바람의 흔적 외 2편

이인범 심미안 2012 문학들 Vol.- No.27

열충격 및 진동가진에 의한 터빈하우징의 파손현상 예측

이인범,김구성,최복록 한국기계기술학회 2014 한국기계기술학회지 Vol.16 No.4

감성과 오성 사이 – 한국미술사의 라이벌

이인범 명지대학교(서울캠퍼스) 인문과학연구소 2014 인문과학연구논총 Vol.35 No.2

1960년대의 한국 추상미술과 국민국가 형성

이인범 미술사학연구회 2010 美術史學報 Vol.- No.35

The purpose of this essay is to give light upon the significance of Korean abstract art during the 1960's in relation to the formation of nation-state and the emergence of abstract art in Korean art scene of the time. Abstract art, which was introduced by Korean art students in Japan in the late 30's, had been widely accepted, and became the proper institutionalized form of expression during the 60's. At the same time, the period marked the public, especially in the case of collective university students as a catalyst for overthrowing the corrupt dictatorship, and its continuum led to the April 19 Movement and the 5.16 coup, bringing about a certain change in the society. Therefore, the period saw the establishment of national sovereignty and stabilization of the modern state system in various domains of policy that were being postponed due to the Korean War shortly after the independence from the Japanese colonization. It is not hard to figure out the correlation between the years of newly organizing modern state systems and the rise of abstract art within the socio-political context above. However, abstract art of the 60's in particular has been underestimated its significance among other discourses that were arisen in the same time. This may contribute to the problem of appropriating abstract art of the 60's as retardataire imitations of western formalism which lacks reflecting the local reality, or there is a tendency of interpreting such as to the extent of genealogical development for Monochrome painting movement in Korean art scene, that later flourished and having become the mainstream art movements along with the Popular Art Movement (Min- jung art) in the 80's. Although such ostensible relationship may disturb the clear understanding to elucidate converging point of the political circumstance and the emergence of abstract art, both shares two factors in common. They are: progressiveness and reformativeness. For instance, before the two major political countermovement break out in 1960 and 1961, the early modernists kept demanding the reformation of the Korean National Exhibition that symbolizes the past regime, claiming that abstract art is the genuine art form that would engage the people to confront the newly emerged society through the radical process of denial and break with the past. From this perspective, artists of the 60's were assimilating themselves with the political countermovement, and finally held a dominant position over conventionalized representational art that had been inherited since the Japanese colonization. The fact shows that large number of abstract artists were participated in the 10th Korean National Exhibition to the ~ (몇 회) Korean National Exhibition; moreover, the involvement of Korean artists in foreign art exhibitions, like São Paulo Biennial, Paris International Young Art Exposition and et catera, approves that such representative played a leading role in Korean art scene on the basis of national level. Forming a national discourse in the domain of art is linked to various public monument projects, which frequently adopts representational form of artistic device in order to shape a community of sensible data. Examples of such respect can be arranged from the statue of Admiral Yi Sun-sin, which was made in the era of the Charter of National Education (1968), to the recent case of King Sejong statue in central Seoul. On the contrary, one of the abstract works of the time reveals a much more innate relationship with the art movement and the political phenomenon. From Youngkuk Yoo's (1916-2002) geometrical abstract painting called Circle, which was executed in the same concurrent year of 1968, a sense of yet another potent of impending future to come and utopian phase can be found in accordance with the spirit of the times. As the development of nation-state has been gradually settled down from its chaotic political circumstances after the occurrence of two major political counter...

미술사와 민족국가주의

이인범 미술사학연구회 2008 美術史學報 Vol.- No.31

This essay purports to be in the relationship of art history and nationalism, especially a methodology for carrying out researches on writing Korean art history in order to submit an agenda for the theme <Art History and ‘Here Now’> of the Korean Society of Art History that commemorates the 20th anniversary. An aesthetician Arthur Danto indicates the declining of the nationalist tendency as remarked that nationalism vanished completely though it had the practical aims and the art world that has a multiplicity of centers seems to be one nation that has its own a sovereignty. As the recent art theory becomes more complex as well as the many different fields to globalize is necessary. But a major topic in Korea art history is still linked directly or indirectly with the ideological nationalism. We can easily find a superiority complex in the words such as ‘national’, ‘people’, ‘native’, ‘autogenous’, ‘self-conceit’, and ‘self-respect’ used in many writings for giving an account of Korean art history. Nationalism had an affirmative role in the antagonized discourse for making a strong stand against the colonialism. On the one hand ‘nationalism’ or ‘state’ was the basic concept of the effective modality in order to spread out a realization of modern art and art history. Obviously the realization of modern art, art history, and modern state have the same root genetically. However, ideological nationalism in a point of today's view is irrelevant for learning that must be the pursuit of universal validity. In this sense a criticism for nationalism is required in writing Korean art history. Yet we still can inquire a possibility and limit of exploring the relationship between art history and independent state in writing Korean art history. If we can extricate Korean art history from the domain of the religion of a people do then and not till then we will succeed in placing Korean art history on the universal state of art.

공예에 있어서 자연성과 그 해석의 문제

이인범 한국예술종합학교 2001 논문집 Vol.4 No.-

Group Contribution Method 의 작용기 분석을 위한 전문가 시스템 개발

이인범,이건홍,양기주,정준영 한국화학공학회 1993 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.31 No.6

주어진 분자식으로부터 작용기의 조합을 얻어내는 컴퓨터 프로그램을 개발하였다. 이 프로그램은 rule-based 전문가 시스템의 형태를 가지고 있으며, common LISP를 사용하였다. 추론기관은 전방향 추론을 채택하여 직접 개발하였고, 지식베이스는 meta rule 80개, select rule 34개 및 combine rule 7개로 구성되었다. Joback Group Contribution Method에 따라서 작용기를 설정하였으며, 8개 이하의 그룹으로 구성된 화합물들에 대하여 오류없이 작용기의 조합을 구할 수 있었다. A computer program which gave a functional group set from a given chemical formular was developed. This program has the form of a rule-based expert system, using the common LISP. The inference engine was developed using the forward chaining technique, and the knowledge base was composed of 80 meta rules, 34 select rules and 7 combine rules. The functional groups were chosen following the Joback group contribution method, and the functional group sets were successfully obtained for the substances of less than 8 groups.

심포지엄 " 한국예술의 정체성 문제 : 한국예술의 해석가능성 3 " / 종합토론 ( 제 13 집 : 2001 년 )

이인범,심재룡,이성천,김헌선,김경수,장미진,지순임,서인정,이영미,최부득 한국미학예술학회 2001 美學·藝術學硏究 Vol.13 No.-

Nietzsche에 있어서의 自由와 反抗의 問題

이인범 朝大獨語獨問學會 1974 아들레어 Vol.1 No.

직렬구조의 회분식 공정에서 저장시간제약을 고려한 다품종생산 공정운용 모델개발

이인범,이의수,이범석,하진국 한국화학공학회 1998 Korean Chemical Engineering Research(HWAHAK KONGHA Vol.36 No.5

회분식 공정은 공정내의 중간저장조의 크기, 위치 및 역할에 따라 UIS, NIS, FIS, ZW 등 4가지로 공정운용 방안을 분류할 수 있다. 이들 4가지 공정 mode를 대상으로 생산계획을 최적화하기 위하여 현재까지 개발된 공정운용 모델들은 중간저장조의 저장시간에 제약이 없는 경우에만 국한하고 있으므로 실제의 응용에 많은 제약이 있는 실정이다. 본 연구에서는 이러한 제약을 완화하는 보다 일반화된 모델인 각 제품에 중간저장조의 저장시간이 제약이 있을 경우의 회분식 공정으로, 이때 각각에 대한 생산완료시간 예측 모델을 개발하였다. 또한 NIS-ZW 공정운용 방안과 ZW-NIS 공정운용 방안에 대한 생산계획 모델을 제시하고, 이들 결과를 바탕으로 일반적인 직렬구조의 회분식 공정에서 NIS와 ZW 운용방안이 번갈아 발생하는 형태의 공정운용에서의 조업완료시간 예측 모델을 개발하였으며, 이들 모델에 대한 수식해를 구하였다. The scheduling literature dealing with serial multiproduct systems has focussed on the determination of completion times for the various types of the intermediate storage policies such as UIS, FIS, NIS and ZW. In practical applications, time limitations will exist while storing the intermediate products in the storage vessel due to the time dependent changes of the chemical and physical properites. This paper presents an completion time calculation model for serial multiproduct batch process with storage time constraints. A set of recurrence relations for serial multiproduct processes in ZW and NIS policy is suggested. These results are used to describe an completion time algorithm for the case where NIS and ZW mode is used between pair of processing stages. Finally, these models were extended to treat the more usual case involving both policies in systems. The effectiveness of the proposed model is illustrated with a example.