건설기술자 이미지에 대한 일반 국민과 건설기술자의 인식 비교 연구

김동빈,김한수,Kim, Dong Bin,Kim, Han Soo 한국건설관리학회 2016 건설관리 : 한국건설관리학회 학회지 Vol.17 No.5

Construction engineers are the core resource for the sustainable development of construction industry and positive images toward construction engineers give much impacts on recruit and retainment of the young and talented. Although previous studies reported on negative aspects of the image of construction industry, the image of construction engineers has not been properly investigated to date. The objective of the study is to compare images of construction engineers as perceived by general public and construction engineers themselves in order to identify key characteristics and implications. The result shows that construction engineers themselves, compared with general public, have more negative tendencies on images of construction engineers. The study suggests that it is critical to enhance the understanding of roles of construction engineers and their morality in order to improve general public's perception on construction engineers images. On the other hand, fundamental measures to be taken to restore the environments of construction industry for construction engineers to improve their self-perception on images of construction engineers. 건설기술자는 건설산업의 지속적인 성장을 위한 핵심자원이며, 건설기술자에 대한 긍정적인 이미지는 유능한 인재의 유입과 보유에 많은 영향을 끼친다. 비록 기존 연구를 통해 건설산업의 이미지는 부정적으로 진단된 경향이 있지만, 현재까지 건설기술자의 이미지에 대한 현 주소는 정확하게 진단되지 못하였다. 본 연구의 목적은 건설기술자의 이미지를 일반 국민과 건설기술자를 대상으로 설문조사를 실시하여 비교 분석하고 주요 특징 및 시사점을 도출하는데 있다. 연구 결과, 일반국민 보다 건설기술자 스스로가 건설기술자의 이미지에 대해 부정적인 경향이 높은 것으로 나타났다. 건설기술자의 이미지에 대한 일반 국민의 인식을 제고하기 위해서는 건설기술자의 정체성과 역할에 대한 이해 증진과 도덕성 제고가 가장 중요한 현안으로 나타났으며, 건설기술자의 자기 이미지 제고를 위해서는 건설산업의 생태계를 회복하는 근본적인 처방이 필요한 것으로 나타났다.

삼중성계 FZ Ori의 측광학적 해와 광시간 모형

김동빈,송미화,정민지,김천휘,Kim, Dong-Bin,Song, Mi-Hwa,Jeong, Min-Ji,Kim, Cheon-Hwi 한국천문학회 2012 天文學會報 Vol.37 No.2

접촉 식쌍성 FZ Ori를 CCD 측광 관측하여 BVRI 광도곡선을 얻고, 12개의 새로운 극심시각을 결정하였다. 먼저 우리가 구한 극심시각들을 포함한 총 218개의 극심시각 자료를 이용하여 FZ Ori의 공전주기 변화를 분석하였다. 그 결과 지난 80년 동안 FZ Ori의 공전주기가 영년 증가하면서 동시에 40~50년 주기로 변화하고 있음을 발견하였다. 우리는 주기적 변화가 제3천체에 의한 광시간 효과로 나타난다고 가정하고 몬테카를로 기법을 이용하여 $X^2_r$인 자 공간에서 최적의 광시간 해를 탐색하였다. 또 이 방법으로 구한 광시간 궤도요소를 궤도 수치적분 프로그램(MERCURY, S34BODY)에 적용하여 질점으로 이루어진 가상의 삼중성계에서 나타나는 광시간 효과를 천체역학적으로 구현하여 보았다. 한편 FZ Ori의 4색 광도곡선을 가장 최근에 개정된 2010 Wilson-Devinney 프로그램에 적용하여 측광학적 해를 구하였다. 기본 시스템 인자 외에 차가운 흑점과 뜨거운 흑점, 그리고 제3광도의 세 요인들을 조합하여 구한 14개의 해 중에서 주성과 반성의 표면에 각각 차가운 흑점과 뜨거운 흑점이 있으면서 제3광도가 검출된 해가 우리의 관측과 가장 잘 맞았다. 그러나 이렇게 구한 제3광도는 광시간 모형으로부터 예측되는 제3천체의 광도에 크게 못 미친다. 추후 분광 관측을 비롯한 다양한 방법을 동원한다면 FZ Ori에 대한 보다 완전한 모형을 얻을 수 있을 것이다.

한국 광고의 타이포그래피 표현 경향 연구

김동빈(Kim dong-bin) 한국디자인학회 2007 디자인학연구 Vol.20 No.1

타이포그래피에서 디지털 테크놀로지의 수용에 따른 비규정적 표현경향에 대한 미학적 견해 -칸트, 벤야민, 리오타르로부터-

김동빈(주저자) ( Dong Bin Kim ) 커뮤니케이션디자인학회 2015 커뮤니케이션 디자인학연구 Vol.52 No.-

Digital technology affects typography and it implies as ‘Speed and Freedom’. Today, the important flow of typography comes from individual subject and intuition, but progress, diffusion, continuance of the phenomenon are on the basis of digital technology’s development. The acceptance of digital technology brings the sparks of comprehensive conversion about expressing attitude, the opportunity of indeterminacy, formless, and external revelation, and the momentum of character’s de-centering and authority’s reargument. The aesthetics argumentation for study includes the relationship between technology and reproduction, the matter of technology and representation, and experience of the sublime with technology. This study insists that typography has been established as an important aspect of expression and quotes Kant, Lyotard, and Benjamin’s aesthetic arguments to bring up opinion about digital technology based persisting situation of indeterminacy, formless, and innovation. As a result of this study, these aesthetic views are followed. First, in the field of typography, the active acceptance of digital technology is concluded in the separation from traditional category for the way of expression and perception. Second, typography took on an essential role and it has been connected to ‘Annulment of Sensus Communis’ which cannot guarantee universal communication and teleological objectivity. Third, typography uses technical reproduction and speed from technology and makes its style firmly through limitless self reproduction. In addition, it leads the aspect of expression into more innovative way. Fourth, the extension of play-space by technology development becomes the root of individuality emergence which has been suppressed by the rule. Also, it gives a chance to experience the sublime of indeterminacy and formless. After typography expression accepts digital technology, the aspect of expression becomes indeterminate and formless. This should not be concluded just as the external phenomenon expression. We can avoid making a provincialism mistake of phenomenon interpretation when we pay more attention on internal based mental matters of typography’s phenomenon.

하이데거 존재론적 관점에서 본 광고 속의 사물

김동빈 ( Kim Dong-bin ) 커뮤니케이션디자인학회 2017 커뮤니케이션 디자인학연구 Vol.59 No.-

Objects are frequently used in advertising expressions. Advertising makes people`s lives the main story. The close relationship between people and objects is a reason to enjoy things in advertising expressions composed of people`s stories. This research began with an ontological question about the relationship between things and people expressed in advertising. According to Heidegger, only human being is the only place where `being` appears. This means that beings other than human beings do not exist independently and only exist when they are related to being human beings. The objects expressed in the advertisement also move to the position of being through the connection with the human being. The significance of the advertising is as follows by looking at the ontological meaning of the objects expressed in the advertisement. First, the existential expression of objects is used in a way that reveals the existence of human being as a dajjal, enabling the delivery of a consumer - oriented advertisement message. Second, the expression of the human `s historical time as the temporal existence in the development of the advertisement story based on the historicity can bring out empathy through the mouth of the consumer. Third, it can emphasize the existential value of things, that is, the intrinsic value of goods expressed by things, by emphasizing the meaning of things through the semantic link between things as human being and being as being. Fourth, it can be made meaningful and satisfactory for consumer `s choice of commodity, considering that things are not merely objects in front of them, but are moved to the position of existence through the use of human choice. As a result, the objects expressed in the advertisement are not merely visual devices, but rather play an existential role that emphasizes the existence of human being as a special existence, that is, a dysgenic, through forming a relationship with a human as a consumer.

미와 도덕성의 관계 개념으로 본 한글의 디자인적 공공성

김동빈 ( Kim Dong-bin ) 우리어문학회 2019 우리어문연구 Vol.63 No.-

Although our surroundings are undergoing external changes in the name of public design, the issue of publicity seems not to be treated as important in the process. This study sought to find an essential answer to the publicness of design in Hangul, which is our representative design. To this end, this study sees Sejong as a designer and Hangul as a design. In addition, in order to grasp the design publicity appearing in Hangul, the concept of the relationship between ‘Beauty and Morality’ discussed in Kant aesthetics is related to the central theory. This is because, as a designer, Sejong puts human being at the center of all the process of designing Hangul, and Kant is looking for the ideal of beauty in human beings. The results of the study are summarized as follows: First, Hangul has a design publicity as a mediator of universal communication. Second, Hangul has a design publicity as an opportunity of socialization. Third, And to have design publicity by realizing the ideal of beauty. Designer Sejong wanted to find the ultimate goal of Hangul design in raising the level of universal life of all people. It can be seen that the inner state that is taken as an ethical and democratic monarch realizes the ideal of beauty in the moral dimension. Design plays a public role by directly or indirectly participating in human life. The subjects participating in all the design process including public design are not urged to change or change the outer appearance exposed, but because of the influence of design on society It is necessary to precede moral reflection on the problem of publicness.

영화포스터의 디자인 방향성에 관한 연구 - 장르별 영화포스터 비교분석을 중심으로 -

김동빈 ( Kim Dong-bin ),최진호 ( Choi Jin-ho ) 커뮤니케이션디자인학회 2017 커뮤니케이션 디자인학연구 Vol.61 No.-

It is necessary to change the position of the Korean movie. It is not only the loss of the function of the movie as the characteristic that is not reflected along with the existing form but also the result of lowering the value of the movie. It analyzes the current Korean movie posters and the posters of the american movies by journals and grasps the problems and reflects the jungle characteristics that can be heard by the movie's characteristics in order to change the movie's posters We will make improvements to make movie posters. Through the posters of changed films, the audience will be able to experience positive cinematographic information and become potential audiences. The production company can make the film more effective and accurate, It is possible to present a new direction for the developing Korean movie market and to develop it not for short-term filmmakers but for the film industry with long-term growth.

현대 그래픽디자인의 몰형식적 표현요인으로서 중첩과 분절의 유희

김동빈(주저자) ( Dong Bin Kim ) 커뮤니케이션디자인학회 2016 커뮤니케이션 디자인학연구 Vol.55 No.-

The expression tendency of contemporary graphic design that departure from traditional norms and relations now represent a generalized phenomenon. The study regulations were the nature of this phenomenon as a formlessness of the contemporary graphic design which is borrowed from an aesthetic concept. Contemporary graphics formless representation of the design is the method used is not a visual method by play, and the play of the superimposition and segmentation, is frequently limited to a particular expression. This study puts its purpose to reveal what kinds of some properties in the ``superimposition`` and the expression of ``segmentation`` that have a formless tendencies and some relevance in contemporary graphic design and presentation aspect and meaning aspects of modern graphic design. Graphic design is a representation of superimposition the segment from the point of view of assembly of the visual text in the expression and seems to be associated with a substantial part of the segment overlaps the text in the language. The results of the study, play of superimposition in terms of organic expansion of the derivative and the spatial concept of secondary meaning, play the segment has been identified is that elicit the difference meanings express the structure of the disassembly and relocation and visual text to structure and function. This has been a major factor to strengthen the formlessness of the contemporary graphic design.

숭고미학의 관점으로 본 한글의 이미지성

김동빈 ( Kim Dong-bin ) 우리어문학회 2020 우리어문연구 Vol.67 No.-

The original function of letters was in the literacy based on ‘writing and reading’. Literacy refers to the nature of writing formed by letters, the way of thinking derived from it, and a series of cultures. Literacy structures knowledge with objectivity through separation of object and subject of writing as an important condition. The typography is closely related to literacy in that it is part of visual communication activities to convey knowledge and information by using letters as material. Since the 20th century, the role of letters in the category of expression in typography has not been limited to literacy, but to the transition from reading letters to viewing letters, drawing attention to the image of letters. By the 21st century, this phenomenon had become more widespread and intensified with the development of digital media. Because the imagery of literacy has emotional and subjective characteristics as it is based on the intuitive sensibility of the subject expressing, it is at odds with the character performance based on the premise of objectivity between the subject and the object in writing. It is also the result of capturing the inner feelings and conditions of human beings formed through the physical perception centered on vision, which is the constant generation and occurrence that occurs beyond the literacy. The imagery of letters is made by the medium of letters, but they share the emotional, flexible and abstract features of orality. In terms of Korean typography, the phenomenon of transition from reading letters to viewing letters is no exception. Imagery of Hangul is not subject to rules or methods that depend on the character ‘writing and reading’. In addition, the method of expressing the typography of Hangul, which has been centered on letters, is used as the principle of expressing the subject's method by philosophically transposing the technique potential and experiment of the technique. The imagery of Hangul is not completely deviated from its literal nature, and it is the result of negotiations with the world of existence through letters and visual representations of the inner feelings and conditions of human beings on a subject. Hangeul has become the subject of both reading and viewing, and has freely crossed the boundaries of expression between writing and drawing. The imagery of Hangul has become an aesthetic phenomenon that we are actually experiencing. The aesthetic phenomenon here is not a fragmentary visual aspect, but rather a result that reveals externally the ideas and ideologies of the subject. As an aesthetic phenomenon, we can share the aesthetics of the sublime in that the imagery of Hangul expresses things that cannot be expressed within the category of literacy. This is because the sublime is not the aspect or nature of the object, but the emotion that occurs between the object and the subject. As a result, the Sublime of imagery of Hangul is an emotional movement and aesthetic experienced through objects that are beyond the tradition and rules of literacy, or objects that appear unexpectedly outside of our perception.

대체단백식품에 대한 국내외 연구현황 분석

김동빈(Dong Bin Kim),이혜원(Hye Won Lee),장호건(Ho Gun Jang),박진홍(Jin Hong Park),이효진(Hyo Jin Lee),진상근(Sang Keun Jin),이승연(Seung Yun Lee) 한국축산식품학회 2024 Food and Life Vol.2024 No.2

This study investigates alternative protein trends, including research and related companies focusing on both domestic and international markets. Various studies are necessary as interest in alternative protein foods has significantly in-creased due to the recent rise in the vegan population and concerns about environmental pollution caused by the animal welfare and livestock industries. The alternative protein market is expanding globally, with Europe accounting for 39% of the market share, while the United States, Asia, Australia, and New Zealand are gradually developing their alternative protein markets. There are four types of alternative protein foods: i) plant-based alternatives with high protein content, ii) animal cell-derived alternatives with controlled fatty acids and iron content, iii) microbial-derived alternatives com-bined with high protein and additional nutrients, and iv) edible insects rich in protein and mineral substances. Although various research efforts are underway on alternative protein foods, the domestic industry is still in its early stages, ne-cessitating significant investments in government support, further technological development, and alternative protein R&D. Therefore, this research study can provide foundational data for the development of alternative protein foods by offering insights into the current status of domestic and international research in this field.