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.

회분식 공정의 전산모사

이인범 (정),이호경 (학),장근수 (정) ( In Beum Lee,Ho Kyung Lee,Kun Soo Chang ) 한국화학공학회 1991 추계학술발표논문집 Vol.- No.-

소형 가솔린 엔진용 터보차저의 기계적 마찰손실에 대한 이론적 계산 및 실험적 검증

이인범(Inbeom Lee),홍성기(Seongki Hong),김구성(Kusung Kim),최복록(Boklok Choi) 한국자동차공학회 2017 한국 자동차공학회논문집 Vol.25 No.5

The rotating shaft of a turbocharger is usually supported by two oil-lubricated journal bearings and a thrust bearing. The turbocharger rotor is the main cause of mechanical friction losses, which strongly influence the efficiency and performance of a high-speed turbocharger. In this paper, we investigated the mechanical friction losses of a turbocharger bearing system by using analytical and experimental methods. The SAE 10W-30 grade engine oil was used for lubricating the turbocharger rotor bearings of the 1.4 L gasoline engine. Petroff’s equation and the CFD method were used to calculate the mechanical friction loss, and the analytical results were verified by the experimental results that used calorimetric measurement techniques. Meanwhile, in order to measure the mechanical friction loss of pure radial journal bearings, the experiment was conducted in the operating ranges without axial thrust loads. Based on the analytical and experimental results, it was found that the mechanical friction loss was mainly induced by oil-lubricated journal bearings, and its magnitude varied in the form of a parabolic function with respect to the turbocharger’s rotation speed. In addition, the theoretical results were in good agreement with the experimental results.

Nystagmus를 이용한 객관적 시기능 검사에 관한 연구

이인범(I. B. Lee),김민섭(M. S. Kim),박광석(K. S. Park) 대한전자공학회 2000 대한전자공학회 학술대회 Vol.2000 No.6

이경 조요한 선생의 예술철학과 한국 근현대 미학예술학

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2012 美學·藝術學硏究 Vol.35 No.-

한국 학계에서는 보기 드물게 예술·종교·철학 등 여러 분야에 걸쳐 활동을 펼쳤던 조요한(1926-2002)은 생전에 예술에 관한 저작으로 『예술철학』(1973), 『예술을 사랑하는 마음』(1993), 『한국미의 조명』(1999) 등을 발간했다. 작고 후 그 밖에도 유고집으로 『관심과 통찰』(2004)로, 『아름다운 것은 어렵다』(2005) 『아름다운 영혼의 잔영』(2012) 등이 발간되었다. 이 글의 목표는 한국의 미학예술학의 역사 안에서 철학자 조요한(1926-2002)이 설정하고 있는 학문적 과제들은 어떤 것이었으며, 그 성격은 어떤지를 밝히는 데에 있다. 한국에서 근대 학문으로서 미학 미술사는 일제 식민지시기 고유섭(1905-1944)이 1927년에 경성제국대학에 입학하여 미학 및 미술사를 전공하여 콘라드 피들러 연구로 예술적 활동의 본질과 의의 라는 타이틀의 졸업논문을 제출하고 개경박물관장으로 활동하는 데서 시작되고 있다. 그럼에도 불구하고 고유섭의 요절로 그 역사는 심한 단절과 굴곡을 보여주며 서구 학문의 수용과 식민피지배에서 비롯되는 문화적 식민성을 드러내며 삶의 세계와 유리된 채 분열적으로 전개되어 왔다. 식민지시대에 성장기를 거쳤던 조요한은 해방 이후 서울대 철학과에 입학하여 키에르케고르 연구를 통해 개인적으로나 공동체로서 난파된 삶의 현실을 초극하고자 시도하고 그리스 철학과 기독교을 자신의 학문적 과제로 설정하고 있다. 그런데 1960년의 4·19 혁명 직후부터 그는 삶의 현실에 대한 철학하기의 매개로서 예술 현장의 이슈들을 적극적으로 다루기 시작하고 있다. 동시에 서구 근현대미학을 통한 미와 예술에 관한 학문의 방법적 기초 놓기를 시도하며 『예술철학』을 발간하고 있다. 그리고 그 이후부터는 ‘한국예술의 정신’ 해명을 과제로 설정하여 그의 생애 마지막 저서인 『한국미의 조명』에 이르고 있다. 조요한의 예술철학은 청년기 자신의 철학적 관심인 기독교와 그리스 철학에 대한 연구와 조응하며 전개되고 있다. 그리고 해방 이후 학문세대로서 식민지시기 한국 최초의 미학미술사학자인 고유섭이 설정했던 학문적 과제를 상속하며‘서양학문으로서의 미학’을 수용하여 한국의 현실에 정초시키며 ‘한국예술의 정신을 밝히는 일’에서 일정한 성과를 거두고 있다. 한편, 그 과정은 서구로부터 수용되어 성립된 한국의 미와 예술에 관한 학문들의 분열적이고 자폐적인 문화적 식민성을 극복하기 위한 시도들과 맞물리고 있다. 첫 저작 『예술철학』이 발간되기까지 선생은 한편으로는 삶의 현실에 대한 철학하기의 매개로서 예술 현장의 이슈들을 다루고 있다. 동시에 서구 근현대미학을 통한 미와 예술에 관한 학문의 방법적 기초 놓기를 통하여 이 땅의 미학 예술학에 학문성을 확보하고자 시도하고 있다. 그리고 그 이후부터는 ‘한국예술의 정신’ 해명이라는 과제를 설정하여 『한국미의 조명』에 이르고 있다. 『예술철학』에서 『한국미의 조명』에 이르기까지 예술철학의 전개는 선생이 해방 이후 학문세대로서 식민지시기 한국 최초의 미학미술사학자인 고유섭이 설정했던 학문적 과제를 상속하며 ‘서양학문으로서의 미학’을 한국의 현실에 어떻게 정초시킬 것인지를 물으며 ‘한국예술의 정신을 밝히는 일’에 다름 아니었다. 그것은 서구로부터 수용되어 성립된 한국의 미학 예술학이 드러내는 분열적이고 자폐적인 모습의 문화적 식민성을 극복하여 삶의 세계 속에서 현실성을 확보해내려는 시도와 동반되는 것이었다. 그 결과 조요한의 예술철학에서는 예술·종교·철학, 예술현장과 학문으로서의 미학, 미학과 미술사 등으로 파편화되거나 분열된 근대적 삶의 세계와 분과 학문들이 다시 함께 만나고 있다. ‘미학’의 바깥에서 출발하고 있지만 그의 ‘예술철학’은 이 땅의 삶의 현실에 깊숙이 뿌리 내리며, ‘미학’을 넘어서 새로운 미학·예술학의 지평을 열고 있다. The aim of this essay is to illuminate the philosopher Yohan Zoh (1926-2002)`s philosophy of art in the context of Korean modern aesthetics. Exceptionally, Yohan Zoh acted broadly in the region of academia about arts, religion, and philosophy in the Korea, publishing The Philosophy of Art(1973), The Heart that Loves Arts(1993), and The Illumination of Korean Aesthetics (1999). Posthumous works are Interest and Insight(2004), The Beautiful is Difficult(2005), and Relics of the Beautiful Spirit(2012). These works on aesthetics and the arts, along with The Hermeneutical Problems of the Philosophy of Aristoteles(1975), The Philosophy of Aristoteles(1988), and The Heart that Loves Philosophy(1993), show Zoh`s scholarly interests. Aesthetics and Art History in modern Korea began with Yusub Ko (1905-1944) who studied at the Keijo Imperial University and graduated the school with a submission of his thesis on Konrad Fiedler, “The Essence and Meaning of Artistic Activity.” Ko later became the director of the Kaikyung Museum of Art. Ko`s untimely death caused the discontinuation and ups and downs in the development of Korean scholarships in Aesthetics and Art History. The inflow of western culture and philosophy, and Japanese colonial era resulted in cultural colonialism in Korea, separating its history from the reality of life. Yohan Zoh grew up during the Japanese colonial era. He entered the department of Philosophy at the Seoul National University after Japanese retreat. He tried to overcome the fragmented reality of Korea life through the study of the philosophy of Kierkegaard, and chose Greek philosophy and Christianity as his future focus of study. As a way of applying his philosophy to the reality of life, Zoh actively engaged with issues of art practice since the 4. 19 Revolution of 1960. Simultaneously he published The Philosophy of Art to establish the foundation of methodology for the study of aesthetics and the arts. Since then, he focused on explaining “the spirit of Korean art” and published many essays on the theme, including his last publication, The Illumination of Korean Aesthetics. The philosophy of art of Yohan Zoh had developed in accordance with his interests in Christianity and Greek philosophy. As the first scholar of Aesthetics and Art History in post- liberation Korea, Yohan Zoh inherited the scholarly task of Yusub Ko and embraced “Aesthetics as a Western Area of Study” and applied it to the reality of Korean life to explicate “the Korean Spirituality in the Arts.” His scholarly journey was interconnected with his attempts to overcome Korean`s schizophrenic and autistic cultural colonialism. Therefore, Arts-Religion-Philosophy, Art Practice-Studies of Arts, and Aesthetics-Art History all meet in Yohan Zoh`s philosophy of the arts. Though Zoh`s study of “Philosophy of the Arts” departed outside the field of Aesthetics, it rooted deeply in the reality of Korean life and opened a new horizon of Aesthetics and Science of Art in Korea.

해상풍력 피치시스템의 유성기어 감속기에 관한 연구

이인범(I. B. Lee),강재화(J. H. Kang),류성기(S. K. Lyu) 한국기계가공학회 2013 한국기계가공학회 춘추계학술대회 논문집 Vol.2013 No.5

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.

이승택의 ‘비(非)-조각’에 대하여: 기록 사진과 ‘포토-픽쳐’의 틈

이인범 ( Ihn-bum Lee ) 한국미학예술학회 2021 美學·藝術學硏究 Vol.64 No.-

1956년 인체 조각으로 데뷔한 이래 이승택은 조각뿐만 아니라, 드로잉, 회화, 대지예술, 설치, 퍼포먼스, 사진 등 다양한 장르에서 실험적인 활동을 펼쳤다. 그리고 그 실험성은 ‘비조각’ 개념으로 언급되어 왔다. 이승택의 청장년기 작업은 서구 근대 ‘조각’ 개념을 대상으로 한 예술적 실험이라는 점에서 ‘비조각’으로 다루어질 만하다. 그런데 1980년대 이후 그의 실험들은 조각 개념과 무관한 문화인류학적 오브제나 퍼포먼스 등 다양한 삶의 영역들에까지 확장되고 있다. 그런 점에서 후기 작업들까지 아울러 ‘비조각’ 개념 아래 거론할 수 있는지는 의문이다. 조각-비조각 같은 이분법적 접근으로는 재료, 기법 등 매체적 문제나 장르, 제작 연도 같은 기초적인 정보 확정도 어려운 경우가 적지 않다. 예컨대, 설치나 퍼포먼스로 취급된 작품들 중 적지 않은 것들은 재료로 그 기록 사진들을 활용하였을 뿐, 엄밀한 의미에서 기록 사진이 아니라 다만 그 위에 덧칠되거나 콜라주, 몽타주하여 재구성된 이미지들인 경우가 허다한 ‘포토-픽쳐’이다. 따라서 ‘비조각’이라는 단정 아래 논의 해온 이승택의 예술 세계를 그 발생사적 전후 관계, 작품 형식이나 기록에 대한 면밀한 검토를 바탕으로 새롭게 해석해야 할 여지가 적지 않다 Seung-Taek Lee has attracted attention in the Korean art world with experimental artworks, since he made his debut through a sculptural work in 1956. The experimental nature of his work has been referred to as a concept, ‘non-sculpture’ after he contributed his essay, “The origin of my non-sculpture” to a art magazine in 1980. However, the considerable errors are found in the relevant records of his works of art. Sometimes there are so many problematic errors in basic records of his works, especially documentary photography or the records of artwork such as the names, year of production, materials, techniques, size and etc. These errors not only make it difficult to identify the historical context between each works and his interaction with other artists, but also caused great confusion the understanding of his artworks. His performances and installations, which have been active since the 1980s, have been discussed through the photographic images. By the way many of them are not just records of objects or events but have been painted or collaged on photographies. Therefore taking it as an index that dictated actual works and characterizing them as an extension of the concept of ‘sculpture’ or its symmetrical concept ‘non-sculpture’. These Seung-Taek Lee’s photography works should be called his own ‘Photo-Picture’.

2009 청주국제공예비엔날레 국제학술심포지엄: 만남을 찾아서-지구촌 공예의 내부와 외부 : 왜 <만남을 찾아서 outside the box>인가?

이인범 ( Ihn Bum Lee ) 한국미학예술학회 2009 美學·藝術學硏究 Vol.30 No.-

5MW 풍력용 피치드라이브의 유성기어 Micro-geometry 최적화에 관한 연구

이인범(In-Bum Lee),김동영(Dong-Young Kim),허철수(Zhe-Zhu Xu),이도영(Do-Young Lee),류성기(Sung-Ki Lyu) 한국기계가공학회 2014 한국기계가공학회지 Vol.13 No.1

The rotation of a spindle unit must be accurate for high-quality machining and to improve the quality of the machine tools. Therefore, the proper measurement of the rotation accuracy and ensuring a proper analysis are very important. Separate processes are necessary because spindle errors and roundness errors associated with the test balls can both factor into the measured rotation error values. We used three methods to discern test ball errors and analyzed which could be deemed as the most proper technique in a test of the rotation accuracy of the main spindle of a machine tool.