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석남 이경성(石南 李慶成, 1919-2009)의 뮤지엄 인식과 실천
이인범(Lee, Ihn Bum) 한국근현대미술사학회 2011 한국근현대미술사학 Vol.22 No.-
The intention of this essay is to give light on Lee Kyung-Sung(1919-2009)’s museum related activities. He was born in Incheon in 1919 when the March First Independence Movement occurred. He had been grown up under the Japanese Imperialism in his youth, and since the age of 26 when he had become the director of Incheon Municipal Museum after gaining independence from Japan, he was solely in the field of museum establishment until his death in 2009. Lee particularly contributed much in establishing the National Museum of Contemporary Art Korea and its process of settlement. What motivated him to be involved in the activities for the museum in Korea where the field was so barren and alien? What was the value he was seeking for while concentrating on the task of museum establishment throughout his whole life? How do his activities in the field associate with the national development of museum system, formation of nation-state and the worldwide development of museum system after the Second World War? These questions are the starting points of this writing. His activities in the field began amid the flow of the Western invasion on the East and Japanese colonization of Korea. Being immersed in ‘the fine art’ was his way of transcending the unfortunate reality of the nation, and therefore working on the issue of museum system became his place of act. As soon as gaining liberation from the Japanese regime, he served as a director of Incheon Municipal Musuem, which is recorded as the nation’s first public museum that was both established and managed by him. After that, Lee worked as a staff in museums of Ehwa Woman’s University and a director of Hongik University respectively. And subsequent to the April 19 Revolution, he derived a conclusion for establishing the National Museum of Contemporary Art Korea ? in 1986, he directed and developed schemes for the settlement of the museum as a director, pioneering a public realm for the fine art in Korean society for the first time. As he set an objective for going beyond the ill-fated Korean historic reality during the modern period, his perception and practice regarding the museum in the field of fine art was first designed to focus on forming ‘subjectivity’ within the formation of nation-state, which was foundered during the colonial era. So the concept of ‘rationalization’, ‘modernization’ and ‘globalization’ were taken into account, paving the road for a public realm in the fine art by the establishment of National Museum of Contemporary Art. In that respect, Lee’s vision and practice for museum establishment was anchored in reality of the time, and his lifelong commitment in the activities were closely related to the task of forming a nation-state. It is doubtlessly the fact that the field he strived for was no one ever stepped into before him during the postwar years in Korea. His task of objective was that of Louvre Museum signifies the symbol of the French Revolution in one hand; and since then the museum contributed to the internalization of the revolutionary spirit, modern museum system in the West function as a project in order to form a nation-state or to overcome the difficulty it faces in other hand. Given that points, Lee’s activities in the field of museum establishment provide interesting comparisons to be explored with the cases. However, what kind of ‘modern fine art’ he actually sought for with the application of ‘rationalization’, ‘modernization’ and ‘globalization’ is still remained as an issue.
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이승택의 ‘비(非)-조각’에 대하여: 기록 사진과 ‘포토-픽쳐’의 틈
이인범 ( Ihn-bum Lee ) 한국미학예술학회 2021 美學·藝術學硏究 Vol.64 No.-
1956년 인체 조각으로 데뷔한 이래 이승택은 조각뿐만 아니라, 드로잉, 회화, 대지예술, 설치, 퍼포먼스, 사진 등 다양한 장르에서 실험적인 활동을 펼쳤다. 그리고 그 실험성은 ‘비조각’ 개념으로 언급되어 왔다. 이승택의 청장년기 작업은 서구 근대 ‘조각’ 개념을 대상으로 한 예술적 실험이라는 점에서 ‘비조각’으로 다루어질 만하다. 그런데 1980년대 이후 그의 실험들은 조각 개념과 무관한 문화인류학적 오브제나 퍼포먼스 등 다양한 삶의 영역들에까지 확장되고 있다. 그런 점에서 후기 작업들까지 아울러 ‘비조각’ 개념 아래 거론할 수 있는지는 의문이다. 조각-비조각 같은 이분법적 접근으로는 재료, 기법 등 매체적 문제나 장르, 제작 연도 같은 기초적인 정보 확정도 어려운 경우가 적지 않다. 예컨대, 설치나 퍼포먼스로 취급된 작품들 중 적지 않은 것들은 재료로 그 기록 사진들을 활용하였을 뿐, 엄밀한 의미에서 기록 사진이 아니라 다만 그 위에 덧칠되거나 콜라주, 몽타주하여 재구성된 이미지들인 경우가 허다한 ‘포토-픽쳐’이다. 따라서 ‘비조각’이라는 단정 아래 논의 해온 이승택의 예술 세계를 그 발생사적 전후 관계, 작품 형식이나 기록에 대한 면밀한 검토를 바탕으로 새롭게 해석해야 할 여지가 적지 않다 Seung-Taek Lee has attracted attention in the Korean art world with experimental artworks, since he made his debut through a sculptural work in 1956. The experimental nature of his work has been referred to as a concept, ‘non-sculpture’ after he contributed his essay, “The origin of my non-sculpture” to a art magazine in 1980. However, the considerable errors are found in the relevant records of his works of art. Sometimes there are so many problematic errors in basic records of his works, especially documentary photography or the records of artwork such as the names, year of production, materials, techniques, size and etc. These errors not only make it difficult to identify the historical context between each works and his interaction with other artists, but also caused great confusion the understanding of his artworks. His performances and installations, which have been active since the 1980s, have been discussed through the photographic images. By the way many of them are not just records of objects or events but have been painted or collaged on photographies. Therefore taking it as an index that dictated actual works and characterizing them as an extension of the concept of ‘sculpture’ or its symmetrical concept ‘non-sculpture’. These Seung-Taek Lee’s photography works should be called his own ‘Photo-Picture’.
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이인모,이승주,이주공,이대혁,Lee, In-Mo,Lee, Seung-Ju,Lee, Joo-Gong,Lee, Dae-Hyuck 한국터널지하공간학회 2002 터널기술 Vol.4 No.3
The purpose of this study is to figure out the tendency of tunnel convergence during excavation and to present a methodology for the prediction of a fault zone ahead of a tunnel face by analyzing three dimensional displacements in various ways. 3-D numerical analysis was performed to investigate changes of tunnel convergence vectors near a fault zone and to propose a flow chart for predicting fault zones. Results of the site investigation and results of trend line analysis of in-situ data were compared to verify the usefulness of a trend line analysis. It is concluded that the orientation of faults can be predicted by using stereonets and the direction of initial stresses can be predicted from the arm length of a displacement vector as a tunnel approaches fault zones. The results of the trend line analysis coincided with those of the site investigation, and a methodology for the prediction of a fault zone was proposed. 본 연구는 터널 굴착시 막장 전방의 지반변화를 사전에 예측할 수 있는 방법을 제시하고자 하였다. 이를 위하여 막장 전방에 파쇄대가 방향성을 가지고 존재 할 때 터널의 3차원 해석을 통하여 터널의 내공변위의 변화 경향을 살펴보았으며, 이를 통하여 막장전방의 지반 변화를 파악하고자 하였다. 이러한 터널의 내공변위의 변화는 경향선과 영향선을 이용하여 표현할 수 있으며 이를 이용하여 막장 전방에 존재하는 파쇄대를 예측하고자 하였다. 수치해석 결과에 의하면 막장전방에 파쇄대가 존재 할 경우 막장이 파쇄대에 접근할 수록 급격한 경향선의 변화가 나타난다. 또한 파쇄대가 방향성을 가지고 있는 경우에는 경향선의 급격한 변화 외에 측벽부의 변위 경향이 비대칭을 이루므로 인하여 평사투영도 상에 나타난 변위가 비대칭을 형성하는 것으로 파악되었다. 이러한 수치해석결과에 의한 내공변위 해석결과를 현장 계측 자료와 비교하였으며, 현장에서 계측한 오차를 줄일 수 있도록 계측데이터가 정규분포 한다고 가정하여 현장데이터를 분석한 결과 막장전방의 파쇄대의 존재 유무를 파악할 수 있는 것으로 나타났다.
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이인회(In-Hoi Lee),이혜정(Hye-Jeong Lee),이지혜(Ji-Hye Lee) 한국산학기술학회 2015 한국산학기술학회 학술대회 Vol.2015 No.1
본 연구는 세종시 유아교육진흥원의 설립과 역할에 대한 교사와 학부모의 인식을 조사하는데 목적을 두었다. 연구대상은 세종특별자치시 관내 유치원 교사와 학부모 164명이다. 연구결과는 다음과 같다. 첫째, 세종시 유아교육진흥원 설립 필요성은 교사와 학부모의 96% 이상이 ‘반드시 필요하다’고 인식하고 있다. 둘째, 유아교육진흥원이 역점을 두어야 할 체험프로그램은 두 집단 모두 누리과정을 반영한 체험교육프로그램에 가장 높게 응답하였다. 셋째, 교원지원을 위한 중점영역으로 교사는 교수-학습 능력 개선 컨설팅을, 학부모는 유아이해 및 공감능력 강화가 가장 중요하다고 응답하였다.
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Streptococcus faecium M74ㆍLC에 의한 L-α - Glycerophosphate Oxidase의 생산
이인애(In-Ae Lee),이은숙(Eun-Sook Lee),이준우(June-Woo Lee) 한국식품영양과학회 2003 한국식품영양과학회지 Vol.32 No.5
L-α-glycerophosphate oxidase(GPO)는 L-α-glycerophosphate를 산화시켜 dihydroxyacetone phosphate와 과산화수소의 생성을 촉매시켜 주는 효소로서 혈중에 존재하는 triglyceride의 양을 측정하는 kit를 개발하는데 이용할 수 있으며 본 연구 결과로 종균을 개발 및 확보하였으며, 이 종균의 사용으로 GPO의 발효공정기술을 확립하였고, 또한 이들 조효소로부터 순수한 효소를 생산할 수 있는 정제공정 기술을 확립하였다. 먼저 ATCC에서 네 가지 균주와 KCTC에서세 가지 균주, 그리고 본 연구실에서 분리한 Streptococcus faecium M_(74)ㆍLC 균주 등 8가지 균주의 성장상태를 비교하고 GPO의 역가를 측정해 본 결과, 배양액 1 L당 ATCC 19634는 65 units, ATCC 12755는 60 units, S. faecium M_(74)ㆍLC는 67 units로 S. faecium M_(74)ㆍLC가 제일 높은 역가를 생산하였다. 또한 발효조에서 배지의 양을 3 L로 하여 배양온도는 37℃, 교반속도는 300 rpm, 통기량은 0.5 L/min, 17시간 배양하였을 때 가장 많은 양의 균체가 생성되었으며, GPO의 생산량도 가장 많았다(256 units/L). 이때 배지 조성은 glucose 0.1%, glycerol 0.2%, tryptone 1.0%, yeast extract 1.0% 및 K₂HPO₄ 0.5%로 하여 배양하였고 GPO의 정제공정은 염투석 분획과 이온 교환수지 공정으로 대별할 수 있으며, 이온교환수지는 DEAE-cellulose 칼럼을 이용한 정제수율은 약 47%를 얻을 수 있었다. The objective of this study was to search for the best strain as a source of L-α-glycerophosphate oxidase (GPO) production and to establish the process technology for the purification of GPO on an industrial scale. The GPO was produced by culturing Streptococcus faecium, and purified by ammonium sulfate, DEAE-cellulose and hydroxyapatite chromatography. The relative activity was 60 units/L for S. faecium ATCC 12755, 65 units/L for S. faecium ATCC 19634, and 67 units/L for S. faecium M_(74)ㆍLC, respectively. The optimum condition for fermentation was 37℃ for temperature, 300 rpm for stir rate, 0.5 L/min for aeration rate and 17 hours. The main culture medium prepared by the modified AC medium. AC medium consists of 0.1% glucose, 0.2% glycerol, 1.0% tryptone and 1.0% yeast extract, 0.5% K₂HPO₄, pH 7.0. The GPO was purified by ammonium sulfate fractionation and ion exchange column chromatography. The yield and purity were 17.2% and 5.3 fold, respectively.
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