Electroweak symmetry breaking and cold dark matter from strongly interacting hidden sector

Hur, T.,Jung, D.W.,Ko, P.,Lee, J.Y. North-Holland Pub. Co 2011 Physics letters: B Vol.696 No.3

We consider a hidden sector with a vectorlike confining gauge theory like QCD with N<SUB>h,c</SUB> colors and N<SUB>h,f</SUB> light quarks Q<SUB>h</SUB> in the hidden sector. Then a scale Λ<SUB>H</SUB> would be generated by dimensional transmutation, and chiral symmetry breaking occurs in the hidden sector. This scale Λ<SUB>H</SUB> can play a role of the SM Higgs mass parameter, triggering electroweak symmetry breaking (EWSB). Furthermore the lightest mesons in the hidden sector is stable by flavor conservation of the hidden sector strong interaction, and could be a good cold dark matter (CDM). We study collider phenomenology, and relic density and direct detection rates of the CDM of this model.

Photosartorial Elicitation and the Bukae of Korean Instagram

Michael Hurt(Michael Hurt) 아시아질적탐구학회 2022 아시아질적탐구 Vol.1 No.2

Korean Instagram is in the midst of a phenomenon involving the creation and self-marketing of alter ego identities — 'bu-kae'— that create a culture in which more specific, digital subcultures lead to the formation of real communities offline, which are a thriving part of youth culture today. The 'sub'(부) 'character'(캐) is nowadays a major mode of interacting online in South Korean social media and a clear result of digital media cultures that nowadays house different parts of identities for specific kinds of social uses through identity separation. This research uses 'photo-sartorial elicitation', a structured interaction and means of gathering social data by having a model and photographer interact around clothing in a way that reveals previously hidden or non-obvious social facts about that person or even a community. I am able to engender participation around a photographic project since photographs on Instagram are the prime social currency within digital subcultures on Instagram, with 'exchange rates'for participation in front of the camera far higher than even direct payments of fiscal currency might provide. In the end, it is only by being able to answer the questions, 'Why are you here?'and 'What do I get out of participation as a subject?'that one can gain the ability to reach into the depths of social phenomena that are otherwise largely impenetrable to the researcher’s gaze.

“Saigon to Seoul” : Sartorial Desire, National Costume, and Transnational Crossdressing as Social Empathetic Practice

Michael Hurt 한국사회학회 2019 한국사회학회 사회학대회 논문집 Vol.2019 No.12

Passing Through: Performative Authenticity in the Korean Street Fashion Experience among Chinese Tourists

Michael Hurt 한국질적탐구학회 2017 질적탐구 Vol.3 No.1

Unlike traditional Chinese tourists who seem content to sightsee the city of Seoul as a site of many toured objects, there is a sizeable number of tourists from China who actively engage in the much more participatory act of finding trendy Korean clothing, wearing it, and experiencing Korea as an apparent Korean. The act of passing - no matter how superficially - as a Korean seems to add quite a bit of “existential authenticity” to the tourism experience in Korea. Ning Wang (1999) provides a lot of the theoretical undergirding for this paper in his explication of what he calls "existential authenticity" in tourism studies. In observing and interacting with young subjects as a street photographer in Seoul, I have increasingly come into contact with seemingly Korean subjects around popular tourist sites who turn out to be Chinese nationals merely in Korean dress. This study uses ethnographic interviews with and portraits of Chinese tourists in Korea who dress and pass as Koreans the as not mere illustration of this phenomenon, but a source of ethnographic data itself. This article is designed as a methodological screed of sorts, and will grapple with the apparent methodological conflict between photojournalistic practices and more traditional uses of photography in academic ethnography. The crux of the methodological question is how to mitigate two different kinds of photographic practice when dealing with subjects and attempting to represent etic reality. The paper also explores the idiosyncrasies and exigencies of the Korean socio-legal environment, along with the nature of street photography, towards the explication of a more flexible “situational ethics” that is specific to the nature of the documentary work being conducted while adhering to an ethos of “doing no harm.” It will also broach the idea of harnessing the “male gaze,” which, placed into the service of the street photographer armed with the camera as a recording device, becomes a crucial tool in guiding the eye towards crucial instances of gender and identity performance as a key guide towards identifying particular modes of identity representation in ways that traditional sociology does not allow.

It’s Time to Get Really Popular with Culture

Michael, Hurt(마이클 허트) 건국대학교 글로컬문화전략연구소 2017 문화콘텐츠연구 Vol.0 No.11

Performing Korea : K-POP as Traditional (Represntational) Dance

Michael Hurt 한국예술종합학교 무용원 2021 무용과 이론 Vol.3 No.-

It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.

SNECMA-Your Best Partner to Develop an Engine Industry in Asia

Thierry Hurtes 한국항공우주학회 2000 한국항공우주학회 단행본 Vol.- No.-

Tariffs, FTA Incentives and FTA Configurations

( Jung Hurt ),( Larry D Qiu ) 한국국제경제학회 2015 한국국제경제학회 동계학술대회 Vol.2015 No.-

This paper examines endogenous formation of bilateral free trade agreements (FTA) based on country heterogeneity in the tariff level. We show that a country``s unilateral incentive to form an FTA depends on the relative magnitudes of the negative market concession effect and the positive market expansion effect, which are determined by the tariff levels of two FTA partner countries. Global welfare is maximized when all pairs of countries form their respective FTAs. With regards to bilateral incentives, we show that (1) it is more likely for a pair of countries to form an FTA when their tariff gap is smaller, and (2) the likelihood of FTA formation with regards to the member countries`` tariff levels exhibits an inverted- U shape. These two theoretical predictions are confirmed by our empirical analysis.

The Green Revolution in East Asia

R. Douglas Hurt 경북대학교 인문학술원 2015 동서인문 Vol.0 No.3

녹색혁명은 지난 20세기 말, 굶주림과 기아문제까지 아우르는 과학적 해결책이 되었던 것으로 보인다. 녹색혁명이라는 용어는 예전에는 기껏 빈약한 작물이나 재배하던 곳에서도 풍성한 수확을 기대할 수 있도록 새로운 벼 품종을 개발해내는 실험실과 농업현장의 과학자나 농업연구자를 떠올리게 한다. 또한 혁명이란 급작스럽게 발발하고, 역동적이며 되돌릴 수 없는 변화를 수반하므로, 녹색혁명은 ‘속도감’을 느끼게 한다. 얼마 전까지만 해도 매일의 굶주림에 고통 받던 이들조차 지금은 잘 먹고 잘 사는 사람의 이미지를 제공한다. 또한 과학이야말로 환경문제와 지리적 조건, 정치적 문제에서 비롯되는 모든 난관들에 대한 해결책이 되리라는 믿음을 제공하기도 한다. 지난 20세기까지 다수확품종(HYVs)의 종자, 특히 벼는 녹색혁명의 동의어가 되었다. 굵은 낟알을 내는 조생종 벼는 물대기와 거름문제만 해결된다면 풍성한 수확을 기대할 수 있었다. 따라서 예전에는 단일 작물만 재배하던 곳에서는 이모작이 가능했을 뿐 아니라 적정한 처리만 잘 해준다면 이전에는 전혀 재배가 불가능했던 곳에서도 단일 작물 재배가 가능해졌다. 그러나 이러한 과거의 모든 단순한 설명에서처럼 녹색혁명의 성공이 과학농업에 근거한다는 단순한 분석과 달리 사실은 그 원인과 결과가 매우 복잡하고 많은 문제점을 안고 있는 것이다. 물론 녹색혁명은 벼의 이종교배를 통한 품종 개발에 기초한 것이지만, 그에 못지않게 관개시설 개량과 화학비료, 살충제, 제초제 등이 광범위하게 동원되면서 동아시아의 생산력 증대와 소득 증가로 이어진 것이다. 그러므로 학자들은 녹색혁명의 유익 논리에 대해 즉시 반론을 제기했다. 즉 농촌 빈곤층에 미친 영향을 골자로 하여 부농과 빈농 간의 불평등 심화, 토지에 대한 속박문제, 광범한 농촌 빈곤 유발, 환경문제, 전통적 농업 시스템의 전복 등이 그것이다. 이 글은 한국이 그 예시가 되는 동아시아 녹색혁명의 유익함과 문제점에 대한 농업종사자들과 과학자들 사이에서 벌어진 논쟁을 다룬다.

Seoul Street Fashion as Gender Performance : Feminist Critique through Clothing and Feminist Theatre Practice

Michael W. Hurt 한국예술종합학교 무용원 2020 무용과 이론 Vol.1 No.-

Street fashion is an embodied and mediated social practice that, like dance, the primary medium of the exchange of information is the body. At Seoul Fashion Week, street fashion has become a performance of sartorial acts of gender transgression. And when interpreted through Elaine Aston’s notion of feminist theater practice that utilizlizs the Brechtian dramatic tool of Verfremdung (“alienation”) to help the audience form a critical view of a social practice. According to Aston, there are three main forms of embodied, performed “display” in which feminist theater engages as a way of social critique: Over-Display, Under-Display, and Cross-gendered Display. This paper posits an additional one, called Code-Smashing Display, that is part and parcel of a unique form of Astonian, feminist theater practice that occurs within Korean street fashion as it is constructed as cultural text. Code-Smashing Display is the very currency of the socially conscious Verfremdung in which many frequently paepi engage and which seems to help define style within Korean street fashion as a transgressive social practice unto itself.