CES 2021이 전망한 ‘세상을 바꿀 5대 과학기술’

김형자 전략물자관리원 2021 TRADE&SECURITY 저널 Vol.- No.1

초고진공중에 있어서 Tribo - Coating 윤활기구의 기초연구

김형자,加藤康司,전태옥,박흥식 한국트라이볼로지학회 1992 한국트라이볼로지학회 학술대회 Vol.16 No.-

Italy Renaissance時代의 服飾에 관한 考察

김형자 啓明大學校 生活科學硏究所 1976 科學論集 Vol.3 No.-

1. Die Mode der Fruhrenaissance In Italien, wo die Stadte schon seit den Kreuzzugen insbesondere durch den Levantehandel, erbluten und durch ihre okonomische Macht zuglelich politische Unabhagigkeit erlangten, entstanden fruher als in den anderen Landern Europas Manufakturbetriebe und damit kapitalistische Produktionsfcrmen; mit der Bourgeoisie entwickelte sich die neue burgerliche Kultur, die Kultur der Renaissance. Die Forschritte in der industriellen Produktion erforderten die Erforschung der Natur und ihrer Gesetze und fuhrten so zum Entstehen der modernen Naturwissenschaften, den mittelalterlichen gottlichen Wissenschaften, stellte man die weltlichen Wissenschaften entgegen. Mit den humanistischen Wissenschaften entstand zugleich die burgerliche humanistische Weltanschauung, in deren Mittelpunkt ebenfalls nicht mehr Gott, sondren der Mensch stand - ein Mensch, dessen Adel nicht in dessen Kerkunft, sondern in den eigenen Verdiensten liegt. Wahrend dem Menschen in der Feudalgesellschaft die Arbeit als Flucht galt, wurde in der Feudalgesellschaft die Arbeitals Flucht galt, wurde in der fruhburgerlichen Gesellschaft der tatige Mensch, das heißt der Reichtum und Vermogen schaffende Burger, aber auch der Kunstler und Wissenschaftler zum Ideal der Zeit. Als Wissenschaft und Kunst die Natur und den Menschen in den Mittelpunkt ihres Schaffens stellten, nahm auch der zweite Korper des Menschen, sein Kleid, wieder menschliches Ma ß, das heißt menschliche Proportionen, und damit den burgerlichen Lebensformen und den Bedurfnissen des tatigen Menschen angepaßte Formen an. Zwanglaufig verschwanden mit dieser Entwicklung die enge Taille, die langen Schleppen, die uberhohenden Kopfbedeckungen und jene nderen Formen des sichtbaren Mu igganges, die nach dem Vorbild der burgundischen Mode auch in Italien mehr oder minder die Kleidung der Vorndhmen gepragt hatten. Nicht zuletzt begannen mit dem aus der Masse der Stadtbevolkerung aufsteigenden Burgertum auch dessen Trachten zugleich Einflu auf die modische Entwicklung zu gewinnen ; so daßes in der Renaissancezeit zu einer weitgehenden Annaherung zwischen der Arbeitskleidung und der Mode und zum Schwinden der Standesunt erschiede in der Kleidung kam. Je mehr aber das Kleid seine Bedeutung als Standeszeichen einbußte, desto starker wurde es zum Ausdruck der menschlichen Personlichkeit, des Geschmacks und der Bildung, wo durch das Außere oft einen Schlußauf das Innere des Menschen zuließ. Zwnagslaufig verloren nicht nur die Formen, sondern auch die Farben der Kleidung ihre Bedeutung als Standeszeichen. Fur die kleidung wurde moglichst schwerer und dabei kostbarer Stoff wie Gold und Silber brokat, Samt und Seiden stoff gewahlt, die zugleich den Fall der Falten und die Wurde ihres Tragers unterstrstreichen. 2. Die Mode der Hochrenaissance In der italienischen Hochrenaissance, als das humanistische Menschenbild in den Werken von Leonardo da Vinci, Raffael, Michelangelo und Tizian seine vollkommenste Cestaltung fand, wich auch in der Kleidung jenes in der Fruhrenaissance noch vorhandene Mit-und Nebeneinander von hofischen und burgerlichen Elementen, das die Gewander oft unausgeglichen und unruhig erscheinen lie , einer vollendeten Harmonie der Formen und Farben. Die Formen der Kleidung paßten sich immer sinnvoller den Korper an ; die lauten Farben wurden ruhiger, die schlichten Farben nuancierter. Trotz des relativ einfach gewordenen Schnittes der Gewander geben die Stoffe auch in der Zeit der Hochrenaissance in allgemein sehr kostbar ; die den Faltenwurf unterstreichenden schweren Samt-Brokat und Seidenstoffe wurden sogar mehr denn je verwandt, Dabei benotigte man fur die weiten und bauschigen Gewander sehr große Mengen dieser Stoffe. Vor allem war es der Armel, der sich-auch in der Mannerkleidung-oft unma ßig erweiterte und sich damit den hofischen Modeideal des sichtbaren Mußigganges naherte. So ist in der Kleidung der Hochrenaissance nicht nur der Hohepunkt der burgerlichen Trachten-entwicklung dieser Epoche, sondern ebenso bereits der Beginn einer neuen Aristokratisierung der Mode zu sehen, die mit der Entwickl ung des Absolutismus immer starker hervortrat und schon nach wenigen Jahrzehnten dazu fuhrtedie Mode bestimmte. Mit dem Niedergang der italienischen Stadte fanden in 16. Jahrhundert auch die Renaissance-kultur und ihre Moden ein Ende.

衣裳의 配色感情 效果에 關한 硏究 : 女大生을 中心으로

金炯子 啓明大學校 生活科學硏究所 1981 科學論集 Vol.7 No.-

Color is the object of emotional discrimination in our life. It also has a psychological effect on those who perceive it. Color not only has feeling and taste of its own as a single unit, but also causes a variety of feelings when to tow or more colors are matched. The harmony of colors makes us feel good, while the discord of them, unpleasant. Consequently, many studies are being made in color contrast, matching, balance, and so on. Now we can utilize the results. We can say that the color of clothes, especially what is closely related to our life, has great significance. Color as well as design in fashion and cloth quality are very influential when one is clothes. We express our express ourselves by means of colors as well as languages. If these assumptions are possible, we can put great significance color matching of clothes. It is true that general color matching is the object of study, and the study in the color matching of clothes is insufficient. But color in clothes is not less important than image. We must plan color matching in clothes according to our taste and character. In this paper feeling in color matching among women, especially college girl-students, were examined, and the following conclusions were reached: 1) The feelings, warm or cold, manly or womanly are much related with color matching. Light or dark colors are closely connected with the seasons. 2) In achromatic harmony, cultural and educational factors are very influential. For example, A quiet, safe and intellectual feelings is very essential. 3) The same color matching in suits offers brilliant, simple, cool, and warm feeling. The beautiful, ugly, good and wrong senses have to do with style and complexion. Therefor the color matching in clothes causes a variety of feelings due to the formation, the quality of cloth, age, season, time and hlaces. 4) The two-color matching effect results from a combination of two colors. In the case where the color of upper clothing is pure and warm, the color feeing of it tends to be more pronounced. 5) We can say that stability or instability of color cotrast has little influence on aesthetic sense. The feeling of sorrow, vacancy and dryness in colors is less connected with pleasantness and unpleasantness than with tasters.

被服工藝 敎案에 있어서 敎育內容의 配列과 敎材선택의 原則에 관한 연구

김형자 啓明大學校 生活科學硏究所 1975 科學論集 Vol.2 No.-

In this study, I have tried to treat the object, the method and the educational stages of the Textile-arbeit as well as the leadership, the selection of the themes of study and other materials. At first, I have tried to seek the important facts of the educational materials and their themes in the education through the theories of such eminant educators as Pestalozzi, Kindermann, A. Wagemann, and E. Spranger and so forth, comparing with the vicissitudes of the educational thoughts of the times; on the other hand, in this thesis, I have emphasized on the importance of the vocational education in modern society in which the education diversifies in many a direction and is very functional. And, from the view of practical conduct, this to mean the phenomena of the complicated relationship of things including the individual experiences, the quality of simultaneousness of conduct and thought, and the moral issues among our rising generation which are, now, corrupting away of Iate. Secondly, in this thesis, from the scientific point of view of education, I have classified five items as the standard of the principle in the selection of the educational materials, according to the theory of W. KlafKi; and I have sought after the fundamental spirit of each item on which I will explain briefly as follows: I. As a fundamenal principle, we must be accustomed to the piincipal attainments, which is the rudimenal experience, from the materials of trivial, easy design; before we discuss on the complex process of the actual design. II. As a general principle, I have tried to treat my theme mainly on the basis of the studies of H. Heimpee, M. Wagenschein, K. Odenbach. My idea is based on the principle of which the generality ought to make clear by the treatmatmeat of a particulcular item: the contents of educational materials ought to have a developing power and they also have the function to inspire a strong educational merit on the basis of the representaive quality among a huge nueber of the educational materials. In the field of the Textiles Gestalten, from a particular point of view, teachers must try to make the students to get the fundamental knowledge and the capacious ability to solve other problems through their working process based on the technical art and the educational materials of the design. In such a case, as the subject subjugated to the definite quality of a particular situation and a subject must be selscted newly. III. In the field of the selection of the educational materials, we condider on the principle of the fundamental elements wicht have a delicate quality of a easy and simplified theme. In other word, this is a essence as a representative of a simplified form, as far as we understand the fundamental idea of such a phenomenon. Therefore. a concideration qualified to get the fundamental elements in one field, is to develop to a stage where the diversified and complex forms have the intimate relations among themes. And then, we must consider on the situation of the students who have the possibilities and the sence of duty in the mental world of the present and the future: they must be qualified to arrange and to solve any theme among the fundamental elements on the level of their understanding. IV. On the hand, we ought to treat the principle of the adaptability of the theme which means the simplified contents as the divided elements which ought to be adaptable to the oajective phenomena. V. On the principle of the adaptability for the students on the level of the developing stages of them, we ought to consider. The principle urges to be selected the educational materials on the standard adapting to the developing stages of the students interest, the effort and the ability of each student, who has his own individual developing stages which are common to all of the students. Mr. J. Tille shows us four items as their common signs. Mr. H. Meyers recognized the items, divides three stages on the developing quality of the students' visionary constructing ability of form. In conclulion, I have tried to treat the theme of the adsptability of the educational materials to the students on the basis of the developing stages: and to treat the theme of the scientific quality of them and their objective character suitable to the students. And I have urged that the educational materials must be selected un the consideration of the developing stages of the students to make them to get ability to work through the experiments on the principle and other elements.

Science Technology - 빠르게 정확도 높여가는 인공지능 번역

김형자,Kim, Hyeong-Ja 한국정보통신기술협회 2017 TTA저널 Vol.171 No.-

최근 자동 번역에 도입된 인공신경망 기술이 영어 고민을 덜어주고 있다. 해외여행 때마다 모르는 언어로 쓰인 메뉴판을 보고 음식을 주문해야 하는 상황이나 길을 찾거나 각종 안내 표지판을 확인할 때 도움을 주고 있는 것. 실시간 번역이 가능해 외국인도 두렵지 않다.

Science Technology - 4차 산업혁명 시대는 곧 '첨단 센서' 시대

김형자,Kim, Hyeong-Ja 한국정보통신기술협회 2017 TTA저널 Vol.170 No.-

4차 산업혁명 시대가 빠르게 다가오고 있다. 사물인터넷(IoT)과 인공지능(AI), 자율주행 자동차, 로봇, 드론, 스마트 홈 등이 그것. 4차 산업혁명의 핵심 기술 중 하나는 지능형 첨단센서다. 이 '똑똑한' 센서들 없이는 인공지능도 사물인터넷도 불가능했을 것이다. 첨단 센서 기술이 4차 산업혁명의 기폭제 역할을 하는 셈이다.

Science Technology - 점 빼는 레이저로 문화재 복원한다

김형자,Kim, Hyeong-Ja 한국정보통신기술협회 2014 TTA저널 Vol.152 No.-

우리 주변에는 세월의 무게를 견디지 못하고 나날이 훼손되어 가는 문화재가 많다. 온도변화에 따른 팽창계수의 차이나 풍화작용 등으로 유물 일부가 떨어져 나가고, 표면의 균열 부분으로 물이 스며들면서 얼어붙었던 부분이 녹아 구조 불균형이 발생하기도 한다. 또 산성비나 대기오염과 같은 환경오염으로 산화 문제가 발생하는가 하면, 비둘기 등 조류 배설물이나 세균류 지의류 이끼류 같은 생물학적 요인으로 파손되기도 한다. 종교나 예술 활동에 따른 인위적인 훼손(반달리즘, Vandalism)도 일어난다. 자연재해로 어쩔 수 없이 사라지는 문화재도 있다. 불에 타 한 줌의 재로 변한 양양의 낙산사가 그 대표적인 예다. 낙산사는 8년 7개월의 복원 작업을 거쳐 되살아났다. 그래도 '낙산사'하면 '불'이 먼저 떠오르는 것은 천년고찰의 화재가 우리에게 상처로 남아 있기 때문이 아닐까. 한편 어렵게 발굴했지만 이미 때를 놓쳐 위기에 처한 소중한 문화재도 있다. 2009년에 발굴된 전북 익산시 미륵사지 석탑의 사리장엄구(사리를 봉안하는 일체의 장치)에 들어 있던 유리병은, 오랜 세월 공기 속의 수분이 풍화작용을 일으켜 두께가 얇아진 데다 0.04mm라는 수백 개의 미세한 조각으로 부서져 복원이 어려운 상태이다. 워낙 두께가 얇아진 탓에 살짝만 압력을 받아도 부서지기 쉬워 접합 자체가 불가능하다.

초고 진공중의 Tribo-Coating의 윤골특성

김형자 釜山工業大學校 1994 論文集 Vol.36 No.-

朝鮮後期 趙顯命의 政治 ㆍ經濟思想

金亨姿 역사실학회 1997 역사와실학 Vol.9 No.-