한국의 초현실주의와 문화번역 : 조향의 시를 중심으로

조윤경 ( Yun Kyung Cho ) 한국비교문학회 2009 比較文學 Vol.48 No.-

Ootimization of Mekium Components for Lactic Acid Production

조윤경,조규홍,홍승서,이현수,Cho, Yun-Kyung,Cho, Kyu-Hong,Hong, Seung-Suh,Lee, Hyun-Soo 한국미생물 · 생명공학회 1995 한국미생물·생명공학회지 Vol.23 No.1

Medium components for lactic acid production were optimized with a strain of Lactobacillus sp., isolated by our Lab. Nitrogen source was the key component and manganese ion was also important for lactic acid production in this strain. Optimal concentration of manganese ion was 0.03 g/l as MnSO$_{4}$ 4 - 5 H$_{2}$O base. Other mineral elements, however, had little effect on it. Among the nitrogen sources we examined, yeast extract showed the highest productivity. Yeast extract, the exellent but very expensive medium component, could be partially replaced by soytone until 60% dry base with higher productivity, or by tryptone enforced with vitamines and nucleic acids. In order to replace yeast extract completely, we examined several inexpensive nitrogen sources and their enzymatic hydrolyzates. The hydrolyzate of vital wheat gluten was the best of them.

초현실주의의 오브제와 상상력의 기제

조윤경(CHO Yun-kyung) 프랑스문화예술학회 2015 프랑스문화예술연구 Vol.54 No.-

초현실주의 여성들의 몸 이미지 연구

조윤경(CHO Yun-Kyung) 프랑스학회 2005 프랑스학연구 Vol.31 No.-

인터페이스의 담론과 문채

조윤경 ( Yun Kyung Cho ) 한국기호학회 2009 기호학연구 Vol.25 No.-

This paper is to deal with interfaces as a starting point of humanitarian thinking which exist near but are barely recognized by us. An interface means, as it stands for, an in-between area (`inter-`) as well as a surface (`face`), functions a door to the other world, and leads us to focus on where the nature of human or of objects are diverted from their inherent qualities. As a sort of `in-between text`, an interface brings us to a fresh realization of human faces and to re-establishments of the relationships which a human keeps with other humans or the world or the objects around him. The interesting duality of interfaces, that is, both a frame or filter and a screen or text, leads the changes to the faces of all things in the world and gets them to be perceived. An interface which has been created as a metaphor for life, in turns, affects life, and it now seems that life is rather a metaphor for an interface. Since surfacing and being overlapped by different worlds, interfaces allow us to do some repetitions, comparisons, and simulations, thereby re-contextualizing existing metaphors. Although new interfaces have brought about some unprecedented expansions of human life, we should admit that their standardization also distort it, leaving humans as an extension of technology. The limitations of Human Interface which is popular these days, come from the mechanical understanding of the concept intuition. It should supply the basis for us to invent interfaces which encourage diverse thinking, and not be used for creating ones which lays an emphasis on ease of use, or unnecessity of learning or thinking as is the case today. In the long run, the beauty of interfaces lies not in the neatness from avoiding discomforts of use by adopting perfect data or sensors, but in the capacity to mediate something beyond the data, errors not to be calculated, and unnecessary human manipulations. Human-Computer Interactions raise a question about whether a human and a computer are actually two equivalent agents. Human-Machine Interface including computers has been eliminating the interface itself which traditionally means an in-between area to mediate the two entities or worlds, by way of mechanizing humans and personifying machines. One of the radical effects brought about by a touchscreen, an example of Haptic Interface, is not only the fact that the screen reflects immediate reality, but also the one that humans control into the system just by touching it. The same things happen to humans: quantitative measurements and data of human bodies and lives let our bodies and lives controllable from the outside. Originally a connecting phase or a surface to enter the other world through, an interface now becomes `in-face`, allows from-outside-to-inside controls, and comes into being as a so-called `interfaceless interface` through total immersion. In sum, Conversational Interface Model is being replaced by Contact Model of Directness.

포스트휴먼과 기술적 상상력

조윤경 ( Yun Kyung Cho ) 한국기호학회 2009 기호학연구 Vol.26 No.-

This thesis`s approach to exploring technoimagination is different from the traditional concept that it embodies imagination using technology. First, technoimagination is an imagination empowered by technology. Technology is implemented by imagination on one hand, but it sometimes sparks imagination on the other hand. The latter one is far more meaningful technoimagination for our times. Second, technoimagination is prompted by the in-between space or combination of technology and art. In this case, technology is more than a tool and goes beyond mere instrumentality. Third, technoimagination is provoked by the in-between space or fusion of technology and human beings. It refers to posthuman imagination where human bodies are not the ones that control technology, but become technology itself. Posthuman raises a question on such binary oppositions as human being versus machine and human being versus technology, and encourages reflection on what life means to us. Technoimagination in an era of posthuman and post-nature tends to transcend the boundary of lives that we are familiar with, and calls for a shift of conventional paradigm among human being, art and technology. Imagination has been considered a territory of human beings, but technoimagination expands the territory to the point where human beings and technology are combined. Technoimagination presumes that machines are not tools or instruments but independent entities, and focuses on not representing, but shaping and transforming the world. In this sense, the creation involves collaboration between human beings and creators, and machines and creators, and the human beings-creators are not the ones to make, but to let the machines-creators function and to watch their creations proceeding. Posthuman technoimagnation ultimately aims at uniting creators, creations and audience by making human beings parts of creations. Technoimagination turns knowledge into `immersed experience`, and therefore brought changes that lead my self and others to share our `bodies` and allow the world to be gradually absorbed into the inside of human beings. The fact that human beings and reality are `augmented` through technoimagination (posthuman and augmented reality, respectively) does not mean the strengthening of human beings and reality. It means that human beings and reality are getting confusing because my self and others, virtuality and reality, and imagination and experience appear overlapped. In an age of Nano, Bio, Information, Cognitive Technologies-continue to be changed, advanced and converged, nobody can predict which directions technoimagination will head toward. Yet one thing is clear; Technoimagination is accelerating cultural evolution with an emphasis on complexity, emergence, and autopoiesis. Technoimagination holds undefined potentials. If we are transhuman in a time of transition to becoming posthuman, we should not be indiscriminately hostile toward the combination of human beings and technology, and of art and technology. We have to be rational and proactively seek for the undefined potentials.

콘택트렌즈를 임시 제거한 상태에서의 착용 조건에 따른 굴절력 변화

조윤경(Yun Kyung Cho),김수운(Soo Woon Kim),유동식(Dong Sik Yu) 한국안광학회 2013 한국안광학회지 Vol.18 No.3

To evaluate the changes of refractive power when worn soft contact lenses were temporarily removed. Methods: 91 soft contact lens wearers (15 males and 76 females; total 182 eyes) from 17 to 39 years of age (average: 24±4.8 years) were participated. Objective and subjective refraction, and corneal radius were measured at 0, 30, 60 and 90 min after lens removal. The changes in refractive power were evaluated between measurements over time. The other parameters such as types of lenses, fitting and wearing conditions were also assessed. Results: Objective refraction, subjective refraction and corneal radius were significantly changed according to measured time (p<0.0001). A moderate myopic shifts was observed at the beginning (30 min after lens removal) and a slight myopic shift at the late of measurement (60 min to 90 min after lens removal). There are no significant differences between lens types, fitting states, wearing time, wearing days and sleeping time in the previous day. However, there was significant interaction in changes for corneal radius between measuring time and lens type (p=0.017), fitting state (p=0.019), and sleeping time prior to the test (p=0.010). Conclusions: Time to reach refractive and corneal radius stability after contact lens removal revealed at least more than 60 min, regardless of types of lenses, fitting and wearing conditions. Therefore, refraction for correction should be performed after waiting for more than that time as possible.

초현실주의와 도시기호학 -로베르 데스노스의 작품을 중심으로-

조윤경 ( Yun Kyung Cho ) 한국기호학회 2007 기호학연구 Vol.22 No.-

로트레아몽의 『말도로르의 노래』에 나타난 악의 양가성

조윤경 ( Yun Kyung Cho ) 한국불어불문학회 2015 불어불문학연구 Vol.0 No.101

Cet article a pour but d``eclairer le motif du Mal represente dans Les Chants de Maldoror de Lautreamont, et de le situer dans la genealogie de la representation du mal par les poetes francais. A travers Maldoror, son double poetique, le poete met en scene les pires mefaits qu``on puisse commettre, tout en reflechissant sur deux concepts relatifs et controverses : le bien et le mal. Maldoror, diable incarne, est un hybride constitue d``organes humains, vegetaux et animaux. Il fait du mal a divers personnages en s’amusant a tailler dans leur chair, avec une cruaute devenue celebre. Cela symbolise le desir d``attaquer, le caractere actif d``une puissance primitive et la creativite. L``auteur fait egalement entendre aux lecteurs les differents cris emis a la fois par ceux qui attaquent et par ceux qui sont attaques. Il s``agit de "cri d``entrailles", selon l``expression d``Aragon, en lesquels se melent le plaisir et la douleur, l``energie offensive et la resignation, l``angoisse et la folie. Le mal maldororien devoile les desirs prohibes de l``humain, ainsi que les marques de la negation continuelle de soi-meme, de la societe et de Dieu. Mais tout comme l``on peut lire dans son nom "Mal dort, or", et comme cet "or" semble insinuer, l``attitude de l``auteur a l``egared du mal est ambivalente : il annule les distinctions entre agresseur et victime, cruaute et pitie, diable et Dieu... a travers les caracteres ambigus des personnages. Par ailleurs, l``ocean mis en scene, a la fois violent et calme, cruel et consolant, reflete l``univers inconscient de Maldoror, univers qui englobe justement ces aspects multiples et contradictoires.Le mal lautreamontien est etroitement lie a celui represente par des poetes francais comme Villon, Musset, Baudelaire et Rimbaud. Mais Lautreamont montre son originalite en revelant la force primitive, l``insurrection provocative et la puissance renversante impliquees dans le mal. Il s``exprime egalement par l``humour noir, que le surrealisme valorisera encore davantage a sa suite,particulierement a travers la cohue des comparaisons les plus hardies introduites par "beau comme".

만 레이와 폴 엘뤼아르의 『자유로운 손』에 나타난 이미지와 텍스트의 상호교류

조윤경 ( Yun Kyung Cho ) 한국불어불문학회 2014 불어불문학연구 Vol.0 No.99

Dans Les mains libres, Eluard precise qu’il est illustrateur des dessins de Man Ray. Les deux surrealistes ont travaille en commun a cette œuvre, sur les themes des “mains”, de la “femme” et de la “liberte.” En comparant les dessins et les poemes, nous pouvons degager leurs divergences. Alors que le peintre focalise sur certains details des objets, a la maniere du gros plan photographique, le poete les situe dans un contexte plus large afin d’en faire voir d’autres facettes. Tandis que le premier rappelle “l’inquietante etrangete” avec ses dessins de style fin et pointu, le dernier en montre des aspects plus rassurants et agreables, tout en souligant la circularite des deux extremites que le peintre juxtapose. Par rapport aux objets de desir, M. Ray les objective en prenant certaines distances avec eux. En revanche, P. Eluard module les distances entre sujet et objet, tout en s’adressant parfois directement a la femme du dessin, ou en detournant les yeux d’un objet pour s’attarder sur un autre qui n’a rien a voir avec lui. Man Ray cache dans ses dessins certains mots et certaines phrases, sous la forme de gribouillages. Ainsi, il rend ses dessins a la fois visibles et lisibles tout en rappelant l’autre reel cache dans le reel. Pour sa part, Eluard donne a voir par des poemes extrement courts, dont la forme rappelle le haiku ou l’aphorisme, des poemes constitues par la seule enumeration des verbes a l’infinitif ou de syntagmes nominaux. Le peintre et le poete s’unissent pour rester libres. En tant qu’illustrations ecrites, certains mots et certaines phrases d’Eluard derivent de quelques images plastiques de Man Ray, mais c’est tout ce qu’ils leur doivent. Les poemes deploient ensuite leur propre imagination, libre des sources initiales, ce qui permet aux lecteurs de poursuivre l’exploration polysemique sur les memes sujets.