음악, 소음, 그리고 침묵

이지은(Rhee Ji-eun) 현대미술사학회 2007 현대미술사연구 Vol.22 No.-

This paper charts the short history of sound as part of the 20th-century modern art. In particular, it seeks to explore ways in which sound functions in the realms of visual art. From abstract paintings in the early 20th century to the 2007 art biennale in Venice and Muenster, sound has taken a small yet distinctively important part in the development of modern art. The purity of painting in abstraction that painters pursued in the early 20th century was compared to the non-descriptive quality of music. Time and movement in varying rhythms and speeds also crossed over into the visual realm as the artists discovered new possibilities in film as ‘motion picture.’ In an effort to depart from the old tradition of representation and narrative arts, many artists thus adopted music as their ideal model, experimenting with its forms as a means of broadening our visual experience. Futurists were those who blatantly extolled machines and their noise. They explored symthesthetic functions of sound and the visual by employing words and sound in their paintings and sound poems. Dadaist also fused the visual with the aural in their performances during the First World War. Marcel Duchamp experimented with sound in his 〈Music Erratum〉 and 〈With Hidden Noise〉. Noise was everywhere in the art world, signaling the end of the dominance of the visual in art. In the mid-20th century, we come across John Cage who once again brought the noise into our attention. His famous 〈4'33''〉 inspired many artists working in the visual realm. Those who were active in Fluxus and performance art admitted to no small extent their debts to Cage. Including George Brecht, Benjamin Patterson, Paik Nam June. these artists made artworks out of the sound of everyday life. In recent years, we frequently encounter sound as an inseparable component of visual experience in art museums and galleries. Janet Cardiff and Susan Philipsz can be found among new artists who pursue so-called ‘Sound Art.’ In an attempt to challenge, if not do away with, the hegemony of vision in the experience of ‘spectators,’ these artists try to immerse their perceptual fields with whispering voices and music. By discrediting the visual at the heart of visual art, they deconstruct the ocularcentrism and seeks for the incorporated sensory experience in art.

욕망하는 몸

이지은(Ji-Eun Rhee) 현대미술사학회 2003 현대미술사연구 Vol.15 No.-

With an upsurge of criticism on Cartesian subjectivity and its foundation on logos, the discourse of body has emerged as an alternative focus in postmodern concerns. Although the mind has been previously privileged over, more recently body has become increasingly important as a locus of redefined subjectivity as well as a site of intersubjectivity. The notion of intersubjectivity is well traced from the phenomenological discourses of Merleau-Ponty. In his vigorous attack on the Cartesian subject, Merleau-Ponty criticizes vision-oriented theories that legitimate the rigid dichotomy of subject and object, which eventually engenders the binary opposition of mind and body. By using the term coexistence, Merleau-Ponty emphasizes the reciprocity of the subject/object relationship in which subject is contingent on his or her others. The discourse of body necessarily involves issues such as gender and race, but above all, it concerns 'others' and (re) defines the subject"always in relationship to others." This radical departure from the Cartesian transcendental (indeed, solipsistic) subject and the emergence of body have been witnessed in phenomenology and the artistic movements of the 1960s such as Minimalism and performance art . Especially in recent artistic practice and criticism, the discourse of body prevails as the focus of the strategies, which use psychoanalysis, queer theory, or the technological effects of new media (such as three-dimensional video) as their bases. Body, both as a subject of inquiry and an interpretative strategy, is also a crux in postmodern critique of ocularcentrism and logocentrism, which have been considered as the parallel terms of modernism. In this paper, I will delve into Matthew Barney's Cremaster V (1997), an approximately forty-five-minute film, which I believe, touches the recently-focused bodily issues including sexuality, and subject-object relationship. Matthew Barney entered the art scene in the early 1990s with series of physically challenging performances, which demand strength and endurance. Barney pursues discipline and self-absorption through trained bodily movements. His strictly choreographed actions are replete with sexual symbols and connotations. The rich iconography of sexuality most evidently appears in the Cremaster series. The cremaster is the suspensory muscle of the testes. Male reproductive organs located in the scrotum need a system for temperature control. The cremaster is a sort of thermostat in this system. When the outside temperature is cold or too hot for the testicles the cremaster pulls the testicles up into the body. Barney sees this inside-body state as a "pre-genital... possibly regressive state and a downright possibly more developmental state." Even though he implies hierarchical binary opposition of the upright and downright movements that the cremaster generates, I argue that there is a yearning for the pre-genital state (which is supposedly considered as the primordial conglomeration of male and female sex) in the Cremaster series. The series of films feature intricate symbolism and dense iconography drawn from psychology, mythology, and Christianity. Despite its primary theme of transgression of normative definitions of male and female sexuality (with its seemingly balanced gesture), the Cremaster series reveal the limitation of the male artist in his attempts to achieve the pre-genital wholeness by subsuming the other (female) sexuality.

노동과 글쓰기

이지은(Ji-Eun Rhee) 현대미술사학회 2005 현대미술사연구 Vol.18 No.-

Xu Bing has been one of the most distinguished artists in the Chinese avant-garde art scene since the mid 1980s. Born in 1955, he has undergone China's turbulent social, political, and cultural changes in the second half of the twentieth-century. His art work, however, does not show direct references of such contexts. Seemingly aloof from the ideological conflicts and social criticism of the contemporary China, he experiments with writings as either graphic form or content that range from the format of ancient Chinese scrolls to the Western alphabets. Ironically, however, his characters and texts are mostly nonsensical. In an attempt to ridicule the way in which human perception is bound in the fixed world of signification, Xu Bing imitates the contours of Chinese characters and arrange them in such a way that confuses the reader's literacy. Drawing a cue from Xu Bing's time-consuming efforts in creating the world of fake letters, this paper aims to explore the meaning of 'slow' technology in high art, one that intends to revive the sense of craftsmanship and artistry in countering the age of mechanical reproduction. By the term 'slow' this paper alludes to a process of production that counters the logic of efficiency and mass production that underlies the modern consumerist technology. Works that are being considered in the paper include "A Book from the Sky"(1989), "Ghost Pounding the Wall"(1990), "Square Word Calligraphy"(1994), and "New English Calligraphy"(1998). ''A Book from the Sky" is a massive installation consisting of scrolls of paper, posters, and books. For this work, Xu Bing invented about 1250 pseudo-characters based on the authoritative Chinese dictionary compiled in 1710 A.D. And he carved more than 2000 wood blocks over a year. In terms of its visual impact, "A Book from the Sky" echoes the importance of the written word in all its forms throughout Chinese history. "Ghost Pounding the Wall" consists of 1300 sheets of chinese ink-rubbing attained from a painful, time-consuming labor of 'pounding' the Great Wall of China which involved some thirty people over a month. In the "Square Word Calligraphy," on the other hand, Xu Bing transforms the English alphabets into the pseudo-Chinese radicals and concocts them to look like Chinese characters. So the viewers can read these seemingly Chinese characters as English words. Overarching these works is the notion of slow technology and its effect of de-familiarization aimed at a culture that is saturated in the myth and authority of letters and symbols.

S/S 티셔츠 소재의 역학적 특성치 및 기본태가 주관적 감성에 미치는 영향

이지은 ( Ji Eun Rhee ),권영아 ( Young Ah Kwon ) 한국감성과학회 2003 추계학술대회 Vol.2003 No.-

이 연구의 목적은 S/S 티셔츠 소재의 기본태 및 역학적 특성이 소재에 대한 주관적 감성에 미치는 영향을 밝혀 티셔츠 소재의 감성 이미지를 확립하고 소비자 감성에 적합한 S/S용 티셔츠 소재를 개발하기 위함이다. 이 연구를 위해 2003 봄, 여름에 시판된 5개의 티셔츠 소재가 사용되었고, 티셔츠 소재에 대한 감성 이미지를 도출하기 위해 티셔츠 소재와 관련된 20개의 감성형용어로 설문지를 작성하였다. 설문조사는 총 75명의 성인 남녀를 대상으로 실시하였으며 평가자는 각 문항에 대해서 7점 리커트형 척도를 사용하여 평가하였다. 5개의 시료 각각에 대한 19개의 역학적 특성치를 측정하여 태의 값을 산출하였으며, 각 특성치들과 주관적 감성 이미지와의 관계는 SPSS_Win 10.1을 사용하여 분석하였다. 본 연구결과는 다음과 같다. S/S 티셔츠 소재의 감성이미지는 ``유연감``, ``청결감``, ``매력성``, ``건조감``, ``강성``으로 분류되었으며, 소재의 감성 이미지가 소재의 기본 태에 의해 영향을 받는 정도는 다르게 나타났다. 감성이미지에 가장 많은 영향을 미치는 기본태는 Shari였다. 또한 편성구조 및 섬유조성과 같은 티셔츠 소재의 기본적 특성이 소재에 대한 주관적 감성이미지에 미치는 영향이 큰 것으로 나타났다.

유목적 미술가를 통해 보는 전지구화 시대 미술의 난제들

이지은 ( Ji Eun Rhee ) 미술사와 시각문화학회 2014 미술사와 시각문화 Vol.13 No.-

The boundary between First and Second worlds was broken down at the end of the 1980s, which had been epitomized by the fall of the Berlin Wall in November 1989. It was about the same time when there emerged in the art world the notion of global art.` Standing in contrast to the term‘world art’ that has been associated with the colonialist notion of the art of the non-west, which posits itself always in the past and at the opposite end of Euro-American modernism, ‘global art’ refers to the transnationality of contemporary artistic practice in constant border crossings. In the global art scenes, there also appeared a new breed of‘nomadic artists, those who create and exhibit works at different international venues. The frequent biennals and art fairs, and the commissions from various international art institutions allow the nomadic artists always on the move. The production of artwork not only reflects the culture and social conditions of the artist`s origin, but those of the locality the artist is visiting. The conflicts and negotiations these itinerant artists occasion bring up several issues of the contemporary art. First, what is at stake is the identity of the artist. Regarding the limited amount of time that has been allowed to the artist in the frame of exhibition in the host institution, how much of the locality of the place where s/he conducts the project could possibly be reflected in the artwork? If the artist negotiates the culture of his or her origin with that of the place s/he visits, the problems of translation should occur in both sides. Secondly, there can be noted in their practice an increasing loss of ‘site-specificity.’In merely reproducing and restaging similar characteristics or methods across different global venues, their practice degrades into an island of artistic signifiers. These repetitive individual acts and attitudes even foretell the looming danger of the ‘return of the author.’Thirdly, what follows such acts is the hegemonic status of the nomadic artists. The celebration of cultural syncreticism and hybridity could empower the nomadic artists who could have more access to the world-wide artistic venues compared to those who work in the localities. Equally problematic is how features of syncreticism tend to dismiss conflicts and tensions between cultures, which can unwittingly serve as a podium for the assertion of conservative politics that praise the status quo. The final, but not the least important, issue is that of the viewer-participant. The previous discourses about the nomadic artist have usually been centered around the artist`s identity and issues of site-specificity. The‘viewer-specificity’ has been loosely defined according to different categories including territorial borders, gender, and classes. Since the nomadic artists attempt to‘construct’a transnational identity, their works potentially remain precluded from viewers` expectations. Could meanings other than individual associations to the work possibly emerge from these nomadic works? To delve into these complex issues, this paper looks into the arguments around‘Relational Aesthetics,’ and its revisionist views suggested by Jacques Ranciereand Claire Bishop who propose the art that provokes and discloses the conflicts and dissensus rather than conceals them.

몰입과 각성 사이

이지은(Rhee Ji-eun) 현대미술사학회 2010 현대미술사연구 Vol.0 No.27

This paper studies Ann Hamilton's performance/instillation works, which employ various ready-made and found objects and humans engaged in seemingly mundane activities. In straddling between performance and installation, her works tend to blur the boundary drawn between the two distinct artistic practices. Hamilton's creative efforts can be also considered as a critique of what can be seen as the dominance of sight in visual art by allowing other senses such as smell, sound, and touch to participate in the making and experience of her art These qualities, the blurring of genre and non-ocularcentric treatment of materials, can be called postmodern in the sense that they take issue with Greenbergian Modernism, which has championed the visuality and the purity of separate artistic practices on the basis of their own material conditions. Ironically, however, the reception of Hamilton's work reveals that viewers take her works otherwise. 'With all the aural, tactile, and olfactory distractions that draw their attention, the viewers of Hamilton's work tend to take a position that has been primarily understood as that of the beholder of Modernist painting. Far from being "awakened" by the work into the surroundings, the viewers are submerged into a state of absorption as their aesthetic response. Many critics duly note the contemplative aspects of Hamilton's work, using the terms such as 'meditative' 'nostalgic' 'religious' and even 'sublime', that have been the words describing the traits of modernist painting. Reading in parallel with the receptions of modernist painting articulated by Michael Fried, this paper will argue the unique qualities of Hamilton's performance/instillation that challenge the binary opposition of modernist and postmodernist aesthetics.

VOSviewer 프로그램을 이용한 산림유역 관련 연구동향 분석

이지은 ( Ji-eun Lee ),유리화 ( Rhee-hwa Yoo ),조민재 ( Min-jae Cho ) 한국산업융합학회 2023 한국산업융합학회 논문집 Vol.26 No.6

In this study, we collected and analyzed domestic and international studies related to watersheds in the forest sector. Keyword co-occurrence analysis was conducted using the VOSviewer program to identify the research areas of domestic and international studies and the network structure to compare research trends. As a result, the number of research articles in international watershed-related studies showed an overall increasing trend, and the research areas were diverse and located close to each other, indicating that many convergence studies were conducted. On the other hand, the number of papers in domestic watershed-related studies seems to have stagnated overall from the past to the present, and the research areas are mainly focused on forest disasters and hydrology, with limited interdisciplinary convergence studies. In addition, in both domestic and international studies, watersheds are currently mentioned as research sites rather than management or analysis units in the forest sector. It is important to actively promote interdisciplinary research in Korea to provide a scientific and balanced basis for watershed-level forest management planning.

신 증후군 환아에서 Cyclosporin A 치료 중 발생한 급성 백색질 뇌증 1례

정석원,이경화,권영세,김순기,손병관,이지은,Jung Suk-Won,Rhee Kyung-Hwa,Kwon Young-Se,Kim, Soon-Ki,Son Byong-Kwan,Lee Ji-Eun 대한소아신장학회 2005 Childhood kidney diseases Vol.9 No.1

CsA 유발성 중추 신경독성은 신증후군 환자에서 드물게 보고되고 있다. 저자들은 신 증후군환아에서 CsA 치료 중에 뇌 자기공명 영상으로 확진한 급성 백색질 뇌증 1례를 경험하였기에 보고하는 바이다. Cyclosporin A-induced central neurotoxicity has been rarely reported in patients with nephrotic syndrome. We report a pediatric patient who developed acute leukoencephalopathy diagnosed by MRI during CsA therapy for nephrotic syndrome.

Effect if Silkworm Hemolymph on Oxidative Stress Induced by UVA and Hydrogen Peroxide in Fibroblasts

Ju Hyun Park(박주현),Won Jong Rhee(이원종),Shin Sik Choi(최신식),Ji Eun Lee(이지은),Tai Hyun Park(박태현) 한국생물공학회 2005 한국생물공학회 학술대회 Vol.2005 No.10

유방암 검진 네비게이터 개입 효과성 연구: 서울시 1개 구 국가 암 검진 대상을 중심으로

한인영 ( Han In-young ),임정원 ( Lim Jung-won ),이영선 ( Rhee Young-sun ),강방글 ( Kang Bang-geul ),이지은 ( Lee Ji-eun ) 한국보건사회연구원 2015 保健社會硏究 Vol.35 No.1

본 연구는 유방암 검진 수검률 향상을 위한 네비게이터 개입의 효과성을 검증하는 것을 목적으로, 서울시 S구에 거주하면서 사회경제적으로 취약한 국가 암 검진 대상자 중 개입 당시 유방암 검진을 받지 않고 네비게이터 개입 이후 유방암 검진 수검 여부를 확인한 730명을 연구 대상으로 하였다. 연구 결과, 첫째, 유방암 검진 수검률은 69.9%로, 전국, 서울시, S구의 전년도 검진 수검률 보다 높았다. 둘째, 유방암 미검진 이유인 `시간적 여유 없음`(χ²=30.33, p<.001), `암 발견의 두려움`(χ²= 4.48, p<.05)에 응답한 대상자가 유방암 미검진 가능성이 더 많았다. 셋째, 대상자의 유방암 검진 지식(t=34.04) 및 검진 중요성 인식(t=-21.79)은 네비게이터개입 이후 유의미하게 향상되었다(p<.001). 셋째, 로지스틱 회귀분석 결과, 검진 관련 장애요인이 있을 경우, 장애요인이 없는 경우에 비해 수검을 할 승산(odds)이 0.16배로 줄어들었고(OR=.16, p<.05), 네비게이터 검진 서비스를 제공받을 경우, 제공받지 않을 때에 비해 수검을 할 승산이 약 15배 증가하였다 (OR=14.68, p<.01). 본 연구는 네비게이터 개입을 통해 대상자의 유방암 검진 수검률 및 암검진에 대한 지식·인식 향상에 기여하였으며, 유방암 검진 수검률 향상을 위한 네비게이터 역할의 중요성을 제안하였다는 점에서 연구의 의의가 있다. This study aims to investigate the effectiveness of patient navigation services to improve breast cancer screening rates. The study samples are 730 socioeconomically disadvantaged women who were identified from S public health center, and were possible to confirm if the cancer screening has been conducted after the first interview. First, the breast cancer screening rate was 69.9%, indicating that this rate was higher than those of nation, Seoul, and S public health center. Second, participants who responded `I don`t have time` or `I worry that I have cancer` were less likely to screen the breasts for cancer. Third, knowledge and beliefs about breast cancer and screening were significantly improved after activities of navigators. Fourth, logistic regression showed that patients who have barriers to screening were less likely to screen for breast cancer, and those who have experiences about navigation services were more likely to have breast cancer screening. This study contributes to the improvement in cancer screening rate and knowledge/beliefs about breast cancer screening, and suggests navigator role to improve breast cancer screening rates.