용액 공정 기반의 다중 적층된 HfO₂ 박막 상에서의 액정 배향

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2013 전기전자재료학회논문지 Vol.26 No.11

Effect of multi-stacked layer (MSL), 0.1 mol (M) and 0.3 mol (M) hafnium oxide ($HfO_2$) alignment layers were fabricated via a solution-process for LCs orientation. The solutions were spin-coated and annealed in a furnace. MSL consists of three sub-layers using 0.1 M solution, mono-layer (ML) is composed of 0.3 M $HfO_2$ solution. Then ion-beam irradiation was treated with 1.8 keV for 2 min. $HfO_2$-based LC cells were investigated through photographs, pre-tilt angle using crystal rotation method, X-ray photoelectron spectroscopy (XPS) measurement, and surface roughness using atomic force microscopy(AFM) for their characteristic research. Good LC orientation characteristics were observed on MSL $HfO_2$ surface. The LC alignment mechanism on MSL $HfO_2$ and ML $HfO_2$ surfaces was attributed to van der Waals (VDW) interaction between the LC molecular and substrate surface.

그라핀 양자점을 도핑한 TN 셀의 고속 스위칭 특성

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2014 전기전자재료학회논문지 Vol.27 No.2

In this study, we report the doping effect of graphene quantum dots (QDs) in nematic liquid crystal (NLC) system on rubbed polyimide (PI) surface. The good LC alignment and high thermal stability in QD-LC cell system on rubbed PI surfaces can be measured. Also, the low threshold voltage of QD-TN cell was observed about 2.77 V. The fast response time of 13.2 ms for QD-TN cell can be achieved. Finally, the good voltage holding ratio of QD-TN cell on rubbed PI surface was measured.

저온 공정의 Si을 이용한 PI 배향 막의 전기광학 특성 향상에 대한 연구

김대현,Kim, Dai-Hyun 한국전기전자재료학회 2013 전기전자재료학회논문지 Vol.26 No.9

Apart from the deposition of alignment layer, alignment process needs to be involved for alignment of liquid crystal (LC) molecules. To simplify manufacturing process, several method were used such as rubbing, ion-beam irradiation, UV irradiation, and lithography. But, eventually it needs another treatment for LC alignment. Here, we suggested Si induced polyimide (PI) alignment layer at low temperature. Using this method, we are able to eliminate the alignment process and found that the alignment and electro-optic performance are much better than that of the rubbed PI LC cells. Compared to the rubbed PI cells, the response time was decreased by 70% and C-V characteristics have hysteresis-free.

H<SUB>∞</SUB> 최적제어 이론을 이용한 도립진자의 견실한 보상기 설계에 관한 연구

김대현(Dai-hyun Kim),정규홍(Kyu-hong Chung),이석재(Seok-jae Lee),이교일(Kyo-Il Lee) 제어로봇시스템학회 1991 제어로봇시스템학회 국내학술대회 논문집 Vol.1 No.1

“-되기”의 배역창조와 “행위 현장”의 생성성

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2010 연극교육연구 Vol.16 No.-

연극연출에 있어서 한 장면의 리듬과 템포에 관한 고찰 ( 2 )

김대현(Dai Hyun Kim) 한국연극교육학회 2002 연극교육연구 Vol.7 No.-

This thesis deals especially with the function of the rhythm and tempo by picturization of a scene. Many elements, which consist of a scene, have characteristics of movement, direction, power, level, colour, position and so on. They stimulate and influence by creation of rhythm and tempo. The primary function of rhythm and tempo is to synthesis all elements in a scene and to transform a plain scene into the vivid, vital and real scene. For this purpose a director must be also a commander, choreographer and composer. It can be said that we divide rhythm and tempo into Internal and External. And they have a strong relationship. We can observe the internal rhythm-tempo in a scene itself, colour of setting, costume, the emotional state of characters and so on. And we can also observe the External in the speed of dialogues, movements of characters and in the variations of scene-changes. Of course, there are so many other elements, which effect on the creation of rhythm and tempo in a scene. But what is important is how the director can manipulate these elements and create a scene effectively. In this means, director is the one who has the responsibilities for the creation of rhythm and tempo. The creation of rhythm and tempo is not brought in a scene by chance. Thus a director must think carefully how he can create rhythm and tempo in a scene with these elements.

배역창조와 -되기 그리고 자감(自感)

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2008 연극교육연구 Vol.14 No.-

장면 연출과 행위 현장 -장면 연출의 추상성과 시뮬라시옹을 중심으로-

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2013 연극교육연구 Vol.22 No.-

The goal of scene-directing is to represent a thing as it seems to be real. Because of this goal, the work of director is focused almost on the visualization. But some elements causes some changes in the function of the modern scene-directing. That is first of all the change of goal in the scene-directing. After the abandonment of a realistic representation have the director to choose owns methods in the scene-directing, that is, one between abstract or simulate a thing. The word ``abstraction`` means to delete something in a thing or abstract from it. As a result, there is represented a something distorted or ugly on the stage. By the simulation of the scene, it appears nothing changed on the stage, but a thing on the stage in not a real thing but a image, that is. ``Simulacres``. The abstraction of the scene is to make it ``plane``. That means technically to abandon of a perspective, a picture-frame stage and finally mimesis and empathy on the stage. We can see it clear in examples of the teatre of scene-direction of Oh, Tae-suk. In his scene-directing, we can find out nothing as a face-to-face dialogue and perspective setting that pursuit of empathy. The simulation of the scene means to indicate that the thing on the stage is not a real but a image or images of images. According to Gilles Deleuze, the modern society is the world of simulacres. Therefore, director`s scene-directing habe to present, not represent the copy of images, simulaces, on the stage. But simulation of the scene also has a negative aspects. The simulcres denies the being of the original. The spectator have to meet this empty image on the stage. And then the fact, the absence of the original, leads easily spectator to the pessimistic world view. By this means. The action-spot is very important in scene-directing. In the action-spot can the actor on the stage and the spectators in the house communicate each other, specially with ``liveliness``. There is not ``past`` nor ``future`` in the action-spot. There is only the living present, wether it is a simulacres or a abstraction. As a result, a director have to concentrate on the method, how to create and maintain its liveliness in the scene-directing.

스타니슬랍스키와 시스템 -시스템 형성의 과정과 그 특성을 중심으로-

김대현 ( Dai Hyun Kim ) 한국연극교육학회 2012 연극교육연구 Vol.21 No.-

Stanislawski and ``System`` -focused on the Process and its Characteristics of the System-formation- Kim, Daihyun This thesis deals not what Stanislawski`s ``System`` is, but how it was taken the its form as a ``System``. Therefore many things on his concepts in System like ``magic if``, ``a given circumstance`` and ``superobjectives`` and so on is not going to be discussed in this thesis. The chief concern is laid on questions, `is the System developed gradually following his career or is it some unique Ones, that is, the System is not developed, but it is already a perfect actor`s training program in the early 1920s. In order to verify the foremost opinion, the System is studied in three aspects. The First is facts related with his own life and his career in the theatre. The Second is considerations related with the political situation at his times. Especially, Stanislawski has undergone three particular regimes, the russian empire, the Soviet Union and finally the Stalin`s reign. In fact, the last thing, Stalin`s reign is dealt as a chief concern. The third aspect to survey is System itself. Here is three his books, ``An actor prepares``, ``Building a Character`` and ``Creating a Role``. The method of verification is to observe the relationships between important concepts like ``superobjectives``, ``general state``, ``the method of physical action`` and ``etude`` in his three books. After those Survey is it revealed that the theories of his System is not different between so-called in his early period and in the late period. And it is brought to a conclusion that the System is a perfect unique Ones. It can be proved the contrary that Stanislawski for himself has noted already the final conclusion on his system in the book, ``My Life in Art`` published in America in 1924. Any other misunderstandings are caused after all complicated publishing processes of his books till these days and the political, cultural circumstances like the social realism under the Soviet Union after the middle of 1930s.

장면 연출의 추상적 평면화

김대현 ( Kim Dai Hyun ) 한국연극교육학회 2016 연극교육연구 Vol.28 No.-

This thesis is focused especially on possibility of a abstract, plane delineation in a scene-directing for a director. Traditionally director’s tools, so called, thecnics of scene composition, acting area, level, space, focus, actor’s bodyposiont on the stage are technics which are based on ‘Perspective’. If we have another purpose in a scene-directing as a director, that is, not to imitate, but to make something abstract, and plane delineation, we have to apply different principal and technics as follows: ⑴ use of mask of actors ⑵ use of the general uniform instead of character’s costume. ⑶ simple lighting for brightness, not for atmosphere. ⑷ forbid to dramaic music and effects. ⑸ use of multi-focus in stage ⑹ forbid to imitate someone or something for representation. ⑺ forbid to use of the dramatic plot. The time and space without perspective is seen a flat space like a korean traditional painting from Chung Sun or Sin Yunpok in Chosun dynasty. In apart from a real world, things in this oriental painting are accented more bigger because that is more important than others for the painters. As s result of these attempt, spectacles on the stage are reflection of energy, vitality and universal One. There are not a mere imitation of an object any more, but a sort of abstract and flat. Logically, it is not important for a director, how it is similar to the object, but how it is transformed from ‘real’ to ‘abstract and flat’. That is why the ‘action-spot’ is essence of scene-expression for a director. In the work of a abstract, plane delineation, trial to express something on the stage becomes process of the creation of energy, vitality and a universal One. The director have to repeat this action-spot till success of communication with spectators.