민간경비원의 복리(福利)증진(增進) 방안 연구 - 임금 및 복리후생제도를 중심으로 -

김계원,이근일 한국융합보안학회 2016 융합보안 논문지 Vol.16 No.6_2

본 논문은 경비원의 임금 및 복리후생제도의 고찰을 통해 경비원복리증진 방안을 도출하는데 목적이 있다. 이를 위해경비원 임금제도와 복리후생제도 실태를 조사․분석하였다. 분석결과 현재의 경비원 임금 및 복리후생제도에 영향을 미치는 가장 중요한 요인은 도급액 수준, 최저임금 수준, 경비업의 전문성 등이었다. 특히 현재 경비원은 한국표준직업분류상 단순노무직으로 분류되어 가장 전문성이 낮은 수준의 직무로 분류되고 있다. 이러한 인식에 따라 경비원의 임금수준은 대기업 평균의 약 47%, 중소기업 평균의 약 80% 수준에 불과하다. 이를 토대로 향후 개선방안을 제시하면 첫째, 경비업의 전문성 향상을 위한 노력, 둘째, 복리후생 관련 공제사업 신설, 셋째, 표준임금의 경비업법 수용, 넷째, 선택적복지제도 도입 등을 제시하였다. The purpose of this paper is to study ways to improve the welfare of private security guards. For this reason, it was analyzed the actual situation of the private security guards' wage and welfare system. As a result of the analysis, the most important factors that affect the wages and welfare system of private security guards was such as contracting costs, the minimum wage level, professional duties. In particular, a private security guards have been recognized as the most low-level professionalism sorted by the simple laborers standard classification. Wages of guards in accordance with this recognition is only about 47% of major company on average, about 80% of the small business average. If the proposed future improvements include: First, we need to improve the professionalism of a private security. Second, It is established a mutual-aid project about private security guards. Third, It shall regulate the wage of private security guards on Private Security Industry Act. Fourth, we should adopt a selective welfare system.

만드는 사진, 찍는 사진 - 1990년대 한국사진에서의 매체 특수성 논의

김계원 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-

This paper examines how the medium-specificity of photography was addressed in the Korean art scene during the 1990s. It focuses on ‘Making Photos' and 'Taking Photos,' two oppositional terms that crystallized the main question of what the unique nature of photography should be, as raised within the critical discourse associated with key exhibitions of the period. It was 'The New Wave of the Photography,' an exhibition held at the Walker Hill Art Center in 1988, that provided the trigger point of the debates on the medium-specificity of photography. This show was experimental in both curatorial practice and artistic content. It introduced a number of new forms of photographic art practice, including film montages, mixed-media installations, non-silver print techniques and drawing combinations. The way the art works was displayed was entirely noble too. Rather than hanging two dimensional images side by side on the wall, the exhibition, for instance, a circular shaped photo-sculpture suspended from the ceiling, which enabled the audience to see it from all points of view. ‘Making Photos’ was the new vocabulary coined to refer to this new and non-conventional style of photographic art, as opposed to ‘Taking Photos,’ a term put forward to indicated the more traditional mode of photography with regard to material, method and process. The binary oppositions between ‘Making Photos’ and ‘Taking Photos’ was intensified through the subsequent exhibitions. Primary of which were: ‘The Horizon of Korean Photography,’ ‘Intervention, Observation: The Contemporary Photographs of Korea’ and ‘Photography as it is.’ These exhibitions were landmarks in this history of Korean photography as they directly confronted the question of medium-specificity, and provoked an extensive wider critical discussion about the unique and proper nature of the photographic medium. It was at this moment in time that the main texts on and of the Western theory and history of photography were translated into Korean as a powerful tool to demonstrate the ‘true’ value of ‘Taking Photos.’ In this process of cultural translation, the equivalent of ‘Taking Photos’ was conceived as ‘Straight Photography,’ which was taken in the Korean context to imply the universal nature of the medium rather than a specific artistic tendency within early twentieth century American photography. Bound up with and reconfigured through a specific meaning of ‘Straight Photography,’ ‘Taking Photos’ came to stand for a core essence of the medium itself, specific only to photography, not to painting, sculpture, or any other hybrid forms called ‘Making Photos.’ By looking at the bifurcated discourses of ‘Making Photos’ and ‘Taking Photos’ as embedded within the construction of these four exhibitions, this paper seeks to address how the Western modernist idea of photography was deployed against ‘Making Photos’ in Korea, considered a symbol of immature, foreign, and post-modern fad. It also addresses the controversial legacy that resulted from the local and cultural translation of the theory of modernist Western photography within the contemporary Korean art world.

막걸리 산업 활성화 방안

김계원 한국식품영양과학회 2010 한국식품영양과학회 산업심포지움발표집 Vol.2010 No.5

인터넷 중독과 사이버범죄의 상관관계에 관한 연구: 중고등학교 재학생을 중심으로

김계원,서진완 한국정책학회 2009 한국정책학회 학술대회 Vol.2009 No.3

‘여자’를 찍는 법 - 20세기 중반 일본의 ‘여성미’ 사진과 누드사진

김계원 한국근현대미술사학회(구 한국근대미술사학회) 2019 한국근현대미술사학 Vol.38 No.-

This paper addresses critical questions of modernist photography and its representation of sexualized femininity in mid-twentieth century Japan. Particular attention is paid to the works of Fukuda Katsuji (1899-1991), a photographer renowned for his techniques of, and approaches to, imaging the ‘Beauty of Women’ around the time of the Asia Pacific War. From 1937 through 1947, Fukuda published the first two volumes of his signature photographic works, entitled ‘How to Photograph Women.’ Composed of a number of female portraits, Fukuda’s photo books could escape the state censorship due to their rendering women into a proper prototype of female beauty in the wartime period - pure innocent girls whose beauty could transcend the boundaries between different classes, races, and ethnicities. In other words, the ‘beauty’ of his female subjects lied in their transcendental power, through which all political and ideological conflicts could be resolved at the apex of the racial/imperial war. By contrast, the postwar version of Fukuda’s ‘How to Photograph Women’ replaced the prewar images of pure innocent girls with erotic nude photographs. This shift paralleled with the unprecedented boom of female nudes in both professional and amateur photography in the occupation period (1945-1952). A great number of female nudes were produced, displayed, and circulated in urban public spheres, shaping a postwar kasutory culture that embraced escapism, hedoism, and decadence after the defeat in the war. Fukuda, once again, provided a prototype of postwar female beauty, yet this time rendering the female body into abstract forms and lines. He followed up with the gendered idea of Western modernisg photography, in which the female body was objectified as, and translated into, pure geometrical language specific to the photographic medium. This paper addresses how Fukuda’s female portraits and nude photographs embodied the problem of modernist photography and its gendered representation of the female body; and how his works straddled the unsecured borderlines between art, obscenity and profanity in both wartime and postwar Japan.

전통의 영상-육명심의 ‘영상사진’과 토속성의 기록-

김계원 한양대학교 동아시아문화연구소 2017 동아시아 문화연구 Vol.70 No.-

This paper examines the way in which a new style of photography that emerged in postwar Korea reflected a process of the conceptual translation of photographic modernism. Methodologically it centers on ‘Young-sang Sajin,’ a term coined by Yook Myeong-Shim (b. 1933) in his historicization of Korean photography during the late 1970s. As opposed to the candid realistic style of photography in the previous period, ‘Young-sang Sajin,’ according to Yook, pursued a subjective and heuristic mode of representation. It also explored the media specificity of photography by experimenting a renovative way of cropping, cutting and framing, the dramatic contrasts of black and white tones, and the unusual way of composition. The style of ‘Young-sang Sajin’ penetrates the experimental works of the photographers including Yook Myong-Shim himself, Yi Gap-cheol, and Choi Gwang-ho, all of whom have documented the traditions and indigenous lives of Korean people in the margins of the country, otherwise quickly vanishing in the light of modernization. This paper especially addresses how Yook's notion of 'Young-sang Sajin' resonated with the contemporary Japanese theory and discourse on 'eizō(映像)' and how it echoes a crucial aspect of the cultural translation in postwar Korea. Based on Yook's writings and visual works, including the well-known photographic series of the ‘Ordinary People,’ ‘Jang-seung (ancient monument),’ and ‘Black Sand Bathing,’ this essay also shows how Yook could synthesize the traditional and the modern on the conceptual locus of 'Yong-sang Sajin,' a notion that was gradually transformed into what is called ‘Korean photographic aesthetics.’ Interestingly, however, Yook's visual work was not squared with such a cliché of Korean-style modernism, nor accorded to the politically charged meaning of 'tradition,' a notion that was intensively discussed and strongly supported by a progressive art movement in 1980s Korea. Instead, Yook’s work captured and visualized the materiality of indigenous folklore in a new way, through which the minute details, surfaces, and textures of vernacular folk life came to obtain a new level of visibility and visuality. Underlying these are the specific styles of ‘Young-sang Sajin’ that brought the invisible, illegible, and uncanny matrix of the indigenous folklore to a new interpretative frame for Korean tradition. 이 글은 1960년대~80년대의 한국사진의 흐름에서 ‘영상사진’이 무엇을 의미했으며 이는 사진에서의 모더니즘에 대한 자각을 어떻게 반영하고 있는지 짚어본다. 기존의 사진비평에서 이 시기의 경향은 크게 생활주의 리얼리즘, 아마츄어의 살롱사진, 프로페셔널의 광고사진으로 나눠서 분석되었다. 그러나 이러한 형식주의적, 기능주의적 관점은 사진이 어떻게 폭넓은 사회적 이슈와 공명하면서 시각적 가능성을 확보해 가는지 설명하기 힘들다. 반면 순수미학적인 관점에서 볼 때 이 시기의 사진은 ‘현대사진’으로 나아가지 못한 기나긴 미발달의 시기로 해석된다. 이러한 제한적 비평의 관점들을 보완하기 위해 이 글은 사진가 육명심(b. 1933)의 글과 사진에 초점을 맞추어 60년대부터 지속된 다양한 사진적 실험들을 모더니즘 사진의 수용과 번역과정으로 해석할 것이다. 특히 그의 사진적 실험을 압축하는 개념인 ‘영상사진’이 전통적 주제물과 접목되어 ‘한국적 사진미학’의 가능성의 토대를 구축하는 과정을 중점적으로 분석한다. 그가 ‘우리 것 삼부작’이라 부르는 <백민>, <장승>, <검은 모살뜸>은 그러한 문화적 독자성에 대한 탐색이며 모더니즘 사진의 한국적 번역으로 볼 수 있다. 그러나 이와 동시에 육명심의 작업은 토속의 삶에 퇴적된 시간의 무게와 질감을 빠짐없이 길어올리며 ‘모던하면서도 전통적인 세계의 합일’이라는 익숙한 논리로는 설명될 수 없는 또다른 전통의 존재감을 포착한다. 그것은 현대화의 충격에 흡수되지 못했거나 화해하지 못한 채 남아있는 토속의 질감과 무늬, 그리고 물질성이다. 육명심의 전통의‘영상’은 기존의 사진사에서 논의된 바 없는 1960~80년대 사진의 의미와 가치를 새로운 해석의 공간으로 끌어들인다.

해양시설의 HNS 배출허용기준에 적용 가능한 사회적 영향인자 평가방법 연구: 인천광역시 파일럿테스트를 중심으로

김계원,이문진,강원수,최훈,김태성 해양환경안전학회 2022 해양환경안전학회 학술발표대회 논문집 Vol.2022 No.11

본 연구는 해양시설의 HNS 배출허용기준 체계에 적용 가능한 사회적 영향인자 평가방법 및 절차를 도출하는데 목적이 있다. 인천광역시 소재 해양시설 71개소로 대상으로 기업규모에 따라 대기업, 중견기업, 중소기업, 소기업으로 구분하였고, 신규 기술도입비용 은 5년간 분산하여 적용하는 경우로 추산하였다. 분석결과는 다음과 같다. 첫째, 산업분야 항목에서는 경영상부담정도를 나타내는 지표 중 매출액감소 1점, 영업이익률감소 평균 3.5점, 도산가능성 2.7점으로 평가되어, 평균 2.7점으로 ‘영향있다’로 평가되었다. 둘째, 지역경제 항목의 평가지표 중 주민보건비지출부담 4점, 관광수입손실액 4점, 어업생산량감소 2점 등 전체 평균 3.3점으로 ‘영향크다’로 평가되었 다. 평가결과 산업적인 면에서는 소기업, 중기업, 대기업 간에 미치는 영향편차가 큰데, 대기업은 영향이 거의 없었고, 소기업은 영향을 크게 받는 것으로 나타났다. 지역경제면에서는 주민보건비지출부담, 관광수입감소, 어업생산량감소 등이 지역경제에 미치는 영향은 두가 지로 구분하여 볼 수 있는데, 지역전체 GRDP에 미치는 영향은 매우적지만, 해당 종사자나 주민 개인에 미치는 영향은 영향이 큰 것으로 나타났다. The purpose of this study is to derive methods and procedures for evaluating social influencing factors applicable to the HNS emission allowance standard system of marine facilities. 71 marine facilities located in Incheon Metropolitan City were classified into large companies, mid-sized companies, small and medium-sized enterprises, and small companies according to the size of the company, and the cost of introducing new technologies was estimated to be distributed for five years. The analysis results are as follows. First, among the indicators indicating the degree of management burden, it was evaluated as 1 point for sales reduction, 3.5 points for operating profit reduction, and 2.7 points for the possibility of bankruptcy, and was evaluated as influential with an average of 2.7 points. Second, among the evaluation indicators of local economic items, the overall average of 3.3 points, including 4 points for residents' health expenditure, 4 points for tourism income loss, and 2 points for reduction in fishing production, was evaluated as great influence. As a result of the evaluation, in terms of industry, there is a large variation in the impact between small and medium-sized enterprises and large enterprises, but large enterprises had little impact, and small enterprises were greatly affected. In terms of the local economy, the impact of residents' health expenditure burden, tourism revenue reduction, and fishing production reduction on the local economy can be classified into two, and the impact on the overall GRDP is very small, but the impact on the worker or resident individual is large.

해양시설에 적용 가능한 위험유해물질 배출허용기준의 준거치에 관한 연구

김계원,이문진,강원수,류권홍 해양환경안전학회 2019 해양환경안전학회 학술발표대회 논문집 Vol.2019 No.04

근력 증진을 위한 공압 운동기구 개발에 관한 연구

김계원,조대환 한국기계기술학회 2014 한국기계기술학회 학술대회논문집 Vol.2014 No.02

청소년의 인터넷 중독 수준과 사이버범죄의 상관관계 분석

김계원,서진완 한국치안행정학회 2012 한국치안행정논집 Vol.9 No.2

본 연구는 최근 심각하게 대두되고 있는 인터넷 중독 문제와 복잡 다양해지고 있는 사이버범죄의 빈번한 발생을 보면서, 인터넷 중독과 사이버범죄 간의 상관관계를 통해 유의한 정책적 방향을 제시하여 보고자 하였다. 이를 위해 중고등학교 재학 중인 청소년을 대상으로 인터넷 중독수준 측정하였고, 이러한 중독수준에 따라 사이버범죄 유형 간에 어떠한 상관성이 있는지를 실증연구를 통해 밝히고자 하였다. 실증분석 결과에 따르면 중독수준과 각각의 범죄유형 간의 통계적 지수 면에서는 상관관계는 있지만 다소 약하게 나타나고 있다. 그러나 중독수준과 사이버범죄의 경험(발생빈도) 면에서는 중독수준과 범죄경험 간의 통계적인 유의미한 차이가 있고, 특히 중독수준이 높아질수록 범죄경험 빈도가 높아진다는 것으로 나타나고 있다. 이를 볼 때 인터넷 중독 수준과 사이버범죄 발생 간에는 정도의 차이는 있지만 일정한 관련성이 있다고 할 수 있다. 청소년 인터넷 중독의 특성 면에서 특히 일반사용자군에서 고위험사용자군으로 갈수록 사이버범죄를 저지를 가능성이 높아진다는 것을 알 수 있고, 이 결과를 정책적 측면에서 접근하여 시사점을 제시해 보면 첫째, 청소년층을 대상으로 하는 인터넷 중독이나 사이버범죄의 예방교육이 중학생 이전의 초등학교 단계에서 이미 이루어져야 한다. 둘째, 앞의 예방교육과 연장선상에서 청소년의 인터넷 사용시간에 대한 관리가 학교와 가정에서 동시에 이루어져야 한다. 동시에 학교와 가정에서 동시에 적용가능한 일정한 가이드라인의 개발이나 제도적 시행 노력이 필요하다. 셋째, 앞에서 나타난 청소년들이 주로 저지르는 사이버범죄 유형(사이버저작권침해, 사이버명예훼손 및 모욕, 사이버스파이, 컴퓨터프로그램 조작, 불법유행정보유통, 사이버사기, 컴퓨터자료조작)에 대한 집중적인 예방책이나 관리․감독이 필요하다. 특히 가장 빈도가 높은 사이버저작권침해, 사이버명예훼손 및 모욕 등은 불법복제, 악성댓글 등의 손쉬운 방식으로 이루어지고 대부분 죄의식 등이 희박한 가운데 이루어지기 때문에 이들에 대한 명확한 제도적 의식교육 등이 필요하다. This study aims to explore the relationship between adolescent's internet addiction level and cybercrime, because they are mentioned as the unexpected dysfunctional phenomena which our society faces. In doing so, the diagnostic scales to measure the internet addiction level are utilized to verify adolescent's internet addiction level. An analytical result shows that difference of adolescent's internet addiction level are correlated with some types of cybercrime. Specially, an analytical result included the following: First, Statistical relationship between adolescent's internet addiction level and each types of cybercrime appeared somewhat weak. Second, Statistical relationship between internet addiction level and adolescent's experience about cybercrime appeared to significantly. Third, The more its higher adolescent's internet addiction level, the better its increased adolescent's experience. In conclusion, adolescent's internet addiction level and cybercrime have a relationship. In addition, it suggests the policy implications based on the analytical results. First, preventive education about adolescent's internet addiction and cybercrime be accomplished in a primary school. Second, both school authorities and a family have to a guideline about Internet-related(time to use, crime' criterion etc.). Third, authorities have to strengthen control of some types of cybercrime.