죽음의 미학

정헌이(Hun-yee, Jung) 현대미술사학회 2011 현대미술사연구 Vol.0 No.30

This study deals with the images of death that are prevalent in postmodern art, it is not an iconographic study on death images though. The purpose of the study is to investigate and question the aesthetic meanings hidden behind the impossible task of representing death. Death has been one of the most important subject matter throughout the history of western Art. From the stick like figure of ‘the shaft of dead man’ in the cave art of Lascaux to the ‘memento mori’ images of the Middle Age, from the ‘vanitas’ images of 17th century Dutch paintings to the sweet candies presented by Felix Gonzales-Torres, all these images ask the meaning of death, and by doing that question the meaning of life. What I concern is the facts that art has been a beacon that marks the resistance to death, although it is doomed to be failed, so that it has been encircled in the repetitive performance of representing an original absence. It was Andy Warhol who re-presented the theme of death in the post modern art scene. Whether his attitude toward death is neutral and indifferent or cynical and critical was the main issue in interpreting his ‘death and disaster’ series. Yet, when it comes to the case of Damien Hirst, we witness the ‘return of the real’, the actual dead bodies that are sacrificed for an art exhibition. The audience are expected to actually observes the decaying process of corpse in the gallery space. What does it mean? What is the aesthetics behind this “return”? It seems to me that the ‘death’ Hirst conceives stays only in the level of its materialistic dimension. It does not step a inch forward from the shocking spectacle of the corpse that is returned to an inanimate object. That is how he conceives art and what he earns from his speculation on the relationship between his art and death, yet this model of objective, bodily death can not suggest any meaning of death except “nothing”. Death can presents us the possibilities of something more than the shocking phobia of its marks of decaying process. A representation of death always accompanies responsibility within culture. As Felix Gonzales-Torres made his point on this subject, we should ask a question with responsibility; what is the relation of our art to the death of others? In this question, death is not a mere limit but a way that can affect us by the way that others have died before us, and by the way that we ourselves shall die. This is the political aesthetics of death that our art of today should reconsider.

그네 마그리트의 작품에 있어서 '그리기'와 '쓰기'

정헌이(Jung Hun-Yee) 현대미술사학회 2001 현대미술사연구 Vol.11 No.-

The Position of Magritte in the modernist art history is very ambiguous. If the 20th Century art contributed art history by way of stylistic innovation, Magritte' works always remained in the 'old fashioned' space of illusionistic rendering. Modernist art overthrew the ideal of painting as window, rejected any status as a 'medium', and finally arrived at the point where art becomes the thing in itself. Perhaps Magritte walked the same road, but his method was not reductional. This study mainly deals with the ideas of 'inside' and 'outside' in Magritte' Paintings.. The idea of 'inside' and 'outside' corresponds with the concept of 'words and image', of 'mind and world', and of 'reality and representation'. What is crucial in this dual system is his conviction that canvas should lie in between these two opposites. For Magritte, the purpose of painting is not merely to describe the visible, but to evoke what is invisible within that visible. For him, the differences between images and language were not merely stylistic matters. Magritte concerned not only with the perceptual field but also with the linguistic area of representations as such. The most demonstrative example is his 〈This is not a pipe〉 series. Here, Magritte let us pay attention to the rupture between the vision and language. There is the strong interaction of picture and text which reciprocally deny each other, and finally point at the paradox of representation as such. Andre Breton, who was a leader of the surrealist movement, said that the goal of surrealism is the synthesis of perception and representation. The representative aesthetic of surrealism, the concept of Convulsive Beauty is something that happens contiguously without any preparation or expectation. There lies the paradox that how a sign, any kind of sign could be both sign and object, a reality constituted as sign, an absence transformed into presence. Magritte says that there is no ultimate signification not only in painting, but also in any representation as such. Because we never know what mind is, what mind know, what mind know when it knows something. For Magritte, painting is a kind of hole, blind area where the inside and the outside, the container and the contained, style and content, words and image merge into a new reality, the experience of which is always convulsive.

마이클 프리드의 미술비평과 이론

정헌이(Jung Hun-Yee) 서양미술사학회 1996 서양미술사학회논문집 Vol.8 No.-

The art criticism of Michael Fried was bom out of the conviction that art history has come to a crisis. What is at stake in this critical situation is whether the painting or sculpture in question are experienced as art or mere objecthood. If art reduces to objecthood, then art history, at least the modernist art history comes to an end. Fried wanted to watch over the modernist art history. The importance of Michael Fried as a aritic lies in the situation in which he participated as a par-excellent, the last modernist art critic. In other words, modernist art criticism climaxed by Fried but also dissolved by himself while he was fighting with Literalism for the right way of art history. The aesthetic of Michael Fried was that of tableau or screen. It is interesting that he made reference to the movies as the one art which escapes theater entirely by its very nature. According to him, the screen is not experienced as a kind of object existing in a specific physical relation to us. But because it escapes the war with theater or theatricality automatically by its own nature, even the most experimental cinema cannot be a modernist art. What he meant by the ‘modernist’ sensibility was to find it imperative that art defeats or suspends its own objecthood, and to experience the art-object that exist as an physical entity visually as shape. Modernist art only yields to the beholder’s coup d’ oeil. The ‘coup d’ oeil’ of modernism denies the ‘mise en scene’. Fried wanted art to defeat the condition of theater, to defeat dramaturgy. However art after “art and objecthood” developed with an interest in the vety ‘mise en scene’, with the interest in the psychological and physical beholder and his or her situation in the world. Yet, the purpose of this essay is not to reveal whether Michael Fried was right or wrong. Fried says: “... in fact it is inconceivable that he will not be wrong a fair amount of the time. But being wrong is preferable to being irrelevant.” This article is about the “fair amount of the time” in which Fried’s criticism paradoxically played a role. In a sense, ‘a fair amount of the time’ always betrays a coup d’ oeil. But Michael Fried’s moment in its historical sense deserves to be taken seriously. He run the same risks as the artist whose work he criticized. Today, the word ‘aesthetic judgment’ as a critical terminology sounds rather classical and worn-out. If we are able to give up any kind of aesthetic judgment in appreciating contemporary art it would be the transformation of critical semantics that modernist criticism ultimately bring about. Unintentionally though.

MQTT 기반 실시간 공조제어 시스템 설계 및 구현

정헌,박종원,Jung, Hun,Park, Chong-Won 한국정보통신학회 2015 한국정보통신학회논문지 Vol.19 No.5

본 논문에서는 클라우드 플랫폼에서의 실시간 공조제어 시스템의 제어, 관리 및 모니터링을 위한 MQTT 기반의 프로토콜을 설계하고, 설계된 프로토콜을 적용한 시스템을 구현하였다. MQTT 프로토콜은 보편성, 유연성, 경량성, 신속성을 가지며 메시지 전달의 신뢰도와 보안성이 있는 양방향 메시징 프로토콜이다. 구현된 시스템에서는 CCU와 클라우드 서버 간 데이터 수집 및 제어를 위한 통신 프로토콜의 성능 및 안정성을 고려하였다. 클라우드 서버 상에서의 장비 제어 및 모니터링은 MQTT 서버를 기반으로 CCU와 연계하여 수신된 데이터를 실시간으로 실행된다. In this paper, an MQTT based protocol is designed and implemented for control, management and monitoring of HVAC in a cloud platform in real time. The MQTT protocol is a two-way messaging protocol, and has the generality, flexibility, light weighted, quickness with reliability and security. In the implemented system, performance and reliability of the communication protocol is considered for data acquisition and control between the CCU and the cloud server. Control and monitoring for the cloud server is performed in real time in conjunction with CCU and the MQTT server.

XML 메시지 교환을 이용한 이기종 P2P 데이터 공유시스템 설계

정헌,강병욱,서영수,Jung, Hun,Kang, Byung-Wook,Seo, Yeung-Su 한국정보컨버전스학회 2008 한국정보컨버전스학회논문지 Vol.1 No.1

JXTA는 중앙 서버를 통한 관리가 필요 없고 네트워크에 연결되어 있다면 어떤 장치든 다른 장치들과의 통신이 가능하며, 이기종 P2P시스템들과의 통신이 가능하다는 특징들이 가지고 있다. 이러한 특징을 최대한 활용하면서 서로 상이한 프로토콜과 API를 사용하여 만들어진 P2P시스템간의 상호연동을 가능하도록 하기 위한 데이터 교환 시스템을 설계하였으며, 설계된 시스템의 중요한 모듈은 생성된 요청과 요청에 대한 응답을 파싱하는데 이용하는 XML Parser Component(XPC), 적절한 요청과 응답을 생성해 내는데 사용하는 XML Making Component(XMC)의 구조를 설명한다. If the management through the center server is unnecessary and JXTA is connected to a network, a communication with any kind of devices or some device is possible. And features that a communication with heterogeneous P2P systems is possible have. The important module of the designed Data exchange system an interworking between the P2P system which it is made we used API and the each other different protocol the possible data for replacement Data exchange system were designed this kind of a feature was to the utmost utilized may account for the XML Parser Component(XPC) which we use it parses the or about a request and the generated request, and the structure of the XML Making Component(XMC) which we use in generating the inappropriate a request and response.

이기종 P2P 시스템 간의 자료 교환을 위한 XML 메세징 시스템 설계

정헌,박종원,Jung, Hun,Park, Chong-Won 한국정보통신학회 2014 한국정보통신학회논문지 Vol.18 No.9

JXTA does not need to be managed by the central server, and has the property that can communicate with any device that is connected to the network. Thus, JXTA can be applied to the communication between heterogeneous P2P systems. This paper deals with the design of a data exchange system utilizing the JXTA's foregoing property, which is able to connect P2P systems with different protocols and APIs. JXTA는 중앙서버를 통한 관리가 필요 없으며, 네트워크에 연결되어 있다면 어떤 장치든 다른 장치들과의 통신이 가능한 특성이 있다. 이 특성을 이용하면 이기종 P2P 시스템들 간의 통신에 적용할 수 있다. 본 논문에서는 이러한 특성을 최대한 활용하여 서로 상이한 프로토콜과 API를 사용하여 만들어진 P2P 시스템 간의 상호연동이 가능한 데이터 교환 시스템을 설계하였다.

다품종 소량생산을 위한 자동 파우치 교체형 Rotary Packing Machine 시스템 설계에 관한 연구

정헌(Jung Hun),유춘근(Chun-Gun Yu) 산업기술교육훈련학회 2021 산업기술연구논문지 (JITR) Vol.26 No.2

Mechanical packaging systems require materials of various sizes to meet the diverse preferences of consumers. However, existing systems are built to execute the production packaging of single items of the same size. Therefore, it is difficult to apply them to the packaging of products of various sizes. A rotary system that automates packaging for different product sizes is a promising solution to this problem. In this study, we designed and developed a unit by-process of a rotary packaging machine that replaces manual packaging with an automated process to package materials of varying sizes. We also analytically confirmed that this improved the performance of conventional packaging systems.

정지용의 월트 휘트먼 시 번역 작업의 목적: 일제 강점기와 해방 공간의 근본적 차이

정헌 ( Hun Jung ) 한국영미문화학회 2018 영미문화 Vol.18 No.2

Chung Ji Yong is a well-known poet in the Japanese Occupation Period firstly as a lyrical and traditional poet as a member of the literary journal Simunhak(Poetry Literature) along with Park Yong Chul and Kim Young Rang and later as a prominent modernist poet in the late years of the Period. He is always highly estimated as a poet of pictorial images and lyricism, but his ardor for translations, especially Walt Whitman has been neglected so far. Before him, Ju Yohan, Yi Kwang Soo, Yi Un Sang, Kim Hyung Won and many other poets and critics had been interested in Whitman's democratic ideas and his poems. Chung Ji Young also translated Whitman's three poems in the hard days of 1930s. After the Imperial Japan surrendered to the Allied forces on 15 August 1945, ending 35 years of Japanese occupation, Korea was under the American forces and Russian troops. In this critical days of Korean's debating only one korea or separated Koreas, strangely enough, Chung ji Yong fully immersed in translating Whitman's poems only for four years as an English literature professor just before being abducted by North Korean Army, while almost discarding his own poetic ability and sense of duty as a leading poet in the literary circle with only just a few exceptions. Why did Chung Ji Yong focused on the translation of Whitman's poems in this important period as a poet and intellectual in the newly independent country? He may want to warn people too much ideological conflicts or * Korea University 104 영미문화 제18권 2호at least express his frustration through translating Whitman's poems. Until now, academic endeavors on Chung Ji Yong's poems and life are focused on his lyrical and modernistic works of the Japanese Occupation Period and naturally little interested in the days of Independence period and his true motivations on translating Whitman's poems. As a proposal, this short article can be a minor trigger for the sincere efforts of Chung Ji Yong's last days.

위아전절제술 후 발생한 근위부 비장동맥 가성동맥류

정헌(Hun Jung),최성희(Seong Hee Choi),신숙희(Suk Hee Shin),안지영(Ji Yeong An),최민규(Min Gew Choi),노재형(Jae Hyung Noh),손태성(Tae Sung Sohn),배재문(Jae-Moon Bae),김성(Sung Kim) 대한외과학회 2009 Annals of Surgical Treatment and Research(ASRT) Vol.77 No.1

Splenic artery pseudoaneurysm (SAP) is a very rare case, postoperatively. SAP originates from many causes such as complication of chronic pancreatitis in adults and blunt abdominal trauma in children. SAP related to surgery may result from direct tissue injury during operation. Urgent angiography is helpful in diagnoses and life-saving procedures as the endovascular embolization simultaneously. However, endovascular management is not a definite treatment modality in patients previously operated on because the blood supply of remaining organs will be insufficient after embolization. In this paper, we report a rare case that is proximal splenic artery pseudoaneurysm after radical subtotal gastrectomy in a 63-year-old male patient with early gastric cancer, as well as a brief review.

전자화폐 기반 소액지불시스템의 설계

정헌(Hun Jung),서영수(Yeung Su Suh),강병욱(Byung Ug Kang) 영남대학교 정보통신연구소 2000 정보통신연구소논문집 Vol.7 No.1