日本文學會의 成立과 硏究成果

박일호 한국일본학회 2012 한국일본학회 학술대회 Vol.2012 No.02

실내공기질관리의 정책방향

박일호 한국환경기술인연합회 2004 환경기술인 Vol.21 No.12

실내공기질 관리정책 및 방향

박일호 한국공기청정협회 2004 空氣淸淨技術 Vol.17 No.2

예술과 경제

박일호 현대미술학회 2009 현대미술학 논문집 Vol.1 No.13

There are two contrary perspectives in approaching the relationship between art and economy. One is a negative point of view that it will only impede creativity, a primary and essential function of arts and culture, to apply an economical logic to them and operate arts organizations pursuing a concept of administrative efficiencies. The other is a supportive opinion that there is no reason for the arts and cultural organizations to make an exception and should follow the general trend of rational and efficient operation since they are run by public funds of taxpayer's precious money. This thesis takes a side of the latter, saying it is time for the arts and cultural organizations to grope for more effective operational schemes. In this perspective, it will examine reciprocal relationship between art and economy, focusing on the features of that relationship as well. And it will further scrutinize the relationship by dividing it into a few areas that needs a particular attention in the context of the relationship between art and economy. Can public support for the arts be justified? The thesis examines the economical effects on society of the arts and takes some instances of analyzing phenomena related to artistic activities, groping for the efficient managerial schemes for the arts and cultural organizations. As a conclusion, it will try to explain that the quests for an operational efficiency are needs of the times by taking an example of R. Krauss' emphasis on industrialization of the museum in the late capitalism. Meanwhile, in the conclusion, I point out that economic principle and an idea of efficiency should not become an absolute criterion for the arts and culture, but an useful reference as an way for the arts and cultural organizations to avoid a chronic deficit and emerge from financial sufferings. It is in the context that it is not desirable to focus only on the economical effects and GDP on which the arts can bring an impact, ignoring the inherent value of it. There are two contrary perspectives in approaching the relationship between art and economy. One is a negative point of view that it will only impede creativity, a primary and essential function of arts and culture, to apply an economical logic to them and operate arts organizations pursuing a concept of administrative efficiencies. The other is a supportive opinion that there is no reason for the arts and cultural organizations to make an exception and should follow the general trend of rational and efficient operation since they are run by public funds of taxpayer's precious money. This thesis takes a side of the latter, saying it is time for the arts and cultural organizations to grope for more effective operational schemes. In this perspective, it will examine reciprocal relationship between art and economy, focusing on the features of that relationship as well. And it will further scrutinize the relationship by dividing it into a few areas that needs a particular attention in the context of the relationship between art and economy. Can public support for the arts be justified? The thesis examines the economical effects on society of the arts and takes some instances of analyzing phenomena related to artistic activities, groping for the efficient managerial schemes for the arts and cultural organizations. As a conclusion, it will try to explain that the quests for an operational efficiency are needs of the times by taking an example of R. Krauss' emphasis on industrialization of the museum in the late capitalism. Meanwhile, in the conclusion, I point out that economic principle and an idea of efficiency should not become an absolute criterion for the arts and culture, but an useful reference as an way for the arts and cultural organizations to avoid a chronic deficit and emerge from financial sufferings. It is in the context that it is not desirable to focus only on the economical effects and GDP on which the arts can bring an impact, ignoring the inherent value of it.

원초적 확률주의와 베이즈 인수

박일호,Park, Il-Ho 한국논리학회 2008 論理硏究 Vol.11 No.2

원초적 확률주의자들은 명제가 경험을 표상한다는 것을 거부한다. 그러나 경험의 영향은 다른 믿음에 전파되고, 다른 사람과 소통될 수 있어야 하기 때문에 명제와 다른 방식으로 경험, 혹은 경험의 영향을 표상할 수 있는 대안을 찾아야 한다. 그들이 제안하는 경험의 영향을 표상하는 유력한 대안은 베이즈 인수이다. 왜냐하면 베이즈 인수는 사전확률의 영향을 제외하고 있으며, 교환성 역시 성립하기 때문이다. 본 논문은 베이즈 인수만이 그런 역할을 하는 것이 아니라고 주장한다. 즉 베이즈 인수의 대안으로 제시된 q(E|$N_p$) 역시 사전확률의 영향이 제외되어 있으며, 교환성 또한 성립한다는 것을 보인다. 그리고 더 나아가 q(E|$N_p$)는 베이즈 인수가 결여한 프래그마틱한 장점을 가진다고 주장한다. The radical probabilitists deny that propositions represent experience. However, since the impact of experience should be propagated through our belief system and be communicated with other agents, they should find some alternative protocols which can represent the impact of experience. The useful protocol which the radical probabilistists suggest is the Bayes factors. It is because Bayes factors factor out the impact of the prior probabilities and satisfy the requirement of commutativity. My main challenge to the radical probabilitists is that there is another useful protocol, q(E|$N_p$) which also factors out the impact of the prior probabilities and satisfies the requirement of commutativity. Moreover I claim that q(E|$N_p$) has a pragmatic virtue which the Bayes factors have not.

문화철학의 수립 가능성에 관한 고찰(1) : E . Cassirer 의 상징형식 철학을 중심으로

박일호,민형원(논평) 한국미학회 1994 美學 Vol.19 No.-

형식주의 예술론의 문제점 극복을 위한 방안으로서 E . 캇시러의 예술론

박일호 한국미학회 1998 美學 Vol.24 No.-

記紀神話と肇?創業??

박일호 한국일본학회 2007 日本學報 Vol.71 No.-

논문 : 부분적 믿음 갱신과 조건화

박일호 한국과학철학회 2013 과학철학 Vol.16 No.1

이 논문은 베이즈주의 믿음 갱신 규칙, 그 중에서 제프리 조건화의 적용 범위를 확장하는 것을 목표한다. 특히 필자는 그 동안 제프리 조건화의 적용 범위 밖에 있다고 여겨졌던 부분적 믿음 갱신이 제프리 조건화를 통해서 다루어 질 수 있다는 것을 논증한다. 이를 위해서 2절에서는 부분적 믿음 갱신과 관련된 몇가지 정의와 그에 맞는 부분적 믿음 갱신 사례를 제시할 것이다. 그리고 3절에서 JC와 부분적 믿음 갱신 사이의 관계를 설명할 것이다. 특히, JC를 이용한 단일 믿음 갱신으로는 부분적 믿음 갱신을 다룰 수 없다는 것이 증명된다. 마지막 4절에서 필자는 부분적 믿음 갱신에 JC를 적용할 수 있는 방안을 모색한다. 필자는 우선 부분적 믿음 갱신이 증거적 믿음 갱신과 교정적 믿음 갱신으로 구성된 연속적 믿음 갱신으로 간주될 수 있다는 것을 논증하며, 이를 바탕으로 부분적 믿음 갱신을 다룰 수 있는 제프리 규칙을 제안한다.

블록버스터 전시의 의의와 과제

박일호 현대미술학회 2007 현대미술학 논문집 Vol.1 No.11

The purpose of this thesis is to trace the significance of 'blockbuster exhibitions' within the present state of late industrial society. The museum alone can not be free from the influence of industrialization and popularization, which is extending over the entire field of society. Also, this thesis indicates that the museum can no longer adopt the elitism of the modernism era in the attitude towards culture and art, and that it should accept the aspect of populism. More over, it demonstrates the significance of blockbuster exhibitions in order to insist that we should not linger within the ground of 'art for art's sake', and that the cultural institution must consider the relationship between art and economy. On the other side, though these tendencies are being supported by the demands of our times, the museum will have to make efforts to neutralize the excessive popularization so as to defend the specialized domain of art itself. That is, the aspects of fostering value of the specialized domain of art or museums, must keep the balance with the prospects of the transition from elitism to popularism, and the connection between art and economy. National and public museums should serve the public. On this, they should regard public interest as its primary duty during the process of administration. The social function of the museum is also essential, considering that it relies on the financial support through the taxes from the general public. Blockbuster exhibition could be favorably applied at the point that it stimulates interests in art and culture by embracing a broader range of public and enlarges the efficiency of museum management. However, serious problems may occur if this makes process only by the commercial purpose and motive of some certain management company. Specialized art exhibition planned by the museum itself as well as considerations which reflects the desire of the public must go side by side. Or else, the acquirement of speciality which is another significant duty of the museum, or the cultural function of the museum might be easily lost.