Linze-Donawitz 가스로부터 일산화탄소(CO) 분리를 위한 흡수 및 흡착공정에 대한 기술경제성 비교

임영일 ( Young-il Lim ),최진순 ( Jin Soon Choi ),문흥만 ( Hung-man Moon ),김국희 ( Gook-hee Kim ) 한국화학공학회 2016 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.54 No.3

제철소에서 부생되는 LDG (Linze Donawitz gas) 가스는 일산화탄소(CO)를 60% 이상 포함한다. LDG로부터 CO를 고순도로 분리하는 2가지 공정을 고려하였다: COSORB와 CO-PSA (pressure swing adsorption). 이 연구의 목적은 기술경제성평가(TEA: techno-economic analysis) 를 통하여 이 두 공정 중 어떤 공정이 더 경제성이 높은 지를 결정하는 하는 것이었다. TEA의 기술적 측면에서는 초기투자비(TCI: total capital investment) 와 총생산비용(TPC: total productioncost)을 추정하기 위하여 먼저 공정흐름도(PFD: process flow diagram)를 완성하고, 물질 및 에너지 수지식을 계산한후, 장치 종류 및 크기를 결정하였다. TEA의 경제성 측면에서는 투자회수율(ROI: return on investment) 및 투자회수기간(PBP: payback period) 과 같은 경제성 판단기준을 산출하였고, ROI와 PBP에 가장 큰 영향을 주는 인자들을 찾기 위하여 민감도 분석을 수행하였다. CO-PSA 공정은COSORB 공정 보다 더 높은 ROI와 더 낮은 PBP 로 인하여 경제적 우위를 보여주었다. CO의 가격은 ROI와 PBP에 가장 큰 영향을 주는 인자로 파악되었다. Linze-Donawitz gas (LDG) adjunctively produced in the steel mill contains over 60% of CO. Two processes that recover high purity CO from LDG were considered: COSORB and CO-Pressure swing adsorption (PSA). This study aimed to decide which one is more economically feasible than the other by techno-economic analysis (TEA). From the technical point of view of TEA, the process flow diagram (PFD) was constructed, the mass and energy balances were calculated, and the equipment type and size were determined in order to estimate the total capital investment (TCI) and the total production cost (TPC). From the economic point of view of TEA, economic performance such as return on investment (ROI) and payback period (PBP) was evaluated, and the sensitivity analysis was carried out to identify key factors influencing ROI and PBP. It was found that CO-PSA is more economically feasible due to higher ROI and lower PBP. The CO price highly influenced ROI and PBP.

Reflecting Academic Symposia as a Trend at Animation Festivals, Media Art Festivals and Conferences on Computer Animation

Juergen Hagler,Franziska Bruckner 한국만화애니메이션학회 2017 만화애니메이션연구 Vol.- No.49

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

나치시대의 미술사와 박물관

송혜영 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-

본 논문은 나치시대의 미술사와 박물관이 어떤 성향으로 전개되고 어떤 정책을 추진해나갔는지를 다음의 세 가지 관점에서 조명한다. 즉, ‘민족’과 ‘인종’이 가장 중요한 핵심어로 등장하는 나치시대 미술사의 학문적 성향, 나치시대의 박물관이 주요 정책으로 내세운 민중교육운동의 대표적 예인《독일미술대전》과《퇴폐미술전》, 유럽의 모든 걸작을 소유하고자 했던 나치의 문화재약탈과 히틀러의 최종목표였던 ‘린츠박물관’을 고찰한다. The purpose of this study is to research which tendencies art history and museums in the Nazi period were unfolded in and which policies they promoted. Nazi ideology results in racism to advocate Aryan superiority through suggesting anti-Semitism and anti-Bolshevism. Like reflecting this fact, art history in the Nazi period represented as the key words of 'nation' and 'race' was developed in the tendency to harmonize with Nazi ideology from a viewpoints of nationalism out of the objectivity of pure study, and, mainly, concentrated on German art from the Middle Ages to the Baroque period. Therefore, A great number of scholars in art history had to leave Germany, and, as a result, the center of art history to have originated from the German area was extended to Courtauld Institute in London and American famous universities as the English area. The art in the early 20th century to position currently itself as the classic of modern art was regarded as decadent art by the Nazis, and relevant works in all museums and galleries were confiscated. Especially, the works of Die Bruecke were severely suppressed through 'decadent art' exhibition, but, on the contrary, German expressionism happened to well known to the international world of artists on this opportunity in the late 1930's. In addition, the New York painting circles positively accepted the modern art the Nazis suppressed, so to get the chance to lead postwar modernism. Even though the nazis established museums and art galleries with the justification of popular educational movements on purpose to enlighten the mass of people, they actually intended to propagate Nazi ideology as 'Great exhibition of German art' and 'decadent art' exhibition. Nazi Germany, that started a war, tried to possess the whole great works of the occupying nation, and, especially, Hitler promoted to establish Linz museum on a international scale. But, despite of Hitler's ambitious plan, leaning to German art, the large limits of Linz museum are found in the collection lists to have denied the experimental art of contemporary. After Nazi defeat, the universities and the museums in Germany had to make all efforts to recover self-regulation, and all the museums and art galleries in Europe, to return to the condition prior to a war. The Nazi period in which the ideology ruled everything left an instruction that only freedom is an absolute condition of all scholarship and arts in the end.

초고온 세균 활용 CO 전환 수소 생산기술 개발

전유택(Yootaek JEON),박승환(Seunghwan PARK),박병철(Byungcheol PARK),강성균(Sunggyun KANG) 대한기계학회 2017 대한기계학회 춘추학술대회 Vol.2017 No.11

As interest in sustainable and eco-friendly energy increases, demand for hydrogen energy is also increasing. Hydrogenogenic CO oxidation (CO + H₂O → CO₂ + H₂) has the potential for H₂ production as a clean renewable fuel. In this study, it was developed economic biological hydrogen technology utilizing renewable resources such as industrial by-product gas including carbon monoxide, using the Thermococcus Onnurineus NA1. Pilot plant was designed and constructed in order to convert from CO in LDG which is a by-product gas of steel mill to H₂ and implemented the technology through demonstration. 2.4 Nm³/h of LDG was continuously supplied to 1t culture medium reaction tank. As a result, 97% CO gas in LDG was converted into hydrogen gas and hydrogen content in the product gas is 40% or more. The purity of product gas was increased to 99.9% hydrogen gas by PSA. The high purity hydrogen gas was successively used to generate electricity by fuel cell system which has developed in Hyundai Steel. This results is the first demonstration of H₂ production from steel mill by-product gas by a carboxydotrophic hydrogenogenic microbe.

팬데믹 시대의 문화예술축제 대안 연구 : 유네스코 미디어아트 창의 도시의 사례를 중심으로

선영현 유럽문화예술학회 2021 유럽문화예술학논집 Vol.12 No.2

이 연구에서는 코로나 시대에 국내 문화예술축제와 유럽 문화예술축제의 진행 상황을 살펴보았다. 그리고 코로나 팬데믹 상황에서 진행된 유럽의 린츠, 리옹, 카를스루에의 문화예술축제와 광주의 미디어아트페스티벌 사례를 분석하여 포스트 코로나 시대, 팬데믹 시대를 위한 문화예술축제의 운영 과 대응 방향을 제시하였다. 유럽의 경우 언택트 시대에 관람객들의 수요와 요구를 즉각 반영하여 다양한 온라인 시스템을 개발하고 4차 산업혁명 기술을 활용하여 수준 높은 서비스를 온라인으로 제공하였다. 광주의 경우에도 코로나19의 확산 방지와 안전한 축제 진행을 위해 작품을 여러 곳에 분산 배치하는 등 행사 방역관리 지침과 운영 준수사항을 마련하고 이를 충실하게 이행하였다. 이상의 사례들을 통해 팬데믹 시대에 문화예술을 어떻게 기획하고 준비해야 하는지 알 수 있었으며, 문화예술 축제의 새로운 변화와 가능성을 확인할 수 있었다. This paper examines the progress of the Korean Culture and Arts Festival and the European Culture and Arts Festival during the Corona Pandemic. This paper also analyzes the cases of the Lintz, Lyon, Karlsruhe Culture and Arts Festival, and the Gwangju Media Art Festival. In Europe, a variety of online systems were developed to reflect the needs of visitors immediately in the Untact era. High-quality online services were provided using the technology of the Fourth Industrial Revolution. To further prevent the spread of covid-19 and conduct safe festivals, Gwangju also prepared and implemented guidelines for event prevention and operation management, such as distributing works in various places. These examples show how to plan and prepare culture and art in the post-corona era and identify changes and possibilities of the Culture and Arts Festival.