부동산 관련 세제의 문제점과 개선방안 (p.149-171) : 2000년 이후 개편내용을 중심으로

정연식(Chung Yun-Sik),최경수(Choi Kyung-Soo),최영곤 (토론자) 啓明大學校産業經營硏究所 2010 啓明大學校ㆍ挑山學院大學國際學術세미나 Vol.2010 No.3

올라퍼 엘리아슨(Olafur Eliasson)의 설치작품에 나타난 유사자연의 세계

鄭然心(Chung Y. Shim) 미술사연구회 2010 미술사연구 Vol.- No.24

This paper addresses several critical concepts in regard to such Olafur Eliasson’s installations of works of art as 360 °Room for All Colors, Your Black Horizon of 2005, Seeing Yourself Seeing of 2001, The Mediated Motion of 2001, Double Sunset of 1999, Moss Wall of 1994, and Green River of 1998-2001; the interactive aspects of immersion, conceptually and effectively, are embodied in a number of indoor and outdoor pieces. I should first like to turn my attention to the viewer’s perception of“immersion” as well as the“sublime”in Eliasson’s work, which is theatrical and artificial insofar as his use of materials as well as display. The Lego-park-like artificial nature or so-called pseudo-nature amplifies the intervention of the viewer by“putting the viewer first”to a greater extent than any other works of contemporary artists. By looking at the psychological and physical operation of“immersion, sublime, theatricality, and artificiality.”I intend to differentiate Eliasson’s rhetoric of visual operation and the involvement of viewers, bearing in mind James Turrell and Robert Erwin on one hand, and Gordon Matta-Clark and Marcel Broodthaers on the other. The former group used light and sensory objects to increase the subjectivity of viewers, whereas the latter criticized institutionalized space. Although Eliasson’s critical terms stem from these aforementioned artists, he has attempted to move beyond the two aspects in order to ascribe to the following stage of involvement and detachment of his works with viewers. Once you are familiar with the very interactivity of Eliasson’s work, it is possible to experience his work phenomenologically, and realize the entire setting is actually artificial and mechanical. Your perception, a propos your senses, has been blocked and negotiated at the sight of the automatic technology of his installation: mechanically produced fog, machine-oriented movements of waterfalls, or lights, etc. My analysis brings to mind Bertolt Brecht’s“Verfremdung,”which distanced the immersion and Einfuhlung (empathy), favored by Aristotle in his discussion of drama. By oscillating the theatrical absorption or immersion with the Brechtian“Verfremdung,”distancing or alienation, Eliasson’s works place the viewer in a completely different situation as a subliminal figure. His art also fluctuates between reality, and the modes of representation and simulacra. Eliasson’s Double Sunset project, which installed his artificial sunlight in juxtaposition with real sunlight in Utrecht, in the Netherlands, offers a striking example of the real and the simulacra, confusing the real with the facsimile. Additionally, following Eliasson’s claim, I also explore his works as a production of“contexts”or“situations.”In this light, his works of art blur the traditional dichotomy of subject-object, inside-outside, user-used, and so on. Rather, they generate new aspects of real and hyper-real existence as well. Finally, my paper discusses the act of sharing in his Utopian projects, which are exhibited at the Venice Biennale. This spirit is conceptually Utopian as the communal sharing itself is never possible in his pavilion projects. However, like other Utopian communal projects, Eliasson’s work recalls Jean-Luc Nancy’s Etre singulier pluriel /Being Singular Plural, published in 1996. The community in his project remains singular and plural at the same time. Despite the limited success of his attempts for this communal sharing, his projects intersect at a juncture of complex idioms in architecture, fine art and design.

종교인소득 소득유형의 문제점과 개선방안

정연식(Yun Sik Chung) 한국로고스경영학회 2021 로고스경영연구 Vol.19 No.2

작제건 설화의 새로운 해석

정연식(Chung Yeon-sik) 한국사연구회 2012 한국사연구 Vol.158 No.-

Constellations had significant meaning in ancient Korea. Especially kings’ divinity had been adorned by the story of constellations. The tale of Jakjegeon in the Genealogy of the Goryeo Dynasty is one of the story of kings’ constellations. The old fox shot by Jakjegeon took the shape of Tejaprabha Buddha(熾盛光如來), incarnation of the Polestar in Buddhism. In that tale Jakjegeon can be interpreted as Cheonjanggun constellation(天將軍: general in the sky), pig as Gyu constellation(奎), willow stick as Gakdo constellation(閣道: passage to palace), black ship as Oebyeong constellation(外屛: outer folding screen), cave of Changreung as the dark area near Daerung constellation(大陵: great royal tomb) across the gallaxy, seven jewels as Myo constellation(?), the old woman as Gweonseol constellation(卷舌: rolled tongue). The tale originated from the heroic tale of Geotaji(居陀知) in the Unified Silla dynasty. The tale of Geotaji was transformed into the tale of divine birth of the royal family of the Goryeo dynasty. Maybe it was made at the beginning of the Goryeo dynasty.

어반토피아의 꿈과 이동성

정연심(Yeonshim Chung) 현대미술사학회 2016 현대미술사연구 Vol.0 No.40

본 연구는 현대 사회에서 주거에 대한 더 나은 해결책을 모색하기 위한 특정 사례 연구를 찾기 위한 일환으로서, 이동성에 대한 갈망과 벅민스터 풀러의 작업 “inflatable” 프로젝트를 다루고 있다. 벅민스터 풀러가 고안한 “4D” 스페이스와 그가 편집자를 맡았던 저널 『쉘터(Shelter)』를 살펴보면 그의 “종합적 디자인(comprehensive design)”과 “자율적(autonomous) 4D 주거”라는 개념을 분석할 수 있다. 1929년경 대공황기에 실현된 이 사례들은 그 시대의 공동 주택에 대한 풀러의 공헌을 실감하게 한다. 두 번째 장에 접어들면 미국 서해안의 앤트팜 그룹에 의한 반(反)문화 활동과 비평(비판)을 살펴볼 수 있다. 그룹의 멤버들은 행사와 강연 및 비평, 그리고 사회적 활동들을 통해 “공기 주입식 주거지”를 창안했는데 이러한 쉘터는 쉽게 짓고 철거할 수 있었다. 세 번째 장에서는 토마스 사라세노(Tomas Saraceno)와 오스카 투아존(Oscar Tuazon), 마이클 라코비츠(Michael Rakowitz), 안드레아 지텔(Andrea Zittel) 등을 검토하여 현대미술에서의 사회의 복귀를 탐구한다. 특히 이 연구는 본 연구자가 일원으로서 참여하고 있는 “스마트 쉘터” 개발에 대한 역사적 레퍼런스를 추적하고 이동성과 homelessness, 대인커뮤니케이션의 장소, 그리고 20세기의 인도주의적인 힐링 스페이스에 대한 레퍼런스를 구축한다. This article examines the yearning for mobility and the “inflatable” projects in the works of Buckminster Fuller in order to find specific case studies in which architects attempted to find better solutions for dwellings in contemporary society. By looking at Buckminster Fuller’s “4 D” space and the journal called Shelter for which he worked as an editor, I analyze his concepts of “comprehensive design” and “autonomous 4 D dwelling,” which are by themselves sustainable. Since these examples were realized around 1929, during the Great Depression, we find Fuller’s contribution to the communal purpose of housing of the era. The second chapter looks at counter-cultural actions and criticism initiated by the Ant Farm Group on the West Coast of the United States. Although the members created “inflatable dwellings” in which events, lectures, and other social activities took place, these shelters were easy to build and demolish. The third chapter explores the return of the social in contemporary art, by examining Tomas Saraceno, Oscar Tuazon, Michael Rakowitz, Andrea Zittel, and so on. This article, in particular, traces the historical references in the development of “smart shelter” in which I am working as one of the researchers, and this paper constructs the historical references in relation to “shelter” space as a site of human dwelling, a site of mobility and homelessness, a site of interpersonal communication, and a site of humanitarian healing space in the twentieth century.

비관측 이질성을 고려한 고속도로 교통사고 지속시간 영향인자 분석

정연식(CHUNG, Younshik),김상수(KIM, Sangsu) 대한교통학회 2020 대한교통학회지 Vol.38 No.6

비반복적 발생 혼잡을 감소시키기 위해서는 사고 지속시간에 대한 이해와 사고 지속시간에 영향을 미치는 인자에 대한 파악이 필요하다. 이를 위해 1980년대 이래 다양한 연구가 수행되어왔다. 특히, 생존분석 기반 회귀분석을 적용한 연구가 주류를 이루고 있으나, 대부분의 연구에서는 비관측 이질성을 고려하지 않고 모형을 구축했다. 따라서 본 연구의 주요 목적은 비관측 이질성(unobserved heterogeneity)의 영향력을 고려한 고속도로 사고 지속시간 모형을 구축하는 것이다. 분석을 위해 2018년 전국 고속도로에서 발생한 교통사고 자료가 활용되었으며, 프레일티(frailty) 모형 기반 사고 지속시간 모형을 구축하였다. 분석결과, 11개의 변수가 사고 지속시간에 영향을 미치는 것으로 나타났으며, 사고 지속시간을 증가시키는 요인은 터널에서 발생한 사고, 트레일러 및 특수차량의 사고, 차량이 완파된 사고, 도로이탈 추락이 발생한 사고, 전도 및 화재가 발생한 사고, 조명이 없는 도로구간에서 발생한 사고로 나타났다. 반면, 톨게이트에서 발생한 사고, 대물피해가 발생한 사고, 고속도로 순찰대의 순찰중 제보된 사고는 사고 지속시간을 감소시키는 요인으로 나타났다. To reduce non-recurrent congestion, it is necessary to understand of crash duration and its causal factors. Therefore, there have been various efforts to develop crash duration models since 1980s. Specifically, regression type models based on survival analysis have mainly been applied to this area. However, most of them have applied general survival analysis models, in which durations with the same value of the covariates are assumed to have the same distribution. Unlike previous studies, the purpose of this study is to develop a crash duration with the consideration of unobserved heterogeneity. To carry out this purpose, we used a 1-year (2018) crash data set collected from the entire Korean freeway system, and estimated a frailty model for crash duration. As a result, 11 variables were statistically significant. Of these, eight variables exhibited an increasing duration: crashes that occurred in tunnel, crashes that occurred in section without street lighting, crashes with trailer-truck or specially equipped vehicle, crashes involved in completely damage vehicle, vehicle status was in off-road, rollover, or fire after crash. Conversely, crashes in the vicinity of tollgate, crashes including property damage only and crashes reported by freeway service patrol contributed to decreasing crash duration.

단추의 형식주의적 활용 기법

정연선(Yon Sun Chung),조주연(Ju Yeon Cho) 한국디자인문화학회 2005 한국디자인문화학회지 Vol.11 No.2s

경주 북부의 음즙벌(音汁伐)과 사박리(士朴里)에 남은 알타이어의 흔적

정연식 ( Chung Yeon-sik ) 성균관대학교 대동문화연구원 2018 大東文化硏究 Vol.104 No.-

신라 초기에 존재했던 音汁伐國은 지금의 경주시 안강읍 檢丹里에 있었던 小國이다. ‘音汁’을 音汁伐國이 존재했던 시기의 후기상고음으로 再構하면 ^*ʔrimʨip에 가까운 음이 된다. 그런데 影母 ^*ʔ-는 한반도의 고대 지명표기에서 종종 見母 ^*k-와 동일하게 실현되었으며, 개음 r은 한반도에서 음운도치를 이용한 유음 운미의 표현에 사용되었으므로 ^*ʔri-는 ^*kir-에 상응한다. 그러므로 音汁[^*ʔrimʨip]은 ^*kirmʨip의 표현에 사용될 수 있다. 그런데 터키어에서 ‘붉다’를 kırmızı[kirmizi]라 하며, 흑해 주위의 몇몇 알타이어에서도 그와 유사한 음으로 표현한다. 그리고 검단리의 지명 ‘檢丹, 金谷, 거름[巨音], 갈뫼’나 울산 검단리의 ‘괴남지’도 모두 音汁과 음운으로 연결된다. 한편 안강읍에는 紫玉山 남쪽에 士朴里가 있다. 고구려의 ‘沙伏, 沙非’와 백제의 ‘所比’는 모두 ‘赤’에 상응하는 말이다. 원시알타이어의 ^*ĺip‘ú, 몽골어의 ^*ǯibi는 어두운 붉은색, 자주색에 해당되는 말이다. 중국어 邪母 z-가 ʒ-와 가깝고, *lj-에서 유래했으며, ^*z, ^*ʒ가 고대국어에서는 ^*s로 실현되었을 가능성이 높으므로, ^*ǯibi는 ^*sVpi(沙非·所比)와 상통한다. 고대국어의 ^*sVpi는 단순한 붉은 색이 아니라 어두운 紫朱色을 가리키는 말이었을 것이며 따라서 士朴里는 紫玉山과 연관된 지명으로 추정된다. 안강의 音汁伐과 士朴里는 한국어와 알타이어의 연관성을 드러내는 지명으로 생각된다. Eumjeupbeol-guk(音汁伐國) was a small state located at the Geomdan-ri(檢丹里), Angang-eup(安康邑) in Gyeongju(慶州) in the early Silla(新羅). The sound value of '音汁' reconstructed in Late Old Chinese is same as or close to [^*ʔrimʨip]. Sometimes initial ^*ʔ was used to express ^*k- and the medial -r- was used to express the liquids ending -r by metathesis in translation of Old Korean. So the Chinese character 音汁[^*ʔrimʨip] could be used for expressing [^*kirmʨip] in ancient Korea. The word meaning 'red' in Turkish is kırmızı[kirmizi], and those of some Altaic languages around the Black Sea resemble each other. They are similar to [^*kirmʨip]. The place names of '檢丹, 金谷, 거름, 갈뫼' in Angang(安康) originated from [kirm], for the sound values of 檢[^*kramʔ], 金[^*krЩm], 거름[kərim], 갈뫼[kalmø] are similar to [kirm]. In conclusion, we could argue that the place name '音汁伐[^*kirmʨipəl]' meant 'red field'. Sabak-ri(士朴里) near Eumjeupbeol located to the south of Violet Jade Mountain(紫玉山) in Angang also have relation with the Sabok-hol(沙伏忽) and Sabi-geul(沙非近乙) in Goguryeo(高句麗) and Sobi-po(所比浦) in Baekje(百濟). The Words of 'Sabok, Sabi and Sobi' meaning 'red' in Old Korean are similar to ^*ǯibi of Mongol which originated from Proto-Altaic ^*ĺip‘ú meaning 'dark red, violet and purple'. Old Chinese initial ^*lj- changed to Middle Chinese initial z-, and [z] is close to [ʒ], and [z], [ʒ] were pronounced as [s] in Old Korean. So ^*ĺip‘ú of Proto-Altaic and ^*ǯibi of Mongol correspond to sabak(士朴), sabok(沙伏), sabi(沙非) and sobi(所比) of Old Korean. They meant dark red, purple or violet. The place name of Eumjeup-beol(音汁伐) and Sabak-ri(士朴里) are closely related to the word meaning red and dark red in Turkish and Mongol belonging to Altaic family. It is very suggestive concerning the origin of Korean.

AG(Avant-Garde) 그룹의 실험미술 전시 연구

정연심(Yeon Shim Chung) 현대미술사학회 2022 현대미술사연구 Vol.- No.51

부동산 관련 세제의 문제점과 개선방안

정연식(Chung, Yun Sik),최경수(Choi, Kyung Soo),최영곤(토론자) 계명대학교 산학연구소 2008 經營經濟 Vol.41 No.2