정전작업 수행절차

김한상,Kim, Han-Sang 대한산업안전협회 2001 안전기술 Vol.42 No.-

무대조명설비의 전기안전

김한상,Kim, Han-Sang 대한산업안전협회 2003 안전기술 Vol.67 No.-

무대조명설비의 전기안전

김한상,Kim, Han-Sang 대한산업안전협회 2003 안전기술 Vol.68 No.-

정전작업 수행절차

김한상,Kim, Han-Sang 대한산업안전협회 2001 안전기술 Vol.43 No.-

플라즈마 표면처리가 TiO₂/TiO_2-x 저항 변화형 메모리에 미치는 영향

김한상,김성진,Kim, Han-Sang,Kim, Sung-Jin 한국전기전자재료학회 2020 전기전자재료학회논문지 Vol.33 No.6

In this study, a TiO₂/TiO_2-x-based resistance variable memory was fabricated using a DC/RF magnetron sputtering system and ALD. In order to analyze the effect of oxygen plasma treatment on the performance of resistance random access memory (ReRAM), the TiO₂/TiO_2-x-based ReRAM was evaluated by applying RF power to the TiO_2-x oxygen-holding layer at 30, 60, 90, 120, and 150 W, respectively. The ReRAM was fabricated, and the electrical and surface area performances were compared and analyzed. In the case of ReRAM without oxygen plasma treatment, the I-V curve had a hysteresis curve shape, but the width was very small, with a relatively high surface roughness of the oxygen-retaining layer. However, in the case of oxygen plasma treatment, the HRS/LRS ratio for the I-V curve improved as the applied RF power increased; stable improvement was also noted in the surface roughness of the oxygen-retaining layer. It was confirmed that the low voltage drive was not smooth due to charge trapping in the oxygen diffusion barrier layer owing to the high intensity ReRAM applied with an RF power of approximately 150 W.

초고층건물의 풍응답제어를 위한 스마트 TMD의 퍼지 하이브리드제어

김한상,김현수,Kim, Han-Sang,Kim, Hyun-Su 한국전산구조공학회 2009 한국전산구조공학회논문집 Vol.22 No.2

본 연구에서는 초고층건물의 풍응답을 저감시키기 위하여 스마트 TMD(STMD)를 활용한 퍼지 하이브리드 제어기법을 제안하였다. 효과적인 제어알고리즘을 개발하기 위하여 STMD의 응답저감에 우수한 성능을 보이는 스카이훅(skyhook) 제어기와 구조물의 응답저감에 뛰어난 그라운드훅(groundhook) 제어알고리즘을 사용하였다. 본 연구에서는 두 제어기를 적절히 조합하기 위하여 최적의 가중치를 실시간으로 결정하는 퍼지 하이브리드 제어기를 개발함으로써 일반적인 가중합방식의 하이브리드 제어기법의 성능을 개선하였다 제안된 제어기의 성능을 검토하기 위하여 풍하중을 받는 76층 사무소 건물을 예제구조물로 사용하였다. MR감쇠기를 이용하여 STMD를 구성하였고, STMD의 제어성능을 평가하기 위하여 TMD및 ATMD의 성능과 비교하였다. 수치해석을 통하여 STMD의 제어성능이 TMD에 비하여 월등히 뛰어남을 확인할 수 있었다. 또한 퍼지 하이브리드 제어기법을 사용하면 스카이훅 및 그라운드훅 제어기를 효과적으로 조합하여 STMD와 건물의 응답을 동시에 줄일 수 있음을 확인하였다. Fuzzy hybrid control technique with a smart tuned mass damper(STMD) was proposed in this study for the suppression of wind-induced motion of a tall building. To develop the effective control algorithm for a STMD, skyhook and groundhook control algorithms were employed. Usually, skyhook controller can effectively reduce STMD motion and groundhook controller shows good control performance for the reduction of building responses. In this study, fuzzy hybrid controller, which can determine an optimal weighting factor for combining two controllers in real time, was developed to improve the control performance of conventional hybrid controller using weighted sum approach. A 76-story office building was used as an example structure to investigate the performance of the proposed controller. A magnetorheological(MR) damper was used to develop a STMD and the control performance of STMD was evaluated comparing with the passive and active TMD. The numerical studies show that the control effectiveness of a STMD is significantly superior to that of the conventional TMD. It is also shown that fuzzy hybrid controller can effectively adjust skyhook and groundhook control algorithms and reduce both responses of STMD and building.

용액 공정을 이용한 IZO 트랜지스터의 전기적 성능에 대한 박막 두께의 영향

김한상,경동구,김성진,Kim, Han-Sang,Kyung, Dong-Gu,Kim, Sung-Jin 한국전기전자재료학회 2017 전기전자재료학회논문지 Vol.30 No.8

We investigated the effect of different thin-film thicknesses (25, 30, and 40 nm) on the electrical performance of solution-processed indium-zinc-oxide (IZO) thin-film transistors (TFTs). The structural properties of the IZO thin films were investigated by atomic force microscopy (AFM). AFM images revealed that the IZO thin films with thicknesses of 25 and 40 nm exhibit an uneven distribution of grains, which deforms the thin film and degrades the performance of the IZO TFT. Further, the IZO thin film with a thickness of 30 nm exhibits a homogeneous and smooth surface with a low RMS roughness of 1.88 nm. The IZO TFTs with the 30-nm-thick IZO film exhibit excellent results, with a field-effect mobility of $3.0({\pm}0.2)cm^2/Vs$, high Ion/Ioff ratio of $1.1{\times}10^7$, threshold voltage of $0.4({\pm}0.1)V$, and subthreshold swing of $0.7({\pm}0.01)V/dec$. The optimization of oxide semiconductor thickness through analysis of the surface morphologies can thus contribute to the development of oxide TFT manufacturing technology.

냉전체제와 내셔널 시네마의 혼종적 원천

김한상(Kim Han Sang) 한국영화학회 2011 영화연구 Vol.0 No.47

As is generally discussed, issues of "Korean cinema" as the national cinema have provoked controversies in diverse aspects. This concept remains an object hardly to define or draw boundary amid diverse controversies. In this article, I examine this indefinability of Korean national cinema by dwelling upon specific objects from the period of reconstruction after the Korean War. I give attention to the specific time in which the dimension of the state-building and the nation-building became combined, and to the fact that there existed long-lasting heterogeneity and hybridity in this process. Kim Ki-Young's films show how such characters appear on the sphere of the cinema. His public information films are under the legacy of American war films. Both of his two short documentaries I am a Truck (1954) and Diary of Three Sailors(1955) show unique presentation styles originated from the WWII films made by the US Army. However they also contain self-conscious moments when the director refuses to be identified as mere a successor of American documentaries. There are not only the processes of translation, adaptation and mimicry, but also obviously self-conscious expressions in order to overcome the one-sided reception. Kim’s first commercial film Boxes of Death(1955) also contains certain aspects that those are showing. This film, which is an anti-communist thriller, shows much influence from the Hollywood, while it also shows a connection with the tradition from the others, mainly European auteurism and the legacy of Japanese colony. However the most important point is that there is standing presence of America and the USIS in the identity of Kim Ki-Young and his film. This film is a product of the Liberty Production which was a local branch of the US Information Agency, and this fact was significant among discourses in Korean cinema at that time. Seen in this light, Kim Ki-Young, as well as many other film makers at that time, was placed in a highly complicated status. External agencies like the USIS continuously intervened in the lives of Korean film makers for bloc-building, and those film makers also actively engaged with these agencies to learn and use their rich resources. The hybridity in the process of the subject formation in Korean national cinema was one characteristic in common to many film makers at that time.

스퀴시 형상 변경에 따른 DOHC 엔진에서의 압축 과정 유동 특성 해석

김한상,이경환(Han-Sang Kim),Kyung-Hwan Lee 한국자동차공학회 1995 한국자동차공학회 춘 추계 학술대회 논문집 Vol.1995 No.11_2

The numerical analysis on three-dimensional, unsteady in-cylinder flow of a DOHC spark-ignition engine has been applied to understand the in-cylinder flow patterns for three kinds of squish configurations. Calculations were carried out with CRI/TurboKiva, <br/> a commercial engine CFD code that can effectively solve the equations for transient chemically reactive fluid flows. The spatial structure and temporal evolution of in-cylinder flow fields during compression stroke have been investigated. The evolution of in-cylinder flow patterns for different squish configurations from IVC to spark timing was mainly discussed at specified crank angles. Mean velocity and turbulent kinetic energy level at the spark location were also obtained with respect to each crank angle. Through this study, it is possible to get the fundamental data involved in the in-cylinder flow structure and physical insight into the desirable squish flow patterns at spark timing for later combustion period.<br/>

다큐멘터리의 몸짓과 영상사회학적 실험/실천: <숨결>과 <보드랍게>의 피해생존자들의 경우

김한상 ( Kim Han Sang ) 한양대학교 현대영화연구소 2021 현대영화연구 Vol.17 No.3

본 연구는 증언 다큐멘터리에 등장하는 피해생존자들이 카메라 앞에서 ‘출연자’로 놓이게 되는 상황을 무대 위에 선 배우의 상황으로 보고, 그 속에서 그들이 새로운 행위자로 거듭나는 과정에 주목한다. 독일의 극작가 베르톨트 브레히트는 무대와 배우의 관계를 급진화하고자 하는 교육극이론을 구축했는데, 그에 따르면 배우는 무대 위에서 연기하는 인물을 통해 “행동하면서 동시에 관찰하는” 학습자의 위치에 서게 되며, 이때 배우가 관찰하고 모방하는 ‘사회적 몸짓’은 비판적 성찰과 각성을 낳을 수 있다. 다큐멘터리의 피해생존자들 역시 카메라 앞에 출연함으로써 특정한 사회적 몸짓을 수행하게 되는데, 이 과정은 교육극과 질적 연구의 민간방법론이 공통적으로 지향하는 자기반영성과 공명한다. 브레히트의 교육극은 공연이라는 몸짓의 실험을 통해 공연자들이 경험에 근거한 사회현실의 심층적 이해에 도달하는 것을 목표로 한다는 점에서 ‘사회학적 실험’으로 불리는데, 민간방법론의 자기언급적 반영성의 원리는 그와 같은 지칭에 설득력을 부여한다. 일본군 ‘위안부’ 문제 다큐멘터리 <숨결>과 <보드랍게>는 이와 같은 사회학적 실험으로서 다큐멘터리의 무대적 상황을 잘 보여주는 작품들이다. <숨결>의 피해생존자 이용수는 인터뷰어가 되기 위한 직업훈련적 상황의 반복 후에 직접 카메라 앞에 질문자로 서게 되며, <보드랍게>의 ‘미투’ 피해생존자들은 고인이 된 ‘위안부’ 피해생존자 김순악의 증언을 낭독하면서 자신들의 사회적 경험과 김순악의 경험을 견주어 보는 상황 앞에 놓인다. 이들 상황에서 카메라는 기록을 위한 기계로 머무르는 것이 아니라 행위를 유발하거나 행위에 개입하는 자기반영성을 띠며, 다큐멘터리는 사회학적 실천의 장이 된다. This article examines the documentary’s production process in which victim-survivors of historical atrocities become equipped with their new agency, considering their situation to be places as the subject of the camera as that of an actor on the stage. German theatre practitioner Bertolt Brecht formulated the Lehrstuck (learning play) theory that aimed to radicalize the relationship between the stage and the actor, in which he suggested that the actor would stand in the place of both acting and observing while performing a character and would reach a self-reflection and awakening through the ‘social gesture (Gestus)’ he/she observed and mimicked. The victim-survivors of the documentary also perform certain social gesture by appearing before the camera, the process of which resonates with the aim of self-reflexivity in both Lehrstuck and the ethnomethodology in qualitative research. Brecht’s Lehrstuck is called a ‘sociological experiment’ in that it pursues the actor’s in-depth understanding of social reality through the performance as an empirical experiment of gestures, which is supported by the self-referencing reflexive principle of ethnomethodology. The two ‘comfort women’ documentaries, My Own Breathing and Comfort, are the cases that show the stage situations of the documentary as sociological experiments. The victim-survivor Lee Yong-soo in My Own Breathing stands before the camera as an interviewer after a repetitive near-vocational training to ask questions, and the three ‘#MeToo’ victim-survivors in Comfort recite the testimony of the late victim-survivor Kim Soon-ak to compare their social experiences with Kim’s own. In these situations, the camera does not just remain a machine to record but becomes a self-reflexive actor that causes actions of the victim-survivors, or intervenes in their actions, and the documentary becomes a stage for sociological practices.