문화 나치즘이란 무엇인가 -‘나치즘의 문화사’를 위한 이론적 구상

최용찬 문화사학회 2004 역사와 문화 Vol.9 No.-

Alumina-Membrane-Based Growth of Functional PbO2 and Pb(Zr,Ti)O3 Metal-Oxide Nanowires by Spin Coating

최용찬,부상돈,안병국,이해성,김종옥,박종배,한진규 한국물리학회 2006 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.49 No.III

We report alumina-membrane-based growth of functional PbO2 and Pb(Zr,Ti)O3 metal-oxide nanowires by combination of sol-gel processing and spin coating. Nanowires with a uniform diameter throughout the entire length and a relatively smooth surface are synthesized by the method. Fabricated PbO2 nanowires show a single crystalline structure with diameter of about 40 nm and length of tens of micrometers. PZT nanowires exhibit a high aspectratio (up to 400) with diameter of about 50 nm and length of about 20 μm. Our experimental results and calculations show that a vortex motion by spin coating plays an important role for the sols to enter the pores of the membrane in order to achieve nanowires. One main driving force for the drawing of sol nanoparticles into the membrane pores is a vortical force along the direction of the swirl, which is, roughly speaking, vertical to the membrane. .

히틀러국가의 내부 구조를 꿰뚫어 본 독일 현대사 연구의 걸작?

최용찬 한국독일사학회 2012 독일연구 Vol.- No.23

〈더 리더-책 읽어주는 남자〉, 전쟁세대와 전후세대가 부르는 희망과 절망의 변주곡

최용찬 재단법인 내일을여는역사재단 2010 내일을 여는 역사 Vol.38 No.-

Synthesis of Crystalline Lead Di-Oxide Nanowires and Their Electron-Beam-Induced Phase Transformation to Oxygen Deficient Lead Mono-Oxide

최용찬,부상돈,Jongok Kim,윤용주 한국물리학회 2007 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.51 No.III

We report a synthesis and a structural characterization of crystalline metal-oxide PbO$_2$ (lead di-oxide) nanowires. Single crystalline PbO$_2$ nanowires with an average diameter of about 42 nm were successfully synthesized by a spin-coating process of putting a lead oxide sol-gel solution into a nano-porous anodic alumina membrane (nPAAM). The high-resolution transmission electron microscope (HRTEM) images of the nanowires showed clearly resolved inter-planar fringes that corresponded to the (011) lattice distance of $\alpha$-PbO$_2$ with an orthorhombic structure ($a$ = 4.938 \AA, $b$ = 5.939 \AA~and $c$ = 5.486 \AA). Their selected area electron diffraction (SAED) patterns also showed sharp diffraction spots of crystalline $\alpha$-PbO$_2$. SAED patterns, taken from different positions along the PbO$_2$ nanowire, were also found to be identical, indicating that the entire nanowire was single crystalline. It was found that the crystalline PbO$_2$ nanowires were very sensitive to electron-beam-irradiation. This irradiation resulted in a phase transformation from the $\alpha$-PbO$_2$ to the orthorhombic $\beta$-PbO ($a$ = 5.490 \AA, $b$ = 5.892 \AA~and $c$ = 4.752 \AA). These experimental results suggest that the electron-beam-irradiation technique can be used to manipulate the phase of metal-oxide nanostructures, even in the surface reconstruction of metal-oxide nanowires or nanotubes.

히틀러의 유럽 통합 방안과 전쟁 포스터의 이미지 전략

최용찬 통합유럽연구회 2018 통합유럽연구회 학술대회 자료집 Vol.2018 No.-

Surface-adsorbate-induced fluorescence-type Raman background of Pb(Zr0.4Ti0.6)O3 nanotubes

최용찬,조삼연,박성균,부상돈 한국물리학회 2012 Current Applied Physics Vol.12 No.5

We report the effects of adsorbates on the Raman spectra of Pb(Zr0.4Ti0.6)O3 nanotubes (PZT-NTs). PZTNTs with adsorbates were prepared by exposing PZT-NTs to air for 1 day. We found that the presence of surface adsorbates can cause an intense and broad Raman background that hinders the observation of the Raman vibrational modes of the PZT-NTs. This background can be suppressed by adjusting the Raman excitation wavelength from 514.5 nm to 414.6 nm. It can also be removed by post-annealing the PZT-NTs at 500 ℃, but it returns readily after re-exposure to air. X-ray photoelectron and Fourier transform infrared spectroscopies show that hydroxyl and carbonate groups are adsorbed onto the surfaces of the PZT-NTs during exposure to air. Moreover, dispersive Raman spectra reveal that the background is a tail of a very broad band from 1000 to 4000 cm-1, which corresponds to hydroxyl groups. These results suggest that the main contribution to the Raman background of the PZT-NTs is that of surface hydroxyl groups rather than carbonate groups.

양극산화 전압과 시간이 다공성 양극산화 알루미나의 기공 형성에 미치는 영향

최용찬,부상돈,김종옥 한국물리학회 2007 새물리 Vol.55 No.3

We have investigated the effects of the anodizing voltage and time on pore formation in porous anodic alumina, fabricated in 0.3-M oxalic acid under a constant voltage by using the conventional two-step anodization method. The pore formation strongly depended on the anodizing voltage and time. Hexagonal close-packed arrays of pores with a constant pore size and interpore distance were obtained at a voltage of 40 V. The ordered pore arrangement showed a domain structure, and each domain was separated from the neighboring domains with different orientations of the pore lattice. The domain size linearly increased with increasing anodizing time up to 36 h. After 36 h, the domain size started to decrease. At 36 h, a highly ordered pore arrangement with an average domain size of $\sim$5 $\mu$m$^2$ was obtained. At 60 h, the average domain size was $\sim$1.2 $\mu$m$^2$. The decrease can be explained by limited diffusion of ions at the two interfaces, i.e., the aluminum/alumina interface and the alumina/electrolyte interface, due to the relatively long nano-pore length. 본 연구에서는 알루미늄을 양극산화하는 방법을 이용해서, 0.3 M 옥살산 그리고 정전압의 조건하에서 다공성 양극산화 알루미나를 제작하였으며, 양극산화가 진행되는 동안 적용된 전압과 시간이 알루미나의 기공 형성에 미치는 영향에 대해서 조사하였다. 나노 크기의 기공의 형성은 양극산화 전압에 의해 크게 좌우되었으며, 특히 40 V 전압 조건 하에서 기공들이 일정한 크기와 간격을 가지고 육방밀집 (hexagonal close-packed) 구조의 형태로 성장됨을 알 수 있었다. 질서화된 기공들은 임의의 기공 격자 (pore lattice) 방향을 가지고 도메인을 이루고 있었으며, 각각의 도메인들은 기공 격자의 방향에 따라 인접하는 다른 도메인과 분리되어 있었다. 한편, 양극산화 시간이 증가함에 따라 기공 도메인들의 크기는 선형적으로 증가하였으며, 36 시간이 되었을 때 약 5 $\mu$m$^2$ 면적의 가장 큰 도메인을 갖는 구조가 형성되었다. 36 시간 이후부터는 도메인의 크기가 감소하기 시작하였다. 60 시간이 되었을 때에는 36 시간의 경우와 비교해서 도메인 크기가 약 75 \% 감소 하였다. 이와 같은 기공 도메인 크기의 감소 현상은 양극산화 시간의 증가에 따라 상대적으로 나노 기공의 길이가 증가하게 되고, 이에 따른 기공 바닥에서의, 즉 알루미늄/알루미나 계면과 알루미나/전해질 계면에서의 이온들의 확산이 느려짐에 따른 현상으로 설명될 수 있다.

전쟁 영화 다시 읽기 : <서부 전선 이상 없다>에 나타난 전쟁의 재현과 반전(反戰)의 미학

최용찬 문화사학회 2012 역사와 문화 Vol.23 No.-

The aim of this article is to re-read the famous antiwar-film All Quiet on the Western Front(1930) on the historical context of the Weimar Republic of Germany. According to Benjamin Schröder, the powerful political myths in relating to the First World War Should be the main key with which the antiwarism of this historical film could be explained clearly, that is, war enthusiasm, war heroism, Dolchstosslegende. It is truthworthy that a film text should be analysed on the historical context that the film was produced and seen in the theaters. Chapter Two sheds new lights on the war enthusiam myth through the lens of a student soldier Paul Bäumer. As a result, the film argued that the war enthusiasm was only the construct of the political propaganda from the German military commander and the right newspapers. Chapter Three reveals out the reality of the war heroism myth, so that it was very different from the scenery that the German military commander and the right newspapers fabricated and reported. In particular, the so-called Langemarck myth was totally a forged document, according to the real appearance of the war that Paul witnessed. Chapter Four illuminates the question why the German army was finally defeated. Many consevativist personnel such as Hindenburg asserted after the war that the main cause of the German defeat should be brought out not from the inferiority of the German army power, but from the anti-German betrayals of the left political parties and peace movement activists. But Paul was sure that the German army should be defeated distinctly because of much misjudgements and failures of the German mitary commander and the inferior military strength. In Conclusion, the film All Quiet on the Western Front(1930) was one of the very parodixical antiwar films. The film declared that the story should be neither an accusation nor a confession. But the main actor Paul argued severly against the pro-war conservative powers, and he confessed that the important things should be not war, death and hatred, but peace, life and love. In this vein, the last parts of this anti war film can be reread as a soundless requiem for milions of the nameless fallen soldiers in the First World War.

백남준의 미디어아트와 글로컬 미학의 탄생 -〈존 케이지에 대한 찬사: 녹음기와 피아노를 위한 음악〉(1959) -

최용찬 한국독일사학회 2019 독일연구 Vol.- No.41

This article has the brief intention to research into his glocal aesthetics of Nam June Paik(1932-2006) in order to define its original characteristics rightly, focusing on his action music of the early times in Germany. Its intention can be easily realized through extracting out some aspects of his glocal aesthetics which should be reflected on musical performances in his Cologne times(1959-1963). According to the documents of the Paik Nam June Art Center in Korea, it was 1962, when Nam June Paik himself declared out that he should be just the Yellow Peril. While arousing a sensation of fear of the Asiatic invasion and rule for the Europeans, his daring declaration can be a clue to the interesting problem that his glocal aesthetics had more destructive and conversive peculiarities. In this meanings it can be easily comprehended that Nam June Paik was critically called as musical terrorist, cultural terrorist from Asia, destructive artist, extreme phenomenon. In this context this article is centering on his first representative musical performance, 'Hommage à John Cage: Music for Tape Recorder and Piano'(1959), because this early musical performance can be the only magic mirror to reflect the whole scales of his life and works from the Germany times over the American and Korean times as not only video artist but also medial artist. 이 글의 목적은 백남준의 초창기 행위음악에서 나타나는 글로컬 미학의 탄생 과정을 추적하여 백남준의 글로컬 미학의 태생적 특성을 분석하는 데 놓여 있다. 이 목적은 백남준의 독일시대, 곧 쾰른시대(1959∼1963)에 행해진 백남준의 대표적인 행위음악에 나타난 글로컬 미학적 특성을 추출하는 과정에서 곧잘 성취되리라고 생각한다. 백남준아트센터에서 제시한 자료에 따르면, 백남준 “황색재앙! 그것이 바로 나다”를 선언한 때가 정확히 1962년이다. 적어도 유럽인들에게 동양인에 의한 유럽의 지배에 대한 임박한 공포감을 불러일으킬 만한 그의 도발적인 선언문이야말로 백남준의 글로컬 미학의 파괴적이고 전복적인 성격을 밝힐 수 있는 핵심증거인 것이다. 이런 의미에서 백남준이 “음악적 테러리스트,” “동양에서 온 문화 테러리스트,” “아시아에서 온 문화 테러리스트,” “파괴 예술가,” “비상한 현상” 등으로 불렀던 이유를 정확하게 이해할 수 있다. 이런 맥락에서 본 논문에서는 백남준의 첫 번째 공연 작품 〈존 케이지에 대한 찬사: 녹음기와 피아노를 위한 음악〉(1959)을 위주로 백남준의 파괴적인 글로컬 미학의 탄생 과정을 살펴보기로 한다.