대한상하수도학회 `99 정기총회 및 학술발표회 / 보고 및 논문 : 논문 ; 생흡착을 이용한 생활하수의 염양염류제거에 관한 고도처리 연구

박주석(Ju Seok Park),김현갑(Hyun Kab Kim),황정기(Jung Ki Whang),안상준(Sang Jun Ahn) 대한상하수도학회 1999 1999년도 정기총회 및 학술발표회 Vol.- No.-

특집 : 신낙균선생 서거 50주년 기념 ; 신낙균의 생애와 사상

박주석 ( Ju Seok Park ) 한국사진학회 2005 AURA Vol.0 No.13

논문 : 폭기 (曝氣) 생물막을 이용한 수처리의 실험적 연구

박주석(Ju Seok Park) 대한상하수도학회 1989 상하수도학회지 Vol.2 No.2

1960년대 주명덕과 ‘현대사진연구회’의 관계 연구

박주석 ( Park Ju Seok ) 한국사진학회 2016 AURA Vol.0 No.37

The Belief of photographer, Joo Myung Duck, on documentary Photography which emphasizes element of reality in photography and the process of storytelling construction is surmised that it was affected by trend of ‘Modern Photography Society’ which was made as subsidiary of ‘Salon ARS’ in 1960s. Jeon Mong Gak who was a senior of Joo Myung Duck as well as a start member of ‘Modern Photography Society’ said that documentary Photography was alternative for Realism Photography. This is because the earlier Korean Realism Photography also has a limit, so it was required the change. Second, he also insisted that there are tendency and future of modern Photography and power of photography in the documentary form. The important point at here, in those days, the members, young photographers, were source of cognition system for information about the acquired photograph and news photography. When Lee Hyung Rok and Jung Bum Tae else who were their advisors still stayed at photograph of realism and Johyungjueue which were affected by Japanese realism photography and news photography, they consider a document and a reality as inherent of photography. Realism photography consider element of site in photography as a value of photography, however, its state was not that appreciate the element of documentary. And Johyungjueue photography’s role was that only added composition ability and several visual factor at the Realism Photography. The members of ‘Modern Photography Society’ have awareness system which surpasses previous thoughts and this was brought by photographs and columns in American magazine named < Popular photography >. It was the first time that Joo Myung Duck was joined and participated in ‘Modern Photography Society’ in November 1964. In those days, this society was leaded by Jeon Mong Gak else and he actively agree with the belief and direction about documentary photograph which were shared by the members. He reflected these theme setting on his works of photography. Joo Myung Duck’s exhibition of < On Harry Holt’s Memorial > have evaluated as a forerunner of new area of Korean photography has to be considered that it came from activity and research of ‘Modern Photography Society’.

조선인의 사진체험담 연구

박주석 ( Park Ju Seok ) 한국사진학회 2018 AURA Vol.0 No.41

In 1876, through a contract of ‘Korea-Japan Treaty of 1876', Joseon dynasty government have formed a diplomatic relation with the Japanese government and they started to open the country to foreign intercourse. For this reason, there were various Joseon delegations for diplomatic relations with Japan, US and other European countries. It was in the same context of Yeonhaengsa who had been delegated to China before as a diplomatic operation. There were few kinds of ambassadors after the contract of ‘Korea-Japan Treaty'. They are ‘Sushinsa' were delegated to Japan, ‘Youngsunsa' were detached to China for advanced military technology and skills and ‘Bobingsa' were dispatched to express thanks to assigned of US diplomatic minister residing in Korea peninsula, after contracting of ‘Treaty of Peace, Amity, Commerce and Navigation, United States-Korea Treaty of 1882'. These various delegations had experience visiting local photo studio and taking portrait pictures in countries where they were sent. Although there was no official introduction of photography during 1860-1870s, the ambassador members kept finding studio and taking their pictures. Therefore, it became a kind of tradition among the delegation members who have visited foreign countries. The delegations recorded their experience on photography, visual culture, impressions and these various forms of documents come down to us in these days. In the other word, before formal introduction of photography, there were documents about experiences and impressions of photography. Through these series of processes, photography could be accepted by Joseon noblemen without resistance; rather it became an attractive modern technology to them. Therefore, it provided a foundation of the introduction of photography. As a result, the acceptance of photography as a typical modern culture form means the truth that Joseon practically entered into modern society.

일제하 북촌의 사진관과 <경성사진사협회>의 등장

박주석 ( Park Ju Seok ) 한국사진학회 2019 AURA Vol.0 No.42

In the history of Korean photography, there were various related photography activities right after the introduction of the photography. Besides < Cheonyeondang Sajingwan >, there were many photographers of Korean who continued the history of photography at the same time. According to the records of the present day, the photographers of the Japanese who lived in Seoul were mainly in Chungmuro and Uljiro, called Namchon at that time, whereas the photographers of the Koreans operated in the area of Jongno, which is called Bukchon. The reason why Jiunyoung and Hwangcheol, the pioneers of the introduction of Korean photography, first opened a workroom or photo- studio in Bukchon is closely related to their jobs of Joseon government and social status at the time. Both had a residence in Bukchon near Gyeongbok Palace, a dense area of Joseon government offices, and opened a photo-studio here. This is why Bukchon was the starting point of Korean photography history. Between the 1900s and the 20s, there was no photo activity of our own, and it was known that photography and visual culture were led by Japanese photographers and their culture in Namchon which is a symbol of Japanese colonial rule. However, Korean photographers opened the photo-studios in Bukchon, which was a symbol and center of resistance to the Japanese imperialism, and developed a photographic culture. < Kyungseongsajinsahyuphoe > was an organization founded in 1926, centered on photographers operating in Bukchon. This paper is a study of the process and cultural historical achievements.

롤랑 바르트의 텍스트로 본 렘 콜하스, SANAA, 소우 후지모토 건축의 특성

박주석(Park, Ju-Seok),김동진(Kim, Dong-Jin) 한국실내디자인학회 2017 한국실내디자인학회논문집 Vol.26 No.1

The semiotics philosopher Roland Barthes declared "the death of the author". This means a sense of skepticism about author-centered writing in literature, and that readers and critics must also change their reading attitudes. In architecture, too, author-centered design appears. Architects sometimes try to express their will and concepts strongly through their work. However, this architecture is oriented toward identity, self-revealing, self-centered, and eventually without inspiration. On the other hand, the signifier does not result in a single meaning, and it is architecture as text that allows readers to enjoy the pleasure of deciphering. The purpose of this study is to investigate that unilateral by the will of the architect. Or whether there is a potential for non-intelligence and the possibility of generating meaning. In particular, we will analyze the works of Rem Koolhaas, SANAA and Sou Fujimoto to see if they are free from the will of the architect and can obtain the user"s true freedom. As a result, we want to reveal the potential of various interpretations by users in contemporary architecture.

해강 김규진의 대한제국 황실사진 연구

박주석 ( Park Ju Seok ) 한국사진학회 2021 AURA Vol.0 No.46

This thesis is based on the results of discovering and introducing a photographs of Emperor Gojong of the Korean Empire in the possession of < The Newark Museum of Art > in New Jersey, USA. It was written for the purpose of revealing the photographic activities of Kim Gyujin as a royal photographer of the Korean Empire. < The Freer Gallery of Art and Arthur M. Sackler Gallery Archives >, which is affiliated with the Smithsonian Institution in the United States, also was released their photographs of Emperor Gojong and the Crown Prince Sunjong at the era of Korean Empire. The excavation of these photographs held by the two institutions created an opportunity to uncover the reality of the royal photographer Kim Gyujin, who is handed down only through oral tradition in the history of Korean photography. The Emperor Gojong's picture made by Kim Gyujin, which exists as a Vintage Print of 1905 in cultural institutions of U.S.A., provides an important clue to solving several issues in studying and describing the history of early Korean photography. The core themes are the following four. 1. The career of Kim Gyujin as a Royal photographer. Kim Gyujin has founded and operated < Cheonyeondang Photo Studio > in 1907 and opened the era of popular photographic culture. 2. A Possibility of existence of the photographs of Emperor Gojong and Sunjong made during the late Josun. It is generally known to have been taken by Japanese photographers and Western travelers. 3. The route of the release of Korean Empire's royal photographs in Korea and abroad and that's politics means. 4. The technical revel of Korean photography, like the negative process, the printing process, the equipment's like the camera in the 1900s.

일제강점기 예술사진의 한 양상 연구 - 사진집 <은뢰(恩賴)>의 사진과 야마자와 산조(山澤 三造)를 중심으로 -

박주석 ( Park Ju Seok ) 한국사진학회 2017 AURA Vol.0 No.39

During the colonial period in the 1920s, art photography began to take place in Korea. Certain information about photography flowing abroad has allowed the world to know the world's global trend of photographs and the trend of art photography. In the 1910’s, the Japanese people underwent this process, and it was in the 1920s that Japanese people began their artistic activities as part of their taste as part of the Western culture. The most frequent form of artwork produced during this time was the scene of a pastoral view of the idyllic surroundings of the ordinary folk scenes. Yamajawa Sanjo, the central theme of the article, was one of the leaders of the photography Society of Colonial Joseon, who held < Jeonjoseonsajinjeonramwhe > and the review of the exhibition, which was the most influence of that time. The problem is the concepts of Art Photography was ‘local color’ of Colonial Joseon. A picture of Japanese occupation, not just paintings that appear most frequently in the area of the ‘local color’ has a local nature of ordinary people against the backdrop of everyday life. To speak on a pastoral atmosphere. In the entire realm of art and literature, " Joseon local color " was an extremely important theme, and it explained that it was an effort to record everyday life and sublimate aesthetically. However, the artistic picture of this poem seems to be beautiful and elegant, but it should recognize that the subtle visual propaganda of the Japanese colonial rule of this era is realistic.

월북사진가 김진수(金珍洙) 연구 - 해방공간과 1950년대 활동을 중심으로 -

박주석 ( Park Ju Seok ),홍성후 ( Hong Sung Hu ) 한국사진학회 2020 AURA Vol.0 No.44

This article surveys a photographer Kim Jinsu who was a key figure in < Joseon Sajin Dongmaeng > in North and South Korea, and a photographer who made clear his identity as a socialist in North Korea. Since he defected to the North Korea, Kim has worked as a photographer for the headquarters of < Joseon Photographic Press > and a editor of 『Shining Motherland』. Received the trust of the North Korean government, he served as chairman of the < DPRK's Photographic Union > in 1951 to study socialist realism of Soviet Union. Based on Kim's photographic activity as a socialist culminated in 《World Festival of Youth and Students》, and clearly showed the identity of North Korean photography. On the other hand, we concluded that all his works are not just political pictures that represent the party's position. The subjects such as 'labor people as masters', 'worker's subjectivity' and 'nationality of Joseon' as shown by Kim's socialist realism photography were largely a means of promoting socialist ideology. His photography has become a methodology for contemporary North Korean photographers and has developed into ‘Juche Sajin’ since the 1970s.