유비쿼터스 컴퓨팅 환경에서의 상황 인식을 위한 확률 확장 온톨로지 모델

정헌만(Jung Heon Man),이정현(Lee Jung Hyun) 한국컴퓨터정보학회 2006 한국컴퓨터정보학회논문지 Vol.11 No.3

Current context-aware applications In ubiquitous computing environments make the assumption that the context they are dealing with is correct. However, in reality, both sensed and interpreted context informations are often uncertain or imperfect. In this paper, we propose a probability extension model to ontology-based model for representing uncertain contexts and use Bayesian networks to resolve about uncertainty of context informations. The proposed model can support the development and operation of various context-aware services, which are required in the ubiquitous computing environment.

가상 기반 논리적 이중화 네트워크 설계

정헌이(HunLee Jung),백남웅(NamWung Baek),이영제(YoungJe Lee),백현철(Hyunchul Baek),손태근(Taegun Son) 한국항공우주학회 2020 한국항공우주학회 학술발표회 논문집 Vol.2020 No.11

상황인식 서비스 응용을 위한 동적 서비스 관리 모델 설계

정헌만(Heon-Man Jung),이정현(Jung-Hyun Lee) 한국컴퓨터정보학회 2006 한국컴퓨터정보학회논문지 Vol.11 No.4

As context aware service supports a process of context acquisition and reasoning, there are many studies to facilitate the implementation of context aware service. However, these studies have not supported efficiently a user or service mobility that should be supported necessarily in ubiquitous computing environment. Therefore, this study proposes a dynamic context aware service model which supports a dynamic management of context information, service retrieval and composition for interactions between services, and service mobility. Then we design a middleware based on this model and implement the middleware. As the middleware is implemented on the OSGi framework, it can have an interoperability between the devices such as computers, PDA, home appliances, and sensors, because of using the standard interface technologies like UPnP, Jini and so on.

대학의 미술 교육

정헌이(Jung, Hunyee) 한국미술사교육학회 2015 美術史學 Vol.- No.29

한국 대학 사회는 ‘대학 구조 개혁’과 관련하여 커다란 변화를 맞이하고 있다. 이 변화에의 요구는 일차적으로는 외부로부터 강요된 것이었지만, 이를 계기로 과연 우리가 미술대학에서 어떤 교육 목표를 갖고 어떻게, 무엇을 교육하고 있는지에 대해 점검해볼 시기가 되었다. 필자는 우선 미술대학의 교육 문제를 본격적으로 제기했던 티에리 드 뒤브가 진단한 미술교육의 세가지 모델, 즉 아카데미 모델, 바우하우스 모델, 해체주의 모델에 대해 소개하고, 그가 현재의 교육 모델이라고 예시한 해체주의 모델을 어떤 입장에서 비판했는지 살펴보았다. 그가 말하는 해체주의 교육 모델은 전통적인 아카데미 교육 모델에서 중시했던 장인적 훈련이나 바우하우스 모델이 중시했던 창의성 훈련의 자리를 각종 이론과 담론을 앞세운 정치적 “태도”가 차지한 상황을 말한다. 그가 이 “태도”의 모델을 문제삼은 것은 그가 반드시 예술의 정치적 입장 표명에 반대해서가 아니라 매체나 마티에가 사라지고 오직 태도만이 남았을 때, 미술의 전통과 관습이 과연 무엇을 통해 유지될 수 있겠는가에 대한 염려라고 볼 수 있을 것이다. 나는 이러한 드 뒤브의 입장을 니콜라 부리요의 “관계의 미학” 개념, 그리고 자크 랑시에르의 “해방된 관람자”의 개념을 통해 점검해보았다. 그리고 한국 젊은 작가들의 작품세계를 통해서 시각중심주의를 넘어서는 감각의 확장과 나눔이 미술현장에서 어떻게 펼쳐지고 있는지 살펴보았다. 그렇다면 ‘태도’는 어떻게 가르쳐질 수 있을까? ‘태도’가 기존의 감성의 분할을 넘어서고 새로운 감성을 나누는 일이라면, 즉 열정이라면, 이것은 가르쳐질 수 없는 것이다. 그런데 이론과 미술사, 각종 ‘테크닉(technique)’과 ‘기법(skill)’을 가르칠 수 있어도, 예술 그 자체는 가르칠 수 없다는 말이 제도기관의 교육은 항상 실패할 수밖에 없다는 뜻은 아니다. 다만, 가르칠 수 없는 것을 가르치는 이 모순의 자리에서 고민하는 스승은 제자를 해방함으로써, 즉 제자가 내가 모르는 것을 스스로 배울 수 있는 자임을 믿고, 그의 능력을 현실화하도록 동기를 부여함으로써, 새로운 우정의 공동체를 만들 수 있다. 의식의 좀 더 깊은 곳에서 삶에 대한 자신의 감성적 ‘태도’를 발견하게 하는 일, 그 ‘태도’가 우리를 살고 싶게 하는 힘이라는 것을 신뢰하는 것, 그것이 미술교육의 숨겨진 내용이자 교육적 역량의 원천임을 조심스럽게 전망해 보았다. Korean Universities are on the process of structural reform. Although this claim for change is reinforced from outside, it’s proper time to introspect what is the aim for university art education, how to give what to the art students. First, I introduced three models of art education, academy model, bauhaus model and deconstruction model, that Thierry de Duve presented in his essay on “When Form Becomes Attitude?And Beyond”(1993). De Duve was especially critical to the new art school model of deconstruction, because he thought it drives out the technical training and medium study from the field of art education. “Attitude”, a sort of political and theoretical consciousness occupied the the place instead. He worried, if attitude becomes art form, then how the tradition and convention of visual art could survive itself. I examined this point of view through the concepts of “relational aestheics” by Nicolas Bourriaud, and “emanciated spectator” by Jacques Ranciere. And I look into the practices of young korean artists how their works distribute and extend “the sensible” across the ocularcentrism of traditional art practice. Then how attitude can be taught? If attitude is distributing the sensible beyond the partition of the senses, it cannot be taught. We can teach art history, theory, technique and skill, but we cannot teach art itself. Yet, the master who stands in this contradictory place where (s)he teach what (s)he cannot teach, can teach what (s)he doesn’t know by emancipating the students. In other words, the master should believe in them that they have the ability to teach themselves, and (s)he can teach them by being a ignorant master. Being equal, the master and students can accompany the journey together as a community of friendship.

웹 기반 3차원 가상 공간에서 실시간 화상 대화 지원 학습 / 훈련 시스템

정헌만(Heon-Man Jung),탁진현(Jin-Hyun Tak),이세훈(Sei-Hoon Lee),왕창종(Chang-Jong Wang) 한국정보과학회 2000 한국정보과학회 학술발표논문집 Vol.27 No.2Ⅱ

기존 분산 가상환경 시스템에서는 참여자들 사이의 언어 외적인 의사교환을 지원하기 위해 참여자의 아바타에 몸짓이나 얼굴 표정 등을 표현할 수 있도록 애니메이션 가능한 아바타를 사용한다. 하지만 아바타 애니메이션으로 참여자의 의사 및 감정 표현을 표현하는데는 한계가 있다. 따라서, 이 논문에서는 가상 환경 내의 다중 사용자들의 의사 교환 및 감정 표현을 극대화할 수 있는 방법으로 실시간 화상 대화 가상 환경 학습 훈련 시스템을 설계하였다. 설계한 시스템은 학습 참여자의 화상 및 음성 스트림을 전달함으로써 기존 응용들에 비해 풍부한 의사 교환을 지원하고, 가상 공간에서 학습에 필요한 다양한 모듈들을 포함하고 있다.

마이클 프리드의 미술비평과 이론

정헌이(Jung Hun-Yee) 서양미술사학회 1996 서양미술사학회논문집 Vol.8 No.-

The art criticism of Michael Fried was bom out of the conviction that art history has come to a crisis. What is at stake in this critical situation is whether the painting or sculpture in question are experienced as art or mere objecthood. If art reduces to objecthood, then art history, at least the modernist art history comes to an end. Fried wanted to watch over the modernist art history. The importance of Michael Fried as a aritic lies in the situation in which he participated as a par-excellent, the last modernist art critic. In other words, modernist art criticism climaxed by Fried but also dissolved by himself while he was fighting with Literalism for the right way of art history. The aesthetic of Michael Fried was that of tableau or screen. It is interesting that he made reference to the movies as the one art which escapes theater entirely by its very nature. According to him, the screen is not experienced as a kind of object existing in a specific physical relation to us. But because it escapes the war with theater or theatricality automatically by its own nature, even the most experimental cinema cannot be a modernist art. What he meant by the ‘modernist’ sensibility was to find it imperative that art defeats or suspends its own objecthood, and to experience the art-object that exist as an physical entity visually as shape. Modernist art only yields to the beholder’s coup d’ oeil. The ‘coup d’ oeil’ of modernism denies the ‘mise en scene’. Fried wanted art to defeat the condition of theater, to defeat dramaturgy. However art after “art and objecthood” developed with an interest in the vety ‘mise en scene’, with the interest in the psychological and physical beholder and his or her situation in the world. Yet, the purpose of this essay is not to reveal whether Michael Fried was right or wrong. Fried says: “... in fact it is inconceivable that he will not be wrong a fair amount of the time. But being wrong is preferable to being irrelevant.” This article is about the “fair amount of the time” in which Fried’s criticism paradoxically played a role. In a sense, ‘a fair amount of the time’ always betrays a coup d’ oeil. But Michael Fried’s moment in its historical sense deserves to be taken seriously. He run the same risks as the artist whose work he criticized. Today, the word ‘aesthetic judgment’ as a critical terminology sounds rather classical and worn-out. If we are able to give up any kind of aesthetic judgment in appreciating contemporary art it would be the transformation of critical semantics that modernist criticism ultimately bring about. Unintentionally though.

XML 메시지 교환을 이용한 이기종 P2P 데이터 공유시스템 설계

정헌,강병욱,서영수,Jung, Hun,Kang, Byung-Wook,Seo, Yeung-Su 한국정보컨버전스학회 2008 한국정보컨버전스학회논문지 Vol.1 No.1

If the management through the center server is unnecessary and JXTA is connected to a network, a communication with any kind of devices or some device is possible. And features that a communication with heterogeneous P2P systems is possible have. The important module of the designed Data exchange system an interworking between the P2P system which it is made we used API and the each other different protocol the possible data for replacement Data exchange system were designed this kind of a feature was to the utmost utilized may account for the XML Parser Component(XPC) which we use it parses the or about a request and the generated request, and the structure of the XML Making Component(XMC) which we use in generating the inappropriate a request and response.

그리드를 넘어서

정헌이(Jung Hunyee),진휘연(토론자) 한국미술사교육학회 2001 美術史學 Vol.15 No.-

The modernist art history is often regarded as iconoclastic in its impulse to exclude any recognizable figures from the art work. Modernist art went against any narrative based on the image and reduced its task into a sort of autistic self criticism, for the purity of self definition. Yet this article tries to find out the symbolic icon that is alway there behind the iconoclastic gesture of the modernist art. The grid, as the representative icon of the modernist art, is omnipresent in the history of modem art. As the concept of “icon” is problematic between ‘good image’ and ‘bad image’, between miracle and fetish. so the grid manifests its being both spirit and matter at the same time. Pop art that is often understood as “the return of the content” and as the beginning of post-modem art, in fact internalized the structure of grid. The “icon” in the pop art is very different in character compared with the icon in the pre-modem art. Pop imagery is a kind of ready-made, appropriated images from the mass media and commodity. Art after modernist art nulled out the concepts of originality and authenticity, and took “repetition” as one of its strategies to obtain that goal. And “repetition” is the very structure of the modernist grid. An art work is endowed with its artistic identity and value from the institutional mechanism which is in a sense getting more and more psychological and epistemological within the art-world. The identity of an art work is not what the art work has but that which is projected to it by us. Art, ironically, becomes what we believe it is. Art is not autonomous. Art which no longer has any use value had to appeal to the soul, compelled to certificate itself as art by obsessively acting itself. If art work always exceeds its very image, this surplus value is bestowed on it by the audience who not only look at but also hear from the history of modern art. There is this observation that our century is the century of image, and the power of image will be getting more vigorous. The digital reproduction and cyber technology will develope visually more powerful simulacra, and we will share the artificial reality in the cyber space as if it is actual reality. In this dotted space of technological grid, the fear of image is internally connected with the charm of the image. Magic or fetish, this is the paradox of the icon. Yet, if we cannot imagine imaginative model for the reality, the cyber space will never represent any utopia.

반 고흐의 〈낡은 구두〉 : 하이데거, 메이어 샤피로, 자크 데리다의 논쟁을 중심으로

정헌이(Hunyee Jung) 서양미술사학회 1998 서양미술사학회논문집 Vol.10 No.-

This essay deals with the debates between Martin Heidegger, Meyer Schapiro and Jacques Derrida on the truth in Vincent Van Gogh’s Painting of Pair if Shoes. Heidegger said that this painting let us know what shoes are in truth. This represented equipment belongs to the earth, and it is protected in the world of the peasant woman. Van Gogh’s painting is the disclosure of what the equipment, the pair of peasant shoes, is in truth. This art work opens up in its own way the Being of beings, and this opening up, i.e., this deconcealing, i.e., the truth of beings, happens in the work. Shapiro criticized Heidegger that this attribution of Van Gogh’s picture of the shoes to a peasant woman is false. The shoes are not those of a peasant woman but of a male city dweller, Van Gogh’s own shoes at the time he was living in Paris. He accused Heidegger that he deceived himself, that he imagined everything and projected it into the painting. According to Schapiro, this painting is worth Van Gogh’s self portrait. Derrida argues that this episode is not a theoretical or philosophical dispute for the interpretation of a work but a matter of history and politics. He says that this shoes are painted shoes and they will not returned to the rightful owner, to the original subject. Painting is anterior to the discourse about truth, anterior to the desire for restitution. Finally, his essay is lodged against the discourse of belonging, against the discourse of attribution. Art History is based on the connoisseurship, in other words, the discourse of attribution. Then how can we art historians react to Derrida’s accusations? Derrida says that “one dreams of a painting without truth, which without debt and running the risk of no longer saying anything to anyone, would still not give up painting”. Yet, this resembles Kant’s definition of aesthetic experience which is ‘without purpose’, ‘without use’, ‘without interest’. The ghost step which still comes to haunt the painted shoes is not so much peasant woman’s nor Van Gogh’s, neither Heidegger’s nor Schapiro’s, but Kant’s. Derrida further claims that painting suspends its own meaning, risking the loss of meaning. The truth may have something to do with the ownership of the history rather than the truth, or than the origin of truth, the truth of truth. There exist contests for the identity and truth. Then this debate is not so much the debate between disciplines, i.e., between art histoy and philosophy of art, but a matter of world-view. Do we believe that we owe the world some debt? The debt of meaning, truth, whatever. The promise of Cezanne, “I owe you the truth in painting, and I wil tell it to you” is only a performative promise. Yet, do we expect something in his promise? Truth or not, the promise always belongs to the future which is not yet rome. Thus, promise, the promise on the truth of painting always takes the form of belief and expectation before it turns into mere traces of truth.

죽음의 미학

정헌이(Hun-yee, Jung) 현대미술사학회 2011 현대미술사연구 Vol.0 No.30

This study deals with the images of death that are prevalent in postmodern art, it is not an iconographic study on death images though. The purpose of the study is to investigate and question the aesthetic meanings hidden behind the impossible task of representing death. Death has been one of the most important subject matter throughout the history of western Art. From the stick like figure of ‘the shaft of dead man’ in the cave art of Lascaux to the ‘memento mori’ images of the Middle Age, from the ‘vanitas’ images of 17th century Dutch paintings to the sweet candies presented by Felix Gonzales-Torres, all these images ask the meaning of death, and by doing that question the meaning of life. What I concern is the facts that art has been a beacon that marks the resistance to death, although it is doomed to be failed, so that it has been encircled in the repetitive performance of representing an original absence. It was Andy Warhol who re-presented the theme of death in the post modern art scene. Whether his attitude toward death is neutral and indifferent or cynical and critical was the main issue in interpreting his ‘death and disaster’ series. Yet, when it comes to the case of Damien Hirst, we witness the ‘return of the real’, the actual dead bodies that are sacrificed for an art exhibition. The audience are expected to actually observes the decaying process of corpse in the gallery space. What does it mean? What is the aesthetics behind this “return”? It seems to me that the ‘death’ Hirst conceives stays only in the level of its materialistic dimension. It does not step a inch forward from the shocking spectacle of the corpse that is returned to an inanimate object. That is how he conceives art and what he earns from his speculation on the relationship between his art and death, yet this model of objective, bodily death can not suggest any meaning of death except “nothing”. Death can presents us the possibilities of something more than the shocking phobia of its marks of decaying process. A representation of death always accompanies responsibility within culture. As Felix Gonzales-Torres made his point on this subject, we should ask a question with responsibility; what is the relation of our art to the death of others? In this question, death is not a mere limit but a way that can affect us by the way that others have died before us, and by the way that we ourselves shall die. This is the political aesthetics of death that our art of today should reconsider.