active as an aesthetician and art historian in the period of colonization by Japanese. Aesthetics and art history in Korea began with him. His devotion to the studies means not merely an opening the fields also exerting a decisive influence upon the academic circles. For this reason, going deep into the study of him is as a matter of fact finding out the real truth of the origin and character of Korean Aesthetics and art history. The reviews about his theory can be classified by three periods. In the first period, from the Independence of Korea to the last years of 1960s, his followers published his writings and cherished his studies. In the second period, from early 1970s to the middle of 1980s, the interpretations of his studies were extremely diversified. While his academic achievements were criticized by a group of scholars the other group of them praised him, for presenting concrete expression to the national identity in the field of aesthetics and art history. The last, from the middle of 1980s to the present, the theses about him for a degree was presented and a new attempt for interpreting on the whole was tried. And yet in Korean academic circles the outstanding aspect on reviews about Yu-Seop Ko splits into several factions. For instance, his achievements were interpreted as a vestige of the pro-Japanese or an expression to the national identity. His art history was understood without a consideration of aesthetic concept. His aesthetics was understood without a consideration of his institutional achievement from the art history. His methodology of art history was based upon the aesthetics. We can confirm it from that the his theory was starting from the understanding of Der Urspurung der Kunstlerlischen Tatigkeit(1887) written by Conrad A. Fiedler(1841-1895), who is known as the founder of Kunstwissenschaft. And his Korean art history was premised on the omnipresent aesthetical question, that is ``What is art?`` Therefore the understanding of Yu-Seop Ko should be based solely on interpreting his theory and practice without concerning on ideological interests.