Review : Burkholderia Diversity and Versatility: An Inventory of the Extracellular Products

( Vial Ludovic ),( Marie Christine Groleau ),( Valerie Dekimpe ),( Eric Deziel ) 한국미생물 · 생명공학회 2007 Journal of microbiology and biotechnology Vol.17 No.9

쩡판즈의 작품에서 나타나는 권력으로의 성찬

Christine VIAL-KAYSER 예술과미디어학회 2015 예술과 미디어 Vol.14 No.2

The work of Chinese contemporary artist Zeng Fanzhi (b. 1964 in Wuhan, who lives and works in Beijing since 1993), is marked by an acute sense of the loneliness of the individual confronted with all powerful institutions when collective life (gong) invades personal life (si) and forces everyone to conform to social norms, or collective dark forces, a situation enforced in China during the Cultural Revolution, but still largely in place despite the economic reforms of 1978 onward. It is not surprising then that eyes and masks figure prominently in his works, either as the large eyes on the still faces of onlookers, in the Hospital series of the early 1990s, or as puppet eyes, marked with a cross on a white mask figure, in the Masks series of the late 1990s. The motif of the mask in Zeng’s painting emulates the actual strategy of Chinese people, both during his childhood and in contemporary China, to eschew social exclusion by melting into the crowd, by making one’s opinions invisible, but also the neurosis that this induces, between facial harmony and hidden violence. His work The Last Supper is a striking example of this concern. With its focus on the table of the banquet and on the masked figures’ emphatic gestures, it foregrounds this psychological split. Conflating markers of a classroom (figures wearing school uniforms and walls covered with blackboards) with that of a conclave, taken from the construction and historical meaning of the Last Supper mixed with the settings of the Chinese Communist Party’s congresses, it suggests that this neurosis is at play both within individuals and within institutions and is instilled through the emotional manipulation of gullible people. This essay will consider how the artist has used this Western representation of a crisis (a betrayal that leads to the death of Christ) to express a sense of inner crisis which origins stem from the internalization of official lies. It will be argued that in his transformation of Da Vinci’s Last Supper the artist displays a profound understanding of its spiritual meaning during the Renaissance. Zeng also aptly coalesces this representation with the mundane meaning of the banquet, as a locus of power struggle, a symbolism that is alive in Chinese culture, in multiple ways: through that of the banquet offered as a gift, related to guanxi practices, through the congress of the Communist Party, captured by the medias through the image of party members seated together behind wooden tables under the golden stars of the Congress ceiling, and even through the mythical image of the “Banquet of the king”, related to the founding of the Han Dynasty. For all its political underpinning, the work also manifests a questioning of the concept of individual self, separate from the collective, its aim and psychological implications. The presence of multiple Christian references in Zeng’s works suggests a Nietzschean refusal of the spirit of sacrifice in favor of an hedonistic individualism, combined with a sense of malaise regarding the meaninglessness of this individualism that can be related to Kierkegaard’s, as expressed in his own In vino veritas, yet another work in which the theme of the banquet is convened….

쩡판즈의 작품에서 나타나는 권력으로의 성찬

크리스틴비알케이저 ( Christine Vial Kayser ) 한국영상미디어협회 2015 예술과 미디어 Vol.14 No.2

중국 현대예술가 쩡판즈(1964년 우한 출생, 1993년까지 베이징에서 활동)의 작업은 집단적 생활이 개인의 삶을 침해할 때 모든 강력한 조직에 직면하는 개인의 고독감을 나타낸다. 여기에는 1978년 이후의 경제적 개혁에도 불구하고 중국의 문화 혁명 동안 강요된 상황은 사회적 규범을 따르도록 모두를 강요하는 힘과 집합적인 어둔 세력의 반경을 포괄적으로 표시한다. Zeng의 그림에서 ‘마스크’라는 동기는 중국 사람들의 실제적인 전략과 어린 시절, 군중 속으로 사라지는 사회적 단절, 타인의 의견을 가로막도록 만드는 것에 대한 대리자이며, 조화로운 얼굴과 숨겨진 위반 사이에 있는 신경증을 말하는데 그의 작업, <최후의 만찬>은 이들과 직접적으로 관련하며 식탁위의 성찬과 마스크를 쓴 형태의 감정 이입적 제스추어는 심리학적 유출에 초점을 두고 있다. 교실에 대한 모순된 표시들 (교복을 입은 모습과 벽이 칠판을 덮은 벽들) 최후의 만찬에 대한 역사적인 의미와 구조는 중국 공산당 의회의 비밀회의의 배경과 혼합되었고 이것이 제안하는 바는 충직한 사람들의 정서적 조정을 통해 불어넣어진 신경증이며 조직과 개인 모두에게 작동한다. 본 논문은 어떻게 예술가가 위기에 관한 서양적 재현을 사용했으며 (그리스도의 죽음을 이끈 배신)공공연한 거짓진술의 내재화로부터 기인된 내적 위기감을 표현해왔는가를 고찰할 것이다. 이점은 르네상스 시기의 다빈치의 <최후의 만찬>에 대한 변화로부터 영적 의미를 풍부하게 드러내는 것으로 논의될 것이다. Zeng은 권력 투쟁의 현장과 성찬의 일상적 의미로 재현을 연결하며 중국 문화에 살아있는 상징주의를 다양한 방식으로 적절하게 혼합한다. 선물로 제공된 성찬과 ‘콴시’(선물)의 관습, 의회 천장에 박힌 금빛의 별들 아래 나무 탁자 뒤에 착석한 정당 구성원의 이미지는 미디어에 사로잡힌 공산당의 의회와 한 왕조와 성찬의 신비한 이미지를 연결한다. 모든 정치적 기반에 대해서 작품은 집단으로 부터 분리된 개인의 자아의 개념, 목표, 그리고 심리학적 함축을 나타낸다. Zeng의 작품에 나타나는 다양한 기독교적 참조들은 쾌락적 개인주의를 희생시키는 정신 즉, 니체적 거절을 제안하며 개인주의의 무익함 같이 설명하기 어려운 문제를 결합한 아포리즘, 키에르케고르의 취중진담(in vino veritas)과 같은데 다른 작품에서도 성찬의 주제는 화합에 있다. The work of Chinese contemporary artist Zeng Fanzhi (b. 1964 in Wuhan, who lives and works in Beijing since 1993), is marked by an acute sense of the loneliness of the individual confronted with all powerful institutions when collective life (gong) invades personal life (si) and forces everyone to conform to social norms, or collective dark forces, a situation enforced in China during the Cultural Revolution, but still largely in place despite the economic reforms of 1978 onward. It is not surprising then that eyes and masks figure prominently in his works, either as the large eyes on the still faces of onlookers, in the Hospital series of the early 1990s, or as puppet eyes, marked with a cross on a white mask figure, in the Masks series of the late 1990s. The motif of the mask in Zeng`s painting emulates the actual strategy of Chinese people, both during his childhood and in contemporary China, to eschew social exclusion by melting into the crowd, by making one`s opinions invisible, but also the neurosis that this induces, between facial harmony and hidden violence. His work The Last Supper is a striking example of this concern. With its focus on the table of the banquet and on the masked figures` emphatic gestures, it foregrounds this psychological split. Conflating markers of a classroom (figures wearing school uniforms and walls covered with blackboards) with that of a conclave, taken from the construction and historical meaning of the Last Supper mixed with the settings of the Chinese Communist Party`s congresses, it suggests that this neurosis is at play both within individuals and within institutions and is instilled through the emotional manipulation of gullible people. This essay will consider how the artist has used this Western representation of a crisis (a betrayal that leads to the death of Christ) to express a sense of inner crisis which origins stem from the internal ization of official lies. It will be argued that in his transformation of Da Vinci`s Last Supper the artist displays a profound understanding of its spiritual meaning during the Renaissance. Zeng also aptly coalesces this representation with the mundane meaning of the banquet, as a locus of power struggle, a symbolism that is alive in Chinese culture, in multiple ways: through that of the banquet offered as a gift, related to guanxi practices, through the congress of the Communist Party, captured by the medias through the image of party members seated together behind wooden tables under the golden stars of the Congress ceiling, and even through the mythical image of the “Banquet of the king”, related to the founding of the Han Dynasty. For all its political underpinning, the work also manifests a questioning of the concept of individual self, separate from the collective, its aim and psychological implications. The presence of multiple Christian references in Zeng`s works suggests a Nietzschean refusal of the spirit of sacrifice in favor of an hedonistic individualism, combined with a sense of malaise regarding the meaninglessness of this individualism that can be related to Kierkegaard`s, as expressed in his own In vino veritas, yet another work in which the theme of the banquet is convened….

Comparison of Several Proposed Frameworks for Grouping Polychlorinated Biphenyl (PCB) Congener Data Applied to a Case Control Study of Prostate Cancer

Park H,Vial S,Fuortes L,Ritchie J,Guo H,Reedy V,Smith E 대한산업의학회 2002 대한직업환경의학회 학술대회 논문집 Vol.- No.-

Optical sectioning in optical resolution photo acoustic microscopy

Park, Seongho,Vial, Jean-Claude,Kyhm, Kwangseuk The Optical Society 2017 Optics express Vol.25 No.16

Principle of Apertureless Scanning Near-Field Optical Microscopy: On the Way to the Optical Metrology of Nanostructures

Dominique BARCHIESI,Alexandre VIAL,Anne-Sophie GRIMAULT,Demetrio MAC?AS,Thomas GROSGES 한국물리학회 2005 THE JOURNAL OF THE KOREAN PHYSICAL SOCIETY Vol.47 No.1

Apertureless Scanning Near-Field Optical Microscopy (A-SNOM) is a powerful tool for the observation and engineering of nanostructures in near-field optics (NFO). Nevertheless, the interpretation of the experimental recorded signals raises several difficulties due to the strong dependance of the image formation process on the shape and the optical index of the nanostructure, the properties of the probe and also on the illumination and detection conditions of the experimental configuration used. In order to perform an optical measurement, an accurate model and an inversion procedure are necessary. This last approach may offer a wide variety of applications to the SNOM (e.g. the metrology of nanostructures, the optical, thermal properties, or of optical forces...) In this contribution, we focus our attention on an A-SNOM model for metrological applications in near-field optics.

4. SURVEY OF TRIHALOMETHANE LEVELS IN RHONE - ALPS WATER SUPPLIS

P . CHAMBON,M . TAVEAU,M . MORIN,R . CHAMBON,J . VIAL 大韓環境工學會 1983 대한환경공학회지 Vol.5 No.1

OPTICAL DETERMINATION AND IDENTIFICATION OF ORGANIC SHELLS AROUND NANOPARTICLES: APPLICATION TO SILVER NANOPARTICLES

T. MAURER,N. ABDELLAOUI,A. GWIAZDA,P.-M. ADAM,A. VIAL,J.-L. BIJEON,D. CHAUMONT,M. BOUREZZOU 성균관대학교(자연과학캠퍼스) 성균나노과학기술원 2013 NANO Vol.8 No.2

We present a simple method to prove the presence of an organic shell around silver nanoparticles (NPs). This method is based on the comparison between optical extinction measurements of isolated NPs and Mie calculations predicting the expected wavelength of the Localized Surface Plasmon Resonance of the NPs with and without the presence of an organic layer. This method was applied to silver NPs which seemed to be well protected from oxidation. Further exper-imental characterization via surface enhanced raman spectroscopy (SERS) measurements allowed to identify this protective shell as ethylene glycol. Combining LSPR and SERS measurements could thus give proof of both presence and identi¯cation for other plasmonic NPs surrounded by organic shells.

Autofluorescence Loss in Photobleaching for Human Dentin ex vivo

이승환,김민우,정성희,황재준,김지수,Aurélien Gourrier,Jean Claude Vial,김광석 한국광학회 2022 Current Optics and Photonics Vol.6 No.1

Two-photon fluorescence microscopy was performed on the enamel-dentin junction area of a human tooth using a femtosecond pulsed laser. We obtained a clear image contrast between the bright dentin and dark tubules with the autofluorescence generated from the endogenous fluorophores in dentin. The autofluorescence shows a broad spectrum due to complex cross links between dentinal collagens, which extend from blue to orange wavelengths (470–590 nm), but a gradual autofluorescence loss in photobleaching was observed for a long-term exposure under strong excitation. For increasing excitation power, we found that two-step decay becomes significant in the spectrally integrated autofluorescence.