in-situ로 합성한 금 나노입자-폴리비닐알코올 복합필름

이승빈,이현영,서지원,박가영,최진현 한국고분자학회 2017 한국고분자학회 학술대회 연구논문 초록집 Vol.42 No.2

지아장커 영화의 경관, 지아장커 영화라는 경관 - 영화적 경관의 활용과 문화정치

이승빈,신지연 대중서사학회 2023 대중서사연구 Vol.29 No.3

본 연구는 중국의 6세대 감독인 지아장커(贾樟柯)의 영화 18개 작품을 분석함으로써, 작가-내부자-관찰자로서의 지아장커의 위치성과 그로부터 드러나는 영화의 경관, 그리고 이것의 문화정치적 함의에 관해 논의한다. 이를 위해 본 연구에서는 공간연구의 경관에 관한 이론화를 수용하여, 영화적 경관을 사회-공간상의 다감각적 복합체이자 특정한 맥락 아래 있는 개인의 의도와 태도를 경유해 감각되는 것으로 분석한다. 이로써 지아장커 영화의 경관이 단순히 객관적 기록자의 시선이 아니라 공간감과 현실감을 더욱 효과적으로 영상화하는 방법으로 활용됐다고 주장한다. 여기서 경관의 복수성, 특히 미디어스케이프의 작품 내적 활용은 논의의 중요한 관건이다. 아울러 본 연구는 유예의 경관의 대상이자 동시에 유예의 경관을 구성하는 주체로서의 피사체-인민의 의미를 살핀다. 이로써 지아장커가 반복적으로 언급해 온 로컬의 사전 규정된 ‘패배자들’이라는 문제계를, 현실과 영화 경관의 비동시성으로부터의 문화정치적 차원으로 (재)사유하는 방식을 탐색한다. 끝으로 지아장커 영화 자체의 경관으로서의 성격 역시 본 연구의 중요한 논의를 이룬다. 이를 통해 본 연구는 작가의 사회공간상 위치 이동과 사회-공간의 변화 간의 맞물림 속에서 변모하는 지아장커 영화를 바라볼 때 필요한 심미적·정치적 쟁점을 제기한다. This study discusses Jia's position as an author-insider-observer, cinematic scapes that emerge from it, and its cultural political implications, By analyzing 18 films by Jia Zhangke(贾樟柯), one of China's 6th generation directors. To this end, this study draws on theory of scapes from spatial studies to analyze cinematic scapes as socio-spatial multisensory complexes that are perceived through the intentions and attitudes of individuals within a particular context. Through analysis, this study argues that the scapes in Jia's films are not simply the gaze of an objective recorder, but are utilized as a way to more effectively visualize a sense of space and reality. The duplicity of scapes, especially the use of the mediascapes in his films, becomes an important point of discussion. Furthermore, this study explores ways to (re)think the local, predetermined problematic of "losers" that Jia repeatedly refers to as a cultural political dimension of the non-simultaneous of real and cinematic scapes. To this end, it examines the meaning of the subject-people as both objects of scapes of suspension and as political subjects who constitute scapes of suspension. Finally, the characteristic of Jia's films as scapes themselves also forms an important part of this study. Thus, this study raises the aesthetic and political issues necessary to view Jia's transforming films in the interplay between the artist's shifting position in social space and the changes in socio-spatial space.

Convolutional Neural Network 기반의 클립아트 유사도 검색

이승빈,낭종호 한국정보과학회 2017 한국정보과학회 학술발표논문집 Vol.2017 No.06

Soil Classification of Anthropogenic Soils in a Remodeled Area Using Soil Taxonomy and World Reference Base for Soil Resources

이승빈,전현정,조현준,현병근,송관철,장용선,손연규,박찬원 한국토양비료학회 2013 한국토양비료학회지 Vol.46 No.6

In Soil Taxonomy system, anthropogenic soils are still classified as Entisols since the InternationalClassification Committee for Anthropogenic Soils is in the process of classifying anthropogenic soils as neworders. In reality, it is difficult to characterize anthropogenic soils because Soil Taxonomy (ST) system doesnot distinguish between natural and anthropogenic Entisols. On the other hand, World Reference Base for soilresources (WRB) considers human impacts on soils and contains an independent category of anthropogenicsoils, which makes easier to understand anthropogenic soil characteristics than Soil Taxonomy system. Aremodeled paddy field (Gasan) was selected to classify by ST and WRB. Soil samples were taken to analyzechemical and physical properties. Based on the results of the analyses, the ST system classified Gasan ascoarse loamy, mixed, mesic, Aquic Udorthents while the WRB did as Stagnic Urbic Technosols (Oxyaquic,Arenic). As a conclusion, the WRB classification information of the anthropogenic provides more detailcharacteristics of the anthropogenic soils.

육제품 제조과정 중 젖산염의 역할

이승빈,Lee, Seung Bin 한국축산식품학회 2019 축산식품과학과 산업 Vol.8 No.2

Comparison of Fine-Tuned Convolutional Neural Networks for Clipart Style Classification

이승빈,김현곤,석혜경,낭종호 한국인터넷방송통신학회 2017 International Journal of Internet, Broadcasting an Vol.9 No.4

Clipart is artificial visual contents that are created using various tools such as Illustrator to highlight some information. Here, the style of the clipart plays a critical role in determining how it looks. However, previous studies on clipart are focused only on the object recognition [16], segmentation, and retrieval of clipart images using hand-craft image features. Recently, some clipart classification researches based on the style similarity using CNN have been proposed, however, they have used different CNN-models and experimented with different benchmark dataset so that it is very hard to compare their performances. This paper presents an experimental analysis of the clipart classification based on the style similarity with two well-known CNN-models (Inception Resnet V2 [13] and VGG-16 [14] and transfers learning with the same benchmark dataset (Microsoft Style Dataset 3.6K). From this experiment, we find out that the accuracy of Inception Resnet V2 is better than VGG for clipart style classification because of its deep nature and convolution map with various sizes in parallel. We also find out that the end-to-end training can improve the accuracy more than 20% in both CNN models.

뉴스영화의 부정교합과 아카이브의 재고: <대한뉴스> ‘우리는 건설한다’(1968∼1972)의 미디어 사회문화사

이승빈 사단법인 언론과 사회 2023 언론과 사회 Vol.31 No.4

1968년부터 1972년까지 편성된 <대한뉴스>의 ‘우리는 건설한다’는 한국의 뉴스영화 가운데 국시로서의 건설을 중점화한 사실상 최대 규모의 코너였다. 이 글은 ‘우리는 건설한다’를 미디어 사회문화사와 아카이브 재해독의 관점에서 분석했다. 특히 ‘우리는 건설한다’가 뉴스영화로서 여러 이질성을 가진 채로 작동한부정교합의 양상과 그 아카이브적 함의에 주목했다. 이를테면 ‘우리는 건설한다’는 건설 노동(자)의 주체 상을 내세웠다. 이는 앞선 코너 ‘건설의 메아리’를 통해 <대한뉴스>에서 전형화된 건설 재현 양식과의 간극을 만들었다. 그러나 주체 상에 대한 강조는 그 균열의 가능성에도 불구하고 ‘우리는 건설한다’의 영상내적 한계, 그리고 당대 영상문화와의 관계에서 제약되고 봉합됐다. 이에 유사성과 친연성을 가진 해외 다큐멘터리의 일각이 나아간 급진화와 달리 ‘우리는 건설한다’는 국민 동원을 위한 선전의 다른 일환으로 활용되었다. 또한 이 글은 당대 한국의 사회ᐨ공간에 존재하던 여러 겹의 시간적 요소들이 <대한뉴스>에서간극이 될 수 있었고, 이에 대응하며 ‘우리는 건설한다’가 단선적·단계적 시간상을 구축하였다는 점을 살폈다. ‘우리는 건설한다’는 미래를 기대할 수 있는 것으로 추상화했으며, 현재의 유예와 추출을 정당화했다. 경부고속도로와 시민아파트에 대한 재현에서 드러나듯, 정권의 유불리와 영상의 내적 정당성을 고려해사건을 선별함으로써 건설을 둘러싼 서로 다른 시간들의 층위를 생략하기도 했다. 즉, ‘우리는 건설한다’의 뉴스영화로서의 부정교합은 여러 종류의 이질적 요소들이 간극을 가진 채 선전이라는 전체적 목적을 위해 부분적으로 맞물려 작동한 것이었다. 그런데 부정교합 상태의 작동이 계속되며 뉴스영화의 내부에는 미세한 균열이 이미지 파편의 형태로 축적됐다. 그리고 이들은 오늘날 영상 아카이브에 탑재되어 공공에 개방·공개되고 있다. 이는 ‘우리는 건설한다’를 비롯한 영상물을 비판적으로 재독해하거나 아카이브 재료(archival materials)로 재맥락화할 수 있는 조건이 된다. 이로써 아카이빙된 뉴스영화는 과거에 충분히급진화되지 못한 ‘뒤늦은’ 간극을 오늘날의 정치적 고려에 ‘알맞은’ 균열로 재구성하는 자재로도 활용될 수 있다. Daehan News’ “We Build”(1968-1972) was the largest newsreel segment in South Korea that focused on construction, as a national priority. This article analyzes “We Build” from the perspective of media socio-cultural history and archival re-reading. In particular, this article draws attention to the aspect of incongruity in which “We Build” operated with multiple kinds of heterogeneity. For example, “We build” emphasized the images of agency in construction labor. This created a gap with the construction representation style typified in Daehan News through the previous segment “Echo of Construction”. However, the emphasis on subjectivity was constrained by the inherent limitations of the “We Build” and its relationship to the video culture, and the gap was sutured. Unlike the radicalization of some foreign documentary films, which had similarities and affinities, “We build” was used as a different kind of national propaganda to mobilize the people. This article also explores how the multiple layers of temporality in Korean socio-space in the 1960s and 1970s created a gap in newsreel, and how “We Build” was able to create an seamless and stepped timeline in response. By abstracting the future as something to look forward to, “We Build” justified the suspension and extraction of the present. “We build” also omits layers of different times periods surrounding construction by selecting events based on the government’s favorability and inherent legitimacy, as evidenced by the representation of the Gyeongbu Expressway and citizen apartments. In other words, the incongruity of “We build” was a combination of disparate elements working in tandem for the overall purpose of propaganda, with gaps between them. However, over time, micro-cracks accumulated inside newsreels in the form of image fragments. And today, they are embedded in video archives and openly available to the public. This becomes the contextual and political condition for a critical re-reading of the video images, including “We build”, and their recontextualization as archival materials. Archived newsreels can be used as material for reconstructing hindsight gaps that were not sufficiently radicalized in the past as cracks in ‘becomingness’ for political consideration today

Acidification and Biochar Effect on Ammonia Emission and Nitrogen Use Efficiency of Pig Slurry in the Vegetative Growth of Maize (Zea mays L.)

이승빈,박상현,이복례,김태환 한국초지조사료학회 2022 한국초지조사료학회지 Vol.42 No.1

The objective of this study was to verify the effect of pig slurry application with acidification and biochar on feed value, nitrogen use efficiency (NUE) of maize forage, and ammonia (NH3) emission. The four treatments were applied: 1) non-pig slurry (only water as a control, C), 2) only pig slurry application (P), 3) acidified pig slurry application (AP), 4) acidified pig slurry application with biochar (APB). The pig slurry and biochar were applied at a rate of 150 kg N ha-1 and 300 kg ha-1, respectively. The AP and APB treatments enhanced all feed values compared to C and P treatments. The NUE for plant N was significantly increased 92.1% by AP and APB treatment, respectively, compared to the P treatment. On the other hand, feed values were not significantly different between AP and APB treatments. The acidification treatment with/without biochar significantly mitigated NH3 emission compared to the P treatment. The cumulative NH3 emission throughout the period of measurement decreased by 71.4% and 74.8% in the AP and APB treatments. Also, APB treatment reduced ammonia emission by 11.9% compared to AP treatment. The present study clearly showed that acidification and biochar can reduce ammonia emission from pig slurry application, and pig slurry application with acidification and biochar exhibited potential effects in feed value, NUE, and reducing N losses from pig slurry application through reduction of NH3 emission.

폴리비닐알코올-금 나노입자 샌드위치 복합필름의 surface enhanced Raman scattering (SERS) 효과

이승빈,이현영,김영진,김훈민,최진현 한국고분자학회 2018 한국고분자학회 학술대회 연구논문 초록집 Vol.43 No.1

Returning to Domesticity in Treasure Island

이승빈 21세기영어영문학회 2023 영어영문학21 Vol.36 No.1

Robert Louis Stevenson’s Treasure Island encompasses complex and diverse meaning structures including moral and economic aspects, and especially shows an ambiguous morality. These aspects in the novel reflect the social background of the late 19th century, when the middle-class began to expand. James Hawkins, the protagonist and hero of the novel, is also portrayed as a middle-class figure, showing abilities that were required of the middle-class, including accurate counting ability. Based on this idea of middle-class characteristics, substantial research shows that James Hawkins and Robinson Crusoe are similar hero figures. This paper, however, will show that although James Hawkins and Robinson Crusoe do share some similarities, they also have some differences that lead to James Hawkins being an ambivalent character who has both domestic and romantic aspects. Moreover, this paper will argue that this ambivalence is also shown in the character Long John Silver, and that Silver is the character who influences James Hawkins the most and acts as a mentor for him. In fact, Silver’s influence leads James Hawkins to return to domesticity in the conclusion of the novel, making him different from other traditional hero figures. Not only will this paper closely analyze the text, but it will also conduct digital-based analysis and sentiment analysis, to support some of its points.