70,294 research outputs found
Classifying inhibitory synapses in the cortex: beyond cell types
No full textSeung-Hee Lee describes findings published in 2000 that gave us insight into the principles by which different types of GABAergic synapses are organized in cortical networks.11Nsciescopu
Seung-Taek Lee
No full textAs one of the first generation of South Korean artists to embrace radical experimentation in art, Seung-Taek Lee has been at the forefront of Korean avant-garde art since the 1950s. Through his diverse and highly individualistic practice, Lee questions established political, social and artistic values, thereby consistently pushing the boundaries of art and culture. While Lee’s artistic experiments range from soft sculpture and site-specific installation to land art and performances, he is best known for his conceptualisation of ‘non- sculpture’ which not only signifies a rejection of values traditionally attributed to sculpture, but also of existing ideas or orders. The works shown in Lee’s first-ever European solo exhibition at MOT International are mainly from the period between late 1950s and early 1970s, which is regarded as the artist’s most experimental phase, resulting in works such as Wind from East (1971) and Fire Ceremony (1964).
Lee often works in series, at times by repeatedly using same materials and at others by revisiting similar motives or concepts: both Godret Stone (1957) and Paper Tree (1970) belong to Lee’s early binding and wind series respectively. Inspired by the stones traditionally used in tying knots when plating handcrafts mats, Lee created Godret Stone by binding bifurcated stones along the flat and horizontal wooden bar with a cord. Precisely through this practice of binding an object (or combining disparate objects) using a rope, scarf or an iron cord, Lee subverts the natural material properties of the object, challenging the established notion of physical materiality. The precariously hanging stones of Godret Stone appear malleable and ‘squeezable,’ having lost their solid materiality. This effect is heightened to a greater extent in Soft Rock, which is one the largest and most ambitious works from Lee’s binding series. While the subversion of the inherent material qualities serves as a strategy of questioning existing mode of perception, it also expressively visualises a power relationship between the enveloping material and the one being enveloped.
In the 1960s Lee began to experiment with the concept of dematerialisation, extensively working with transient materials such as wind, water, smoke and fire. Paper Tree (1970) and Wind-Folk Amusement (1971) are Lee’s signature works from the wind series, for which the artist used everyday materials such as cloths, papers and vinyl to visualise the sheer force of the wind. Arranged specifically for the space at MOT International, the Paper Tree installation derives from a series of Lee’s early outdoor installations where strips of clothes were tied along the tree branches to flutter and billow in the wind, thereby giving form to the transience of nature. The photographic documentation of Wind Folk Amusement dramatically captures the energetic movement of the wind which is visualised by the unravelling and fluttering of an enormous 80 meter long scarlet cloth in the sky. Natural landscape is not only used as a backdrop to his performances and outdoor installations, but nature itself acts as an artistic medium.
What this highly eclectic and experimental body of works have in common is their references to Korean traditions and folk sensibilities. Working in the aftermath of the Korean War, Lee actively responded to (or reacted against) the rapid social, political, economic and cultural changes that he witnessed and experienced. With an increasing influx of foreign cultural influences, which has been facilitated by globalisation, Lee sought to introduce art that reflects modernity and cultural identity specific to Korea. One of the ways in which he achieved this was by incorporating traditional objects, rituals and materials that are imbued with the unique history and culture of the nation. For his land art and performance works, Lee even purposely chose historical landmarks such as burial mounds or Han River, the sites which are symbolic of the historical past of Korea as well as the current socio-political situation of the divided nation.
On the other hand, the dense strips of white mulberry papers of Paper Tree which seem to grow out from the broken tree branches, recalls shamanistic rituals which traditionally take place in remote areas near mountains. In fact, Lee’s interest in shamanism and its status as a marginalised folk belief in Korea appears frequently throughout his oeuvre. Lee’s Wind-Folk Amusement performance is yet another example which has a visual reference to Korean folk festivals where colourful flags similar to the scarlet cloths used in Lee’s performance are hung on the trees.
This exhibition thus presents works of an artist who is currently being re-evaluated by the international art scene as arguably one of the most radical and experimental artists in the East Asia region in the 20th century. The show not only brings together Lee’s signature works, but for the first time, it also introduces the Untitled series (1968) which are abstract self-portraits of the artist. While Lee’s artworks provide an insight into understanding his experimental artistic practice, they also offer an alternative perspective to the rich and diverse avant-garde art scene in East Asia.
Seung-Taek Lee was born Kowon, North Korea, 1932 and lives and works in Seoul. Selected exhibitions include Seung-Taek Lee, Sungkok Art Museum, Seoul (2012); Modern Art of Korea & Australia 1976-2011, National Museum of Contemporary Art, Gwacheon (2011); Gwangju Biennale, Gwangju (2010); Beginning of New Era, National Museum of Modern Art, Seoul (2009); Lines the Space, Gyeonggi Art Museum, Ansan, Korea (2007); New Acquisition Exhibition, National Museum of Contemporary Art, Gwacheon, Korea (2006); Art-60s-70s Experiment, National Museum of Contemporary Art, Gwacheon, Korea (2001). Lee participated in the 6th Paris Biennial (1969) and 3rd Sao Paolo Biennial (1970). In 2009 he was awarded the Nam June Paik Art Center Prize
World premiere of White Shadow by In-Sun Cho
No full textExtent : 12 minutes This performance on 3rd December 2006 presented the World premiere of White Shadow by In-Sun Cho, performed by Gabriella Smart and Seung-Eun Lee. The piece was specially commissioned and the performer collaborated with the composer.Gabriella Smart (piano) and Seung-Eun Lee (oboe
Eulomalus longipunctatus Seung et Lee 2019
No full textEulomalus longipunctatus Seung et Lee, 2019 MATERIAL EXAMINED. Russia: Primorsky Krai: Ussuri Dist., near Kamenushka, 25 km to SE from Ussurijsk, 20.VI 1991, 1 ex., leg. S.A. Kurbatov (CSCA); near Kravtsovka, 43.3645°N 131.6389°E, ~ 115 m, in rotten Tilia sp., 7. VI 2019, 3 ex., S.A. Kurbatov (CSCA & VNIIKR). DISTRIBUTION. Russia (new record): Primorsky Krai. South Korea (Seung & Lee, 2019).Published as part of Tishechkin, A. K., Zinchenko, V. K. & Sergeev, M. E., 2022, New and little known Histeridae species (Coleoptera) from Russia with a synonymy note, pp. 11-16 in Far Eastern Entomologist 467 on page 13, DOI: 10.25221/fee.467.2, http://zenodo.org/record/739965
Production of Biologically Active Human Granulocyte Colony Stimulating Factor in the Milk of Transgenic Goat
No full textJung Ho Ko, Chul Sang Lee, Seung Won Jin, Sang Tae Shin, Ja Shin Koo, Kyung Kwang Lee, Ook Joong Yo
Accelerating the Lee-Seung Algorithm for Nonnegative Matrix Factorization
No full textApproximate nonnegative matrix factorization is an emerging technique with a wide spectrum of potential applications in data analysis. Currently, the most-used algorithms for this problem are those proposed by Lee and Seung. In this paper we present a variation of one of the Lee-Seung algorithms with a notably improved performance. We also show that algorithms of this type do not necessarily converge to local minima
6e. Lee Seung-yun - Korean Crisis
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/448340Dates are dates of meeting. Dates of creation are unknown.312558
Sub-item: [2020.0047.00319] "6e. Lee Seung-yun - Korean Crisis
World premiere of White Shadow 11 by In-Sun Cho
No full textRoles : Gabriella Smart, pianist ; Seung-Eun Lee, oboe ; Paul Lin, percussion. Extent : 12 minutes. Performed as part of the OzAsia Festival. Sponsored by the Adelaide Festival Centre. Broadcast by ABC Classic FM
Lee, Seung-Chul
No full text학위논문(석사)--아주대학교 산업대학원 :기계공학과,2011. 2본 연구에서는 스프루 두께 변화에 따른 사출성형품 성형주기에 초점을 맞추어 CAE 해석과 실험을 시행하였다.
CAE 해석에서 얻고자 하는 유동 현상들과 사출압력, 시간별 온도 변화에 따른 냉각 속도를 중심으로 살펴보았고, 실험에서는 여러 스프루 부시를 제작하여 스프루 두께변화에 따른 성형주기를 확인했으며, 일정한 성형조건으로 취출 시간을 달리함으로써 제품의 변형 정도를 확인하였다. 그리고 접촉식 온도측정기를 이용하여 스프루 두께변화에 따른 성형품 온도를 파악하였으며 플라스틱 재료인 ABS(acrylonitrile‐butadiene styrene)를 더불어 사용하였다.
스프루 두께 증가는 압력 강하를 감소시키고 고화 시간을 증가시켰으며, 냉각시간이 길어짐에 따라서 성형 주기도 큰 변화를 보여줬다. 녹은 사출재료(플라스틱)는 금형으로 유입되면서 빠른 냉각이 이루어진다. 냉각을 방해하는 요소로 점성가열 효과가 있지만, 상대적으로 냉각 효과가 크기 때문에 빠른 고화가 이루어진다. 국부적으로 살 두께가 두꺼운 부분에는 냉각 속도 차에 의해 수축현상이 예상되었고, 사출 속도와 사출 압력 변화를 통해 스프루, 런너, 게이트, 캐비티의 살 두께 변화에 의한 고화 시간의 변화에서 적절한 성형주기를 예상할 수 있었다.
본 연구의 결과로 사출재료(플라스틱)의 고화 시간을 기준으로 적합한 스프루 굵기가 어느 정도인지를 알 수 있게 하였고, 실험의 결과로부터 제품 살 두께에 따라 성형주기가 어떻게 변화하는지를 알 수 있었다.제1장 서론 1
1. 연구분야 소개 1
2. 연구 동기 및 목적 3
3. 연구 내용 4
제2장 본론 5
제1절 CAE 5
1. 개요 5
2. 전처리 단계 6
3 해석 결과 및 분석 10
제2절 실험 19
1. 스프루 부시 형상 19
2. 시험 장치 21
3. 실험 재료 24
4. 실험 방법 25
5. 실험 조건의 설정 27
6. 실험 결과 및 분석 28
제3절 연구 결과 비교 및 분석 33
제3장 결론 35
참고문헌 38
Abstract 39MasterThe CAE analysis and experiments were carried out on this study which placed the focus on molding cycle of injection molding product by the variable thickness of the sprue.
Fluid flow, ejection pressure and cooling rate according to temperature change over time were investigated in detail by CAE analysis. And Many different kind of sprue bushings were made and checked molding cycles regarding to the variable thickness of them. In addition ejecting time was assigned differently under the same molding condition and transformation‐range of the product were figured out.
The temperature of molding product by the variable thickness of the sprue was tested with touch thermometer. plastic material, ABS(acrylonitrile‐butadiene‐styrene), as the standard of judgment.
Increasing the thickness of the sprue decreased falling pressure but increased solidity time. This showed big variation of molding cycle according to taking cooling time longer. Melted injection material(plastic) was cooled down fast by flowing into a mold. Even though there was a factor, heating‐viscosity‐effect, which interrupted cooling, solidity become quick because of its big effect on relative cooling.
A sink mark in part which was thicker than other area due to different cooling rate. and reasonable molding cycle was expected in variation of solidity time by variable thickness of sprue, runner, gate and cavity through different ejection speed and pressure.
It was found in this study proper thickness for the sprue regarding with solidity time of ejection material(plastic). And also it was found how variable molding cycle goes depending on the thickness of the product
Kmentophylus albopilosus Duwal & Yasunaga & Lee 2010, comb. nov.
No full textKmentophylus albopilosus (Duwal, Yasunaga & Lee, 2010) comb. nov. Aplagiognathus albopilosus Duwal, Yasunaga & Lee, 2010: 6.Published as part of Duwal, Ram Keshari, Yasunaga, Tomohide & Lee, Seung-Hwan, 2010, Kmentophylus nom. nov., a new substitute name for Aplagiognathus (Heteroptera: Miridae) in Acta Entomologica Musei Nationalis Pragae 50 (2
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