무기질 산업폐·부산물의 발생 현황에 대한 조사 : 시멘트산업에서의 이용 가능성

민경소 한국세라믹학회 1999 세라미스트 Vol.2 No.2

산화칼슘의 수화에 의한 수산화칼슘 미분말의 합성과 형상제어

민경소,최상흘 한국세라믹학회 1991 한국세라믹학회지 Vol.28 No.9

Calcium hydroxide fine powders were synthesized by hydration of calcium oxide, and the shapes of powders obtained were examined for each synthethic condition. When distilled water was used as a solvent, irregular and agglomerated submicron powders were obtained, and it was impossible to control of the shapes. In methanol-added solutions, hexagonal plate-like particles were obtained, but addition of ethanol had no effect. However on the occasion that substituted ethylene glycol for ethanol of 5 vol%, hexagonal plate-like powders were obtained. The shapes of powders synthesized in acetic acid and salicylic acid solutions were hexagonal platelike, and were spherical and very fine in citric acid and oxalic acid solutions, respectively. But in some solutions, calcium salts were precipitated by the reaction between calcium and acid added. And the size of powders were very fine using ultrasonic vibration instead of mechanical agitation.

Representations of Veiling in the Visual Culture of Iran’s Islamic Republic: On Shirin Neshat’s and Jafar Panahi’s Filmic Works

민경소 한국영상문화학회 2022 영상문화 Vol.- No.41

This article explores multifaceted associations between gender politics and veiling in Post-revolutionary Iran. It centers on how contemporary Iranian visual art explores the ambivalence of hijab and its significance operated in various dichotomies, such as the public/the private, the feminine/the masculine, and the visible/the invisible. To address the social, political, and psychological dimensions of women’s experiences in contemporary Iran based on gender- segregation rules in the revolutionary government’s nation-building strategies, I attend to the spatial metaphor of hijab and its transgendered appropriation in the films of Shirin Neshat and Jafar Panahi. I begin with reading Neshat’s two-channel video installations which invite viewers to witness the tensions between the genders through multi-sensory encounters with veiled women in public spaces. Then, I analyze Panahi’s Offside (2006), a film about Iranian girls whose masculine veils empower them to enter the male-only public arena. Through these case studies, this article argues that the visualization of veiling underscores the ambivalence about the nation-state mode of Islam and the vulnerability of ‘Iranianness’ reliant on the revolutionary regime’s gender policy.

시멘트 산업에서의 환경보전 노력

민경소 한국시멘트협회 2002 시멘트 Vol.157 No.-

슬래그-규산질 미분말을 함유하는 시멘트 경화체중에서의 이온의 확산 (I) Cl-이온의 확산

민경소,김태현,최상흘,한기성 한국세라믹학회 1987 한국세라믹학회지 Vol.24 No.3

Diffusion of Cl- ion in hardened cement paste with slag and siliceous powder such as silica fume and white carbon was investigated. The addition of admixtures reduces the content of Ca(OH)2, which is the main cause of pore formation by corrosive action of sea-water. The addition of admixtures makes the hardened cement paste dense, thereby restricting the diffusion of Cl- ion and improving the resistance to sea-water. Apparence diffusion coefficient of Cl- ion in hardened ordinary portland cement paste was 3.7${\times}$10-8$\textrm{cm}^2$/sec, while that for the hardened cement paste with the admixture was 1.2∼3.2${\times}$10-8$\textrm{cm}^2$/sec.

Ca(OH)$_2$ 현탁액과 각종 인산 수용액으로부터 인산칼슘 초미분말의 제조

민경소,최상흘 한국세라믹학회 1992 한국세라믹학회지 Vol.29 No.1

Ultra-fine calcium phosphate powders were synthesized by the reaction of Ca(OH)2 suspension with various phosphoric aqueous solutions such as (NH4)2HPO4, H4P2O7 and H3PO4, and the characterization of powders was examined for each synthetic condition. When (NH4)2HPO4 and H3PO4 were used, hydroxyapatite powders with poor crystallinity were obtained. In the case of H4P2O7, amorphous calcium phosphate was obtained up to 0.3 mol/ι Ca(OH)2 suspension, but above the concentration, poor crystalline hydroxyapatite was produced. Crystalline phases of powders heat-treated at 80$0^{\circ}C$ were hydroxyapatite, $\beta$-tricalcium phosphate and $\beta$-tricalcium phosphate for the case of (NH4)2HPO4, H4P2O7 and H3PO4, respectively. SEM observation revealed that the shapes of synthesized powders were vigorously agglomerated spherical with the size below 100 nm, but TEM observation revealed that primary shapes of particles were rod for (NH4)2HPO4 and H3PO4 and were sphere for H4P2O7. There was no dependence of the concentration of Ca(OH)2 suspension. In the case that reaction temperature and pH of the suspension were raised, the inclination to the hydroxyapatite were remarkable. The amorphous calcium phosphate synthesized in this experiment contained water about 20% , and was crystallized to $\beta$-tricalcium phosphate at 69$0^{\circ}C$.

신체 특정적 시간: 미야지마 타츠오의 체현된 보이드

민경소 서양미술사학회 2022 서양미술사학회논문집 Vol.56 No.-

This article explores the relationship between technology and body-specificity through Japanese artist Miyajima Tatsuo’s gadget-based installations and performances. By examining the metaphoric connection of Miyajima’s artistic statement “Art in You” with the idea of time and tracing how his artworks have intervened in the realms of the human body, I argue that the corporeal presence of spectators plays an agential role in embodying the multiplicity of space-time. The intentional absence of the number zero in Miyajima’s works is typified as a void that momentarily erases light, colors, sound, and movements. I conceptualize this moment of zero as a generative site of ‘infinite void,’ where something is always happening, or anything can be imagined and performed. To demonstrate that ‘who’ performs a specific event is more critical than ‘where’ that event occurs, my analysis focuses on Miyajima’s participation-oriented projects that integrate spectators’ bodies with gadgets. Through the concept of a “utopian body,” I further claim that Miyajima’s works empower spectators to redefine physical, spiritual, and historical conditions of the present world by sensorializing technological devices.

장영혜중공업의 사용자 - 비친화적 텍스트와 불능의 읽기

민경소 한국근현대미술사학회(구 한국근대미술사학회) 2022 한국근현대미술사학 Vol.44 No.-

By attending to the idea of “bookless literature, paperless poem,” a future mode of communication envisioned by media artist Nam June Paik, this article investigates the fundamental changes in conceptions, contents, aim, and enactment of reading in parallel with the digitalization of media. What are we reading? How have the narrowed distances between different worlds, cultures, and languages thanks to the advancement of information technology affected our experience of reading? What is the significance of the restructuring of reading under the digital transformation of the global? To answer these crucial questions, this article sheds light on the history of new media art that challenges the hegemonic status of the written and spoken languages in the system of intercommunication and pursues its alternatives by exploring the technical, institutional, and political conditions of digital reading. Through an in-depth analysis of media artist collective Young-Hae Chang Heavy Industries’ electronic book publication and text videos primarily circulated on the Internet, this article examines how the ontological foundation of written texts has been shifted from pages to screens. It centers on the ways in which such a media transition reinforces the ‘user-unfriendliness’ of reading practice, invalidates the conventional form of communication heavily reliant on written and spoken languages, and necessitates alternative systems of human interaction. Ultimately, it defines such sensorially reshaped practice of reading through electronic media as ‘disabled reading,’ and argues that human senses perform the agential role of reading in the digital age. 이 논문은 백남준이 미래의 소통 형태로 예견한 “책 없는 문학, 종이 없는 시”에 주목하여 매체의 디지털화가 ‘읽기’의 개념, 대상, 그리고 그 작동 방식에 불러온 근본적인 변화를 탐구한다. 우리가 읽고 있는 것은 무엇인가? 정보 통신 기술의 발달로 한층 좁혀진 다른 세계, 다른 문화, 다른 언어와의 거리 속에서 문학 작품을 ‘읽는’ 행위의 주체, 장소, 목적과 수단은 어떻게 변화하였는가? 그리고 그와 같은 읽기 행위의 변화가 촉발한 사회적·문화적·예술적 경험의 재구조화는 어떤 함의를 가지는가? 이와 같은 질문들에 대답하기 위해 본고는 뉴 미디어 미술이 인간의 상호 소통 체계에서 문자 및 음성 언어가 지켜 온 헤게모니적 지위에 도전하며 그 대안적 활로를 모색해 온 역사의 한 흐름을 조명하고 이를 가능케 한 기술적, 제도적, 정치적 조건들을 탐색한다. 이를 위해 미디어 작가 그룹 장영혜중공업(Young-Hae Chang Heavy Industries)의 전자책과 텍스트 비디오 작업을 중심으로 문자 언어의 토대가 종이와 책의 페이지에서 전자 스크린으로 전환되어 온 과정을 분석한다. 특히 비교적 관람자-독자의 접근이 용이한 인터넷 공간에서 주로 전시되는 이들의 작품이 어떠한 ‘사용자-비친화적’ 요소들을 내재하고 있는지 살피면서, 그와 같은 매체적 전환이 어떻게 ‘읽기,’ 나아가 문자 및 음성 언어에 의지해 온 인간의 소통 방식 자체의 전제를 흔들고 그에 대한 대안적 이해와 접근의 필요성을 제기하였는지 밝힌다. 장영혜중공업의 텍스트 작업에 대한 면밀한 해석을 바탕으로 본 논문은 전자 매체를 통해 감각적으로 재편된 읽기의 방식을 ‘불능의 읽기’로 규정하고, 디지털 시대에 읽는 행위의 작인이 문자에서 인간의 감각들로 이동하였음을 주장한다.

수열반응에 의한 Hydroxyapatite 초미분말의 제조

민경소,최재웅,최상흘 한국세라믹학회 1992 한국세라믹학회지 Vol.29 No.12

Ultra-fine hydroxyapatite powders were synthesized by the hydrothermal reaction of Ca(OH)2 suspension or Ca(NO3)2$.$4H2O solution with (NH4)2HPO4 solution, and the powders were characterized for each synthetic condition. Crystalline hydroxyapatite powders have average grain size of less than 50 nm. By increasing the reaction pressure, the crystallinity was improved, and the crystals were preferentially growing along c-axis. When Ca(NO3)2$.$4H2O of high solubility was used, hydroxyapatite of single phase was produced. However when Ca(OH)2 of low solubility was used more than 0.334 mol/ι, unreacted Ca(OH)2 remained. Diffraction spot patterns of transmission electron microscope show that powders synthesized by the hydrothermal reaction were composed of single crystals of hexagonal phase.

고강도 그라우트재의 특성과 현장적용사례

민경소 한국시멘트협회 2000 시멘트 Vol.152 No.-