아시아의 동안에 위치한 한반도는 수리적, 지리적 요인에 의해 지역에 따라 강수현상 및 탁월 일기의 다소와 그 계절변화가 크다. 이러한 탁월한 날씨의 특징은 한국의 하계의 강수출현율과 그 순변화에 잘 반영되고 있다. 본 논문은 한국의 78개 관측지점의 하계강수량(1991~2003)의 순별 평균값에 대해 주성분분석법을 응용하여 하계강수량의 순변화형을 추출하고, 그의 공간스케일과 강수량의 다소에 따라 강수지역구분을 한 것이다. 주성분 분석에 의해 추출된 주성분 벡터와 진폭계수(Rs)에 따라 하계 강수량 순변화의 전형적인 특징은 두 개의 순변화형으로 표현되며 그 누적기여율은 64.3%이다. 또한 한국의 하계 강수량의 순변화형은 A~K형까지 9개가 추출되었고, 강수지역은 17개형으로 분류되었다.

We present results of the VLBA observation toward the radio continuum and water maser emissions in a nearby LINER galaxy NGC 1052. The jet structure observed in 2000 is similar to that in 1998, and the two jet structures in 1998 and 2000 support the sub-luminal motion with apparent velocity of 0.26c. Distribution of water maser spots are located ~0.05 pc shifted to southwest from the component which is supported to be the nucleus, and no rapid positional change of the water maser gas with respect to the central engine is seen from 1995 to 2000. The maser gas is positionally coincident with a plasma torus, and the position of the maser gas relative to the nucleus is stable from 1995 to 2000. The maser gas in NGC 1052 could be explained to be associated with the nuclear circumnuclear torus or disk like the situation found in the nucleus of NGC 4258.

This study, conducted from April to May 2004 in the metropolitan and surrounding areas of Seoul, Korea, was performed to show the relationship between indoor and outdoor levels of PM10 and PM2.5 concentrations in 14 residential houses. In addition, indoor/outdoor ratios of PM10, PM2.5 concentrations were calculated. The relationship between the PM10, PM2.5 concentrations and respiratory symptoms by self recording questionnaire of 14 houses was investigated. In conclusion, although the results of this study failed to establish the relationship between PM10, PM2.5 concentrations and respiratory symptoms among residents, the levels of indoor PM2.5 were significantly higher than those of outdoor levels. The indoor PM10, PM2.5 concentrations were increased by the amount of time spent of residents. Further research should be directed to establish the relationship between PM10, PM2.5 concentration and respiratory symptoms.

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.