Earticle

The Bigyeokjincheolloe (bomb shell), a scientific cultural heritage, has outstanding historical value for sustaining a gunpowder weapon of Joseon. In this study, the bomb shell was modeled through three-dimensional (3D) scanning centered on the external shape and γ-ray radiography-based on the internal shape. In particular, to improve the contrast in the radiographic image, optimization and image processing were performed. After these processes, the thickness of the inner wall (2.5 cm on average) and the positions of the three mold chaplets were clearly revealed. For exhibition purposes, the 3D model of the bomb shell was output to a 3D printer and the output was rendered realistic by coloring. In addition, the internal functional elements, such as Mokgok, fuse, mud, gunpowder, and caltrops, were reproduced through handwork. The results will contribute to the study of digital heritages in two ways. First, the internal and external shapes of the bomb shell were modeled by fusing two different technologies, namely, 3D scanning and γ-ray radiography. Second, the internal shape of the bomb shell was constructed from the original form data and the reproduction was utilized for museum exhibitions. The developed modeling approach will greatly expand the scope of museum exhibitions, from those centered on historical content to those centered on scientific content.

본 연구에서는 한국에서 진행되는 전통음악 분야에서의 복원과 재현 상황을 고악보 복원, 유성기음반 재현, 및 전통예술 발굴 사업 등 세 가 지로 나누어 살펴보았다. 이 세 가지 복원과 재현은 그 기준이 되는 복원점이 서로 다름을 알 수 있는데, 고악보의 경우 그 해독에 있어 완벽함이 추구될 수 없다는 문제로 인해 ‘현대적 재현’의 틀에서 이해할 수 있었다. 유성기음반 의 경우 그 안에 담긴 음악을 복원의 기점으로 삼을 수 있으나 복원이 된다고 하더라고, 녹음된 음악이 갖추고 있는 공력이나 창조성이 발휘되는 재현의 가능성까지 얻기에는 어려운 것임을 확인할 수 있었다. 전통 예술 종목의 발굴의 경우에는 꾸준히 전승되지 않았던 종목들에 대해서 원형을 찾기 어려운 점이 부각되었으며, 결국 이 또한 ‘현대적 재현’의 틀에서 논의될 수 있었다. 또한 어떠한 복원과 재현이라도 그 종목에 대한 체계적인 연구가 선행 되어야 하며, 고증이 우선되지 않는다면 변조나 날조의 위험성도 항상 존재하는 것을 주목해야 함도 알 수 있었다. 사라진 전통예술의 복원과 재창조는 그 자체가 목적이 되어서는 안 되며, 그를 토대로 향후 전통 음악계의 풍부한 컨텐츠로 자리매김해야 할 것이라 생각되었다.

In this study, the restoration and reproduction of traditional music in Korea were divided into three categories: the restoration of Old Music Score, the reproduction of Phonograph Records, and the discovery of traditional music arts. These three restoration and reproduction can be seen to have different restoration points, and in the case of Old Music Score, it could be understood in the framework of “modern reproduction” due to the problem that perfection cannot be pursued in its decoding. In the case of Phonograph Record, the music contained in it can be used as the starting point for restoration, but even if it is restored, it can be confirmed that it is difficult to obtain the possibility of reproduction in which the artistry and creativity of recorded music are exhibited. In the case of the discovery of traditional music and arts, it was highlighted that it was difficult to find the original form for the events that had not been steadily passed down, and in the end, this could also be discussed in the framework of “modern reproduction.” In addition, it was found that any restoration and reproduction should precede systematic research on the music genre, and if historical evidence is not prioritized, it should be noted that there is always a risk of modulation or fabrication. It was thought that the restoration and re-creation of the disappeared traditional music art should not be an objective in itself, and based on it, it should be established as a rich content in the traditional music world in the future.

본 연구에서는 화협옹주 회곽함에서 출토된 화장품 중 갈색 고체 잔여물이 나타난 화장 품을 중점으로 연구를 진행하였다. 이 화장품은 1752년 부장된 회곽함 안의 청화백자합에서 출토되었다. 국립고궁박물관에서는 유물분석과 문헌조사를 진행하였다. 이를 바탕으로 출토화 장품의 원재료와 제조법을 추정하여 크림 형태의 화장품재현을 시도하였다. 이후 출토품과 유 사한 열화 양상을 확인하기 위하여 고온, 자외선, 이산화탄소 조건에서 열화를 시행하였다. 이에 따른 변화와 화장품으로써의 효과를 확인하고자 과학적 분석과 기능성 평가를 진행하였다. 유 지류가 높은 비율로 혼합된 재현품에서는 고온열화가 진행됨에 따라 색차값이 약 32 차이가 나타났고, O-H 결합과 C=C 결합에서 화학적 변화가 발생하여 유지류 산화가 발생한 것을 확인 할 수 있었다. 또한, 자외선 열화를 통해서는 pH 값이 노출 시간에 따라 산성화되는 것을 확인할 수 있었다. 재현품의 기능성 평가로 진행한 차폐율은 현대 화장품의 차폐 기준치보다 낮게 나타났다.

This study focused on analyzing solid brown cosmetic residues that were excavated from the tomb of the Hwahyeop princess. The cosmetics had been buried in 1752 in Cheonghwa Baekja (small porcelain jars) within a Huigwakham (a stone box sealed with lime). A literature search and chemical analyses of the relics were conducted at the National Palace Museum of Korea. Based on the results of these analyses, raw materials and manufacturing methods for reproduction of the cosmetic were selected and then c ream-form cosmetics were p repared. Ag ing tests u sing heat, u ltraviolet (UV) radiation, and CO2 were carried out to emulate the deterioration of the excavated cosmetics. Further chemical analyses and functionality tests were performed to evaluate changes from the tests and the effect as a cosmetic. As heat aging progressed, among the reproduced cosmetics, the one which has a high proposition of oil showed a color difference value of 32; the oxidation of oils involved chemical changes in O-H and C=C groups. As the cosmetic cream deteriorated under UV aging, the pH value became acidic. The result of the functional coverage test of the reproduced cosmetic cream was lower than the standard coverage ratio of modern cosmetics.

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can’t overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector’s personal taste or but also by commercial circulations of these reproductions to the public. This relates to Benjamin’s argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public’s quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics’ articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

본 연구는 4세기-7세기 중엽까지 이루어진 ‘불상의 複製’를 통해 중국 중세 불교문화의 양상을 살펴보고자 한 것이다. 기록과 실물자료 등을 통해 어떤 상이 복제되었으며, 그리고 왜 복제되었는지를 분석하고, 나아가 누가 복제를 주도했는지 고찰하였다. 불상 복제의 가장 큰 動因은 불상이 가진 正統性이었다. 정통성의 연원은 인도에서 유래했다는 전승, 기적과 영이의 서사였다. 그리하여 전래상으로서 많은 기적을 일으켰던 아육왕상계 불상과 출현과정이 신이했던 중국상들이 주로 복제되었다. 6세기 후반에 이르면 복제의 양상이 변화한다. ‘부처의 모습을 그대로 재현한 진용상’들이 새롭게 등장했다. 그리고 뛰어난 그림에 ‘感神通靈’의 능력이 있다는 인식을 반영해 張僧繇 같은 유명화가가 그린 불상이 전 계층에 걸쳐 널리 복제되었다. 복제상의 유통은 불교신앙의 확장을 의미한다. 그러므로 불교의 확장을 목표로 하는 승려들이 불상의 복제를 주도했다. 여기에 유력한 재가신자들 역시 原像이 가지는 영험을 공유하기 위해 불상의 복제에 나섰다. 그러나 두 계층에 의한 불상의 복제와 복제상의 유포는 일부 지역에 한정되었다. 隋 煬帝에 의한 복제상의 전국적인 유포는 이런 한계를 깨뜨렸다. 복제상의 전국적인 유포는 ‘황제권력에 의한 표준상의 정립’이라는 점에서, 과거와 다른 새로운 불교문화의 전개를 예고하는 것이었다.

This paper explores the aspects of Buddhist culture in Medieval China through the reproduction of Buddhist statues, which took place between the 4th and mid 7th centuries. Based on the analysis of the records and the existing Buddhist statues, I examined which Buddhist statues were reproduced, why they were reproduced, and who led the reproduction and its circulation. The most important factor in the reproduction of Buddhist statues was the legitimacy of the statues. The statues that were handed down in India, or that caused miracles, were believed to have legitimacy. Thus, the Asokan statues, which were known to have originated in India, and the statues made in China, which showed many miracles, were mainly reproduced. By the second half of the sixth century, the pattern of reproduction of Buddhist statues had changed. The statue as “true visage” which represent the image of Buddha appeared. And Buddha statues painted by famous artists were widely copied, reflecting the perception that outstanding paintings have the power to call miracles. The distribution of cloned Buddhist statues means the expansion of Buddhist faith. Thus, monks led the reproduction of the Buddhist statues. The powerful believers also began to cloning Buddhist statues to share its superpowers. In general, however, the duplicates created by the two classes were distributed only in some areas. The distribution of the Buddhist statues by the Emperor Yang of the Sui Dynasty(隋煬帝) broke this limit. The nationwide spread of the cloned Buddhist statues was a sign of the development of a new Buddhist culture different from the past in that it was the establishment of a standard Buddhist statue by the emperor.

본고는 ‘돌봄’과 ‘성’의 교차점으로 ‘섹스 로봇’을 본다. 돌봄을 위한 로봇조차 성적으로 대상화되는 현실은 ‘돌봄’과 ‘성’의 경계가 실은 모호함을시사한다. 우선은 ‘친밀한 로봇(intimate robots)’ 관련 쟁점들을 검토하여성범죄 예방 등 순기능을 기대하는 입장과, 반대로 반사회적 판타지를 증폭시키고 여성을 폄하할 것이라는 역기능을 우려하는 입장이 첨예하게 대립함을 지적한다. 이를 바탕으로 일본의 경우를 보기 위해 ‘러브돌’에 주목한다. 러브돌은 극사실주의 대신 의도적인 ‘인형성’과 고유한 ‘서사’를 부여받는데, 본고에서는 이 ‘서사’가 ‘모노즈쿠리 내셔널리즘’과 결탁함을 설명한다. ‘러브돌’은 저급한 ‘더치 와이프’가 아니라, 인형 공양 등이 상징하듯 전통과 장인 정신이 결합된 ‘일본다움(Japaneseness)’의 산물로 격상된다. 이는 ‘러브돌’에 투영된 남성중심주의적 판타지를 우수한 국가적 문화로서정당화하는 기제로 작동할 수 있다. 마지막으로 그러한 남성적 판타지가본질적으로 ‘재생산(reproduction)’이 거세된 안전한 친밀함을 추구함을지적한다. 이에 맞서는 상상력으로, 임신과 출산, 재생산하는 로봇을 둘러싼예술과 표상을 살펴본다. 이 상상력은 미래의 꿈이지만 동시에 나르시시즘적남성중심주의에게는 우울일 수 있다.

This paper views the sex robot as a point where caregiving and sexuality in- tersect. The fact that even care robots are sexualized suggests that the boundary between “ care ” and “ sex ” is, in reality, ambiguous. The paper first reviews debates on intimate robots, noting the sharp divide between those who expect positive out- comes such as the prevention of sex crimes and those who fear negative ones such as reinforcing antisocial fantasies or devaluing women. To examine the Japanese case, the discussion focuses on the lovedoll. Unlike hyperrealistic sex robots, the lovedoll emphasizes a deliberate“dollness” (nonhuman realism) and a distinctive “narrative.” This paper explains how this narrative aligns with Monozukuri(も のづくり) Nationalism. The lovedoll is elevated from a vulgar“Dutch wife” to a symbol of Japaneseness, combining tradition represented by doll memorial rituals and craftsmanship. This mechanism legitimizes the male-centered fantasy pro- jected onto the lovedoll as a form of superior national culture. Finally, the paper argues that this fantasy fundamentally seeks a safe intimacy purified of reproduc- tion. In contrast, it explores artistic works that depict reproductive robots desiring pregnancy and birth, an imagination that may embody both a dream for the future and a melancholic reflection on the narcissistic male-centered ideal.

이 논문은 회화 문화유산의 복원 현황과 AI 기술을 활용한 디지털 복원 방안을 제시한다. 국내에서는 디지털 복원 및 모사본 제작을 통해 회화 문화유산의 원형 복원을 한 사례, 국외에서는 AI를 활용한 복원 사례를 소개한다. AI는 회화의 패턴과 스타일을 학습하여 복원을 지원하 며, 복원 효과를 높일 수 있다. 이 과정에 기존에 제작된 원형 복원 모사본의 과정 및 이미지를 학습데이터로 활용 가능하다. 결론에서는 AI 기반 디지털 복원이 전통적 복원 방식과 조화를 이루어 문화유산의 원형 복원과 가치 보존에 기여할 수 있음을 강조한다. 특히, 고지도 및 산수화, 어진 및 초상화 관련 복원 등에서 강력한 도구로 작용할 수 있으며, 지속적인 기술 발전을 통해 더 많은 가능성을 열어갈 수 있다고 기대한다.

This paper presents the current state of restoration of pictorial cultural heritage and proposes digital restoration methods using AI technology. Domestically, there are cases of restoring the original form of cultural heritage through digital restoration and replica production, while internationally, multiple cases of restorations using AI exist. AI supports restoration efforts by learning the patterns and styles of paintings, thereby enhancing restoration effects. Previously produced restorations and reproductions can be used as AI training data. In conjunction with traditional restoration, AI-based digital restoration can contribute to the restoration and preservation of valuable cultural heritage. The continuing progress of AI establishes a powerful tool, especially in the restoration of old maps, landscapes, royal portraits, and other historical portraits, which creates new restoration possibilities.

Recently, the spread of video recording devices has increased, making it easy to see in our daily lives, and introducing them into fire investigations can provide information that is difficult to miss or identify in the field, so it can be useful. In the existing fire investigation technology, the main method was to analyze physical evidence such as burn patterns and debris and investigate the cause of the fire through eyewitness questions. However, It is a study on how to more accurately determine the ignition point and cause of the fire by using analysis technologies for images such as CCTV and black boxes collected at the fire site. Among the various image analysis techniques, the image compression analysis technique is a technique that can be easily applied, and as a result of experimenting and analyzing at various image reproduction speeds, it was confirmed that a certain double speed image compression helps the fire occurrence point and analysis.

Recently, the spread of video recording devices has increased, making it easy to see in our daily lives, and introducing them into fire investigations can provide information that is difficult to miss or identify in the field, so it can be useful. In the existing fire investigation technology, the main method was to analyze physical evidence such as burn patterns and debris and investigate the cause of the fire through eyewitness questions. However, It is a study on how to more accurately determine the ignition point and cause of the fire by using analysis technologies for images such as CCTV and black boxes collected at the fire site. Among the various image analysis techniques, the image compression analysis technique is a technique that can be easily applied, and as a result of experimenting and analyzing at various image reproduction speeds, it was confirmed that a certain double speed image compression helps the fire occurrence point and analysis.

코로나 19 시대에 다양한 미디어에 ‘디지털 휴먼’이 등장하게 되었다. 다만 ‘디지털 휴먼’의 정확한 정의 가 없으며,기술 연구와 활용은 많은 부분 사용되고 있지만, 학문 연구는 미진하다. 따라서 ‘디지털 휴먼’의 분류와 분석을 통해 다양한 분야에서 활동하고 있는 ‘디지털 휴먼’을 파악하고 활용할 수 있는 범위를 파악하여 ‘디지털 휴먼’의 메타버스와 다양한 미디어 플랫폼 환경에 적용될 수 있는 것을 파악할 수 있도록 기틀을 제시하고자 한 다. 본 논문은 ‘디지털 휴먼’을 역사적으로 고찰하였으며, 이를 기준으로 ‘디지털 휴먼’을 학문 자료를 통해 정의를 제시하였다 이를 통해 ‘디지털 휴먼’의 활용 분야를 고찰하여 분류하였다. 이를 통해 ‘디지털 휴먼’의 기술과 의미 를 알아보았다. 이에 본 연구는 ‘디지털 휴먼’에 대하여 새로운 정의와 사용분석 및 기술과 의미분석을 다양한 연 구자료를 수집해 분석한 연구이며, 각 ‘디지털 휴먼’의 사용장소와 ‘디지털 휴먼’ 수용자 인식의 차이를 분석하는 연구를 제시하고자 한다.

In the era of COVID-19, 'digital humans' appeared in various media. However, there is no accurate definition of 'digital human', and technical research and use are used in large part, but academic research is insufficient. Therefore, through the classification and analysis of 'digital humans', the framework is presented to identify the scope of 'digital humans' active in various fields and to identify what can be applied to the metaverse and various media platform environments of 'digital humans'. This paper historically examined 'digital human' and based on this, 'digital human' was presented with definition through academic data Through this, the field of use of 'digital human' was reviewed and classified. Through this, the technology and meaning of 'digital human' were investigated. Therefore, this study is a study that collects and analyzes various research data on new definitions, usage analysis, technology, and semantic analysis of 'digital human', and the next study aims to present the difference between the place of use of each 'digital human' and the perception of 'digital human' audiences.

VR과 스포츠가 결합하여 새로운 미래의 산업으로 자리를 잡아가고 있는 스크린골프 산업의 최초 성공 사례인 골프존과 관련된 사건인 대법원 2020. 3. 26. 선고 2016다276467 사건에서 대법원이 최종적으로 골프코스는 저작물이고, 골프존은 부정경쟁방지법 제2조 제1호 카목 위반으로 골프장과 경업관계로 확정함으로써 시뮬레이션 스포츠를 운 영하는 업체에게 골프코스 설계자의 저작물에 대한 이용허락과 부정경 쟁방지행위를 우회하기 위한 골프장 운영업체의 이용허락을 동시에 받아야 서비스를 제공할 수 있게 되었다. 그러나 VR을 이용한 스크린 골프는 시간, 비용, 날씨, 장소적인 제한을 극복하기 위하여 실제 골프장 을 이용하기 위한 전단계로 필드 골프의 대체재가 아니라 보완재로 스크린 골프장을 이용한다는 사실을 간과한 상태에서 골프코스의 저작 권 및 부정경쟁방지법을 적용함으로써 미래 산업이 어렵게 되었다. 이러한 상황에서 본고에서는 골프코스는 저작물이 아니거나, 저작물 이 인정된다고 하더라도 골프코스의 기능성으로 인하여 낮은 정도의 보호가 이루어지는 저작물로 인정되어야 하고, 골프코스를 저작물로 인정하는 경우에도 골프코스의 저작자와, 골프장의 클럽하우스의 저작 자는 분리되어야 하고, 골프코스는 저작권 제한 규정인 저작권법 제35 조에 따른 저작권자의 동의를 받고 공중에 개방된 장소에 항시 전시되는 저작물이므로 저작권법 제35조 제2항에 따라 자유롭게 복제하여 이 용할 수 있어야 하며, 제35조가 적용되지 않는 경우에도 골프코스의 대체재가 아니라, 보완재인 스크린 골프에는 공정이용 규정이 적용되기 때문에 저작권 침해가 되지 않고, 따라서 부정경쟁방지법으로도 규제를 받을 수 없다는 것을 주장한다.

As simulation golf system becomes popular in Korea, the Golfzon becomes the first successful simulation industry which combines Virtual Reality and sports. Under the changed environment by Virtual or Augmented Reality Technology, the Korean Supreme Court made a judgment on March 26th, 2020 (Case No. 2016다276467) for the first time authorship of golf courses in Korea. In the case, the Court the golf course may be a copyrightable because an author of a golf course expresses the whole aesthetical appearance of the golf course by taking into account natural elements and the golf Club is protected by Art. 2(1)(Ka) of Unfair Competition Prevention And Trade Secret Protection Act because between field golf club and simulation golf are in competition. However, the Court did not consider that simulation golf service which uses virtual reality to overcome the limitations of field golf such as time, cost, weather and the location is used as complements rather than substitutes for field golf as a preliminary step to feel actual golf courses. Due to the Golfzon case, Golfzon which provides simulation golf service should obtain the permission from the Golf Clubs as well as the permission from the creator of golf course to provide service the simulation service without any problems. Therefore, the one of the future industries which Korea should focus on has become difficult. In this situation, this paper argues golf course is not copyrightable, or even if it is copyrightable, the golf course should be less protected due to the functionality of golf course. Also, even though the golf course is protected, the author of golf course and the author of golf clubhouse should be separated. Moreover, because the golf course is exhibited at all times in the open place with permission of the copyright owner, Art.35, section 2 should be applied to the Golfzon which reproduce and use by any means the copyrighted works in the open place, and even though Art 35(2) is not applied to the case, because the simulation golf is a complement rather than substitute for field golf, the fair use provision should be applied.

전통음악 악곡을 범주로 한 거문고 관련 시도는 크게 악기개량의 시도와 복원연주 및 재현연주의 시도 두 가지로 나눠서 살펴볼 수 있었다. 첫째, 악기개량을 음고･음가･음량･음색으로 나누어 살펴보면 다음과 같다. 음고의 시도는 1969년부터 2014년까지 총 3회의 시도가 있었다. 첫 번째 시도는 정악용의 괘율을 위한 시도(1969)이며, 두 번째(1970년대)와 세 번째(1970년대) 시도는 정악･산조용 괘율을 위한 시도이다. 음가의 시도는 1997년에 1건, 2003년에 5건으로 총 6건(7종류)이 있었다. 음가 확장을 위해서는 줄의 진동과 관련 있는 부속품 개발, 줄이 악기에 닿는 면을 적게 하는 방법, 기존 악기 부속품을 변형시키는 방법 등이 있다. 음량에 관한 시도는 1997년부터 2002년 사이에 총 6건으로 공명판 추가 설치, 공명통을 변형, 악기 몸통을 변형하는 방법 등이 있었고, 음색을 위한 시도는 없었다. 둘째, 고음반과 고악보를 대상으로 한 복원연주 또는 재현연주의 시도는 다음과 같다. 고음반을 대상으로 한 연주 시도는 거문고 연주자의 주도로 2005년부터 2016년까지 4건(개인독주회 8회)이 행해졌다. 형태의 종류는 선율 재현연주(2건), 시김새 재현연주(1건), 선율 복원연주(1건)의 3종류가 있다. 음악의 종류는 주로 영산회상(가즌회상)과 산조이다. 고악보를 대상으로 한 연주시도는 2009년부터 2015년 사이에 3건(개인독주회 1건, 정기연주회 2건 외 다수 연주)의 복원연주가 행해졌다. 복원연주의 형태로는 역(譯) 복원연주, 역(譯)편곡 복원연주의 2가지 형태가 있다. 음악의 종류는 종묘제례악 전곡의 거문고선율, 현악취타의 거문고선율, 평조회상 중 하현도드리의 거문고선율이다. 이상 거문고의 개량에 대한 시도 및 <연주실제>로 본 복원연주와 재현연주의 시도를 살펴보았다. 악기개량의 경우 현재는 음고 이외의 음향개량은 멈추었거나 끝난 상태이다. 그 이유 중 하나는 거문고란 악기의 고유한 모습을 대하는 태도가 양적인 관심에서 질적인 관심으로 바뀌었기 때문이라고 생각한다. <연주실제>로 본 복원연주와 재현연주의 경우, 고악보 대상 복원연주는 기관 주도하에 이루어진 특징을 볼 수 있고, 고음반 대상 재현연주는 연주자 개인의 주도가 주를 이룬 특징을 볼 수 있었다. 거문고 연주자들이 고악보를 해석할 수 있는 능력을 갖추고 있음에도 고악보의 복원연주보다 재현연주에 치중한 이유 중 하나는 복원이 가진 불완전성 때문이라고 생각한다. 이러한 불완전성을 극복하기 위해서 복원에 관심 있는 거문고 연주자와 음악학자와의 협업의 장이 필요하다.

The attempts on Geomungo with the category of the traditional music were largely divided into two: improving the instrument, and attempting to reproduce and revive performance. First, it is as follows examining the improvement of the instrument from the aspects of pitch, time values, volume, and tone. There had been three attempts to improve the pitch of Geomungo from 1969 to 2014. The first attempt was for Gwaeyul for court music (1969), and the second and third (the 1970s) was for Gwaeyul for court and Sanjo. There have been total six attempts (seven kinds) to improve time values: one in 1997, five in 2003. These were developing components related to vibration of lines to extend the time value, reducing the contact surface of line and instrument, and modifying the existing components. For the volume, there had been six attempts from 1997 to 2002, such as an additional installation of sounding boards and modifying resonators or the body of the instrument. There has been no attempt to improve the tone. Second, the attempts for reproduction and restoration performance for ancient records and ancient scores were as follows. The performances of ancient records led by Geomungo players had been four times from 2005 to 2016(eight personal recitals). There were three types of performance: melody reproduction (2), Sigimsae reproduction (1), melody restoration (1). The types of music are mostly Youngsanhoesang(Gazunhoesang) and Sanjo. The performance for ancient scores had been three times from 2009 to 2015(one personal recital, two regular concerts, and many others). There are two types of restoration performance: translated restoration performance and translated arrangement restoration performance. The kinds of music are Royal Ancestral Rites music Geomungo melody, string music Chwita Geomungo melody, Hahyeondodery Geomungo melody in Pyeongjohoesang. Thus, the attempts to improve Geomungo and to reproduce and revive performance were examined as such. In the case of instrument improvement, the sound improvement other than for pitch is now stopped or ended. One of the reasons is that the attitude toward the unique instrument, Geomungo, has changed from quantitative interest to qualitative interest. In the case of reproduction and restoration performance seen in the actual performances, the restoration performances for ancient scores were done under the authority of the organization. On the other hand, individuals took main roles in the performance of ancient records. Although Geomungo players have enough ability to interpret ancient scores, one of the reasons for focusing on reproduction performance rather than restoration performance of ancient scores is due to the incompleteness of restoration. To overcome this incompleteness, it is necessary to collaborate with Geomungo players and musicologists who are interested in restoration.

The indigenous livestock have nutritional adaptive traits which affects the survival and reproduction. In mature goat does, nutrition levels are well known to play an important role in ovulation and fertilization. Therefore, the objective of this study was to determine the effects of five different dietary energy levels on reproductive characteristics in Korean Black goat does. Fifty goat does of 1 year age (32.2±5.9 kg) were stratified by body weight, and randomly assigned to 5 dietary treatments (10 goat does per treatment). The dietary treatment consisted of metabolic energy (ME) of the diets as follow; 1.88 Mcal/kg (T1), 2.05 Mcal/kg (T2), 2.14 Mcal/kg (T3), 2.50 Mcal/kg (T4) and 2.71 Mcal/kg (T5). At the kidding time, goats were monitored at an hourly and the time of birth, body weight and birth types (single, twins and triplets) of kids were recorded immediately after kidding. Kidding rate, gestation rate, reproduction protability and litter size in T2 groups were higher than other groups. In goat kids, birth weight was high in T5, but weaning weight and ADG of kids in T1 and T2 groups higher than other groups. The result of this study may suggest that feeding Korean Black goat does 2.05 Mcal/kg of ME in diets more effective role for goat reproduction. Further study will be necessary to assessment the effects of energy intakes on reproduction characteristics and estrus synchronization for artificial insemination in Korean Black goat does.

2000년대 초반 영화 『GO』의 성공은 문학과 대중문화영역 양쪽에서 실질적인 성공을 거둔 최초의 사례이자, 재일텍스트에 대한 일본 내 소비 방향을 질적으로 전환시킨 사건이었다. 이는 뒤이어 등장한 『피와 뼈』에 대한 일본사회의소비에서 ‘유사하게’ 재현되는데, 재일텍스트를 향한 유례를 찾아보기 힘든 이현상은 대중문화 영역을 중심으로 나타났다는 점에서 매우 유의할 만하다. 『GO』와 『피와 뼈』를 공통적으로 묶어주고 있는 것은 현대 일본 문화 속에서거의 자취를 감춘 ‘보수적인 아버지’이다. 두 작품 모두 ‘아버지의 이야기’를 주인공인 아들이 조망하면서 ‘자식들의 이야기’의 향방을 묻고 있는 구조를 가지고 있는데, 이는 기존 재일문학에서 전형적으로 다뤄 온 소재라는 점에서 일견관습적인 내러티브의 반복으로 볼 여지가 충분한 것이 사실이다. 하지만 자세히살펴보면 두 작품 모두 영화적 ‘재현’ 과정에서 아버지의 신체성을 강화시키는형태로 이미지를 조형하고 있음을 알 수 있다. 『GO』는 ‘이론’보다는 ‘신체’, ‘관념’ 보다는 ‘일상감각’에 충실한 삶을 아들로 하여금 선택하도록 하기 위해아버지의 ‘신체성’을 부각시키고 있고,『피와 뼈』는 문명 내지는 역사라는 속성을 배제시킨 초월적인 인간상을 아버지의 ‘신체성’ 강화를 통해 만들어낸다. 이는 원작의 복잡한 서사구조를 대중 문화적 ‘재현’ 과정에서 단순화시키고자 했던 전략에서 기인한 것이라 할 수 있는데, 이러한 변용에도 불구하고 원작의 주제를 충실히 담아냄으로써 두 작품은 예술성을 담보하면서 일본 대중들의 호응을 이끌어 내는데 성공한다. 한편 2000년대 이후 재일텍스트에 대한 일본 내 소비가 현대 일본 문화 속에서 거의 자취를 감춘 보수적인 가부장적 이미지에 기반하고 있다면, 1990년대 일본 버블경제 붕괴 이후 일본 사회가 남녀의 젠더역할모델을 새롭게 확립해 가는 일환으로 ‘재일아버지상’을 소비하고 있다는 관점 역시 가능하다. 전통적인 남성상을 소환하려는 일본사회의 욕망이 재일텍스트의 소비를 통해 우회적으로 표출되었고, 이것이 두 작품의 성공을 가져왔다면, 이들 사례를 통해 일본문화 내 특수한 영역에 갇혀 있던 재일문화 전반에 걸친 외연 확장을 전망할수 있다는 점에서, 향후 보다 정치한 필요한 시점이다.

In the early 2000s, the success of the film “GO” was the first case of practical success in both literary and popular culture, and it was a qualitative shift in the direction of consumption of zainichi text in Japan. It is very remarkable that this phenomenon, which can not be found in analogy to the texts of zainichi, appeared in the popular culture area because it is 'similar' to the consumption of Japanese society in the following years. “GO” and “blood and bones” are common ties in the modern Japanese culture is a ‘conservative father’ almost hidden trace. Both of these works have a structure in which the main character, “Father's Story,” looks at the direction of the “story of his children”, which is a typical story in traditional zainichi literature. It is true that there is enough room to see. However, if you look closely, you can see that both films form an image in the form of strengthening the father's physicality in the film' reproduction 'process. “GO” emphasizes the father's “physicality” in order to let the son choose a life that is faithful to the “everyday sense” rather than the “body” and “idea” rather than the “theory”, and “blood and bones” And the father of ‘transcendental human image’ that excludes the property of ‘father’ is created through strengthening. This can be attributed to the strategy that was intended to simplify the complex narrative structure of the original work in the process of reproducing the popular culture. Despite this transformation, both works faithfully convey the theme of the original work, It succeeds in bringing out. On the other hand, if consumption in Japan of zainichi text since the 2000s is based on a conservative patriarchal image that has been largely ignored in contemporary Japanese culture, Japanese society has newly established a gender role model for men and women after the bubble economy collapse in the 1990s It is also possible that the company is consuming 'Father's Award' in Japan. If the desire of Japanese society to summon a traditional men's prize was expressed by the consumption of the zainichi text and it succeeded in the success of these two works, these examples will be used to expand the overall culture of zainichi, It is necessary to set a more stable future.

기존 SRAM 기반 PUF (physical unclonable function)는 난수 생성 및 키교환에 사용된다. SRAM에서 생성된 출력 값은 일정하게 유지되어야 하나, 외부 환경에 의해 변화하는 문제가 발생된다. 본 논문은 듀얼 안티퓨즈 OTP (one time programmable) 메모리를 SRAM 기반 PUF에 채택한 새로운 구조의 D-PUF (deterministic PUF) 회로를 제안한다. 제 안된 PUF 회로는 SRAM에서 한 번 생성된 출력값을 일정하게 계속 유지시켜 PUF 회로의 신뢰성을 향상시킬 수 있다. 우선, 높은 보안 수준을 갖는 안티퓨즈를 이용하여 OTP 메모리를 구성하였다. SRAM은 크로스 커플 인버터쌍의 미스 매치를 이용하여 전원이 들어온 후 초기값을 임의로 생성하고 이를 출력한다. 마스킹된 출력값은 안티퓨즈 OTP ROM (read-only memory)에 난수값으로 프로그램된다. 한번 프로그램된 ROM 값은 되돌려지지도 변화하지도 않는다. 따라 서, 제안된 D-PUF 회로는 SRAM의 출력값을 OTP 메모리에 저장시켜 한 번 결정된 PUF 출력값을 계속 유지시킨다. 제안된 D-PUF의 출력은 동작 전압 및 온도 변화 등과 같은 외부 환경 변수에 영향을 받지 않아 신뢰성이 향상된다. 따 라서, 제안된 D-PUF는 강력한 오류 정정 코드없이 사용하더라도 안정적인 동작을 수행할 수 있다.

A typical SRAM-based PUF is used in random number generation and key exchange process. The generated out puts should be preserved, but the values are changed owing to the external environment. This paper presents a ne w D-PUF logic employing a dual anti-fuse OTP memory to the SRAM-based PUF. The proposed PUF can enhanc e the reliability of the logic since it can preserve the output values. First, we construct the OTP memory using an anti-fuse. After power up, a SRAM generates the random values owing to the mismatch of cross coupled inverter p air. The generated random values are programed in the proposed anti-fuse ROM. The values that were programed i n the ROM at once will not be changed and returned. Thus, the outputs of the proposed D-PUF are not affected by the environment variable such as the operation voltage and temperature variation, etc. Consequently, the reliability o f the proposed PUF will be enhanced owing to the proposed dual anti-fuse ROM. Therefore, the proposed D-PUF c an be stably operated, in particular, without the powerful ECC in the external environment that are changed.

Many countries have implemented genetic evaluation for fertility traits in recent years. In particular, reproductive trait is a complex trait and need to require a system-level approach for identifying candidate genes related to the trait. To find the candidate gene associated with reproductive trait, we applied a weighted gene co-expression network analysis from expression value of bovine genes. We identified three co-expressed modules associated with reproductive trait from bovine microarray data. Hub genes (ZP4, FHL2 and EGR4) were determined in each module; they were topologically centered with statistically significant value in the gene co-expression network. We were able to find the highly co-expressed gene pairs with a correlation coefficient. Finally, the crucial functions of co-expressed modules were reported from functional enrichment analysis. We suggest that the network-based approach in livestock may an important method for analyzing the complex effects of candidate genes associated with economic traits like reproduction.