이 논문은 오늘날 ‘단색화’로 명명되는 한국 추상화의 한 경향에 대한 세 개의 반성적 질문을 던 지고, 그에 대한 답을 모색하고자 한다. 첫째 질문은 단색화를 진정 독자적인 유파로서, 긴밀한 이념과 그 실천의 집약체로서 형성된 한국적 미술운동 또는 유파로 볼 수 있는가이다. 둘째 질문은 오늘날까지 관례적 정설로 자리 잡아 온 견해로서 ‘단색화는 진정 한국성 또는 한 국적 미의 반영인가’이다. 셋째 질문은 단색화의 거의 공식화된 영문표기인 ‘Dansaekhwa’와 그것을 정당화하는 담론 은 타당한가이다.

In terms of element and process, art today has already been fully systemized, yet tends to become even more systemized. All phases of creation and exhibition, appreciation and education, promotion and marketing are planned, adjusted, and decided within the order of a globalized, networked system. Each phase is executed, depending on thesystem of management and control and diverse means corresponding to the system. From the step of education, artists are guided to determine their styles and not be motivated by their desire to become star artists or running counter to mainstream tendency and fashion. In the process of planning an exhibition, the level of artist awareness is considered more significant than work quality. It is impossible to avoid such systems and institutions today. No one can escape or be freed from the influence of such system. This discussion addresses a serious distortion in the selection system as part of the system connotatively called "art museum system,"especially to evaluate artistic achievement and aesthetic quality. Called "studio system" or "art star system," the system distinguishes successful minority from failed absolute majority and justifies the results, deciding discriminative compensations. The discussion begins from work by Hunter Jonakin and Dan Perjovschi. The key point of this discussion is not their art worlds but the shared truth referred by the two as the collusive "art market" and "art star system." Through works based on their experiences, the two artists refer to these systems which restrict and confine them. Jonakin’s Jeff Koons Must Die! is avideo game conveying a critical comment on authoritative operation of the museum system and star system. In this work, participants, whether viewer or artist, are destined to lose: the game is unwinnable. Players take the role of a person locked in a museum where artist Jeff Koons’retrospective is held. The player can either look around and quietly observe the works, which causes a game-over, or he can blow the classical paintings to pieces and cause the artist Koons to come out and reprimand the player, also resulting in a game-over. Like Jonakin, Dan Perjovschi’s some drawings also focuses on the status of the artist shrunken by the system. Most artists are ruined in a process of competition to survive within the museum system. As John Burger properly pointed out, out of the art systems today, public collections (art museums) and private collections have become "something unbearable." The system justifies the selection system of art stars and its frame of reference, disregarding the problem of producingnumerable victims in its process. What should be underlined above all else is that the present selection system seriously shrinks art’s creative function and its function of generating meaning. In this situation, art might fall to the level of entertainment, accessible to more people and compromising with popularity. This discussion is based on assumption and consciousness on the matter that this situation might cause catastrophic results for not only explicit victims of the system but also winners, or ones defined as winners. The system of art is probably possibleonly by desire or distortion stemmed from such desire. The system can be flourished only under the economic system of avarice: quantitatively expanding economy, abundant style, resort economy in Venice and Miami, and luxurious shopping malls with up-to-date facilities. The catastrophe here is ongoing, not a sudden emergence, and dynamic, leading the system itself to a devastating end.

The history of art during the first half of the last decade was founded the discussion with highly impressive and confident. The art might establish its unique area based on self recognition at that era. The self-confidence of modern art may be possible on enlightenment, which is the firm relationship for knowledge and reality. However the faith of modernism which shows rational tendency, objective, and the existence of universal knowledge has been drastically doubted and criticized thereafter. A internal ideological system which had leaded the modern art was exhausted. Postmodernism revolved to the dramatic openness leaning against the deoedipalizational confession. According to the dissipation of the vitality of modern art postmodern art has been evolved and then various phenomena which follow the trends has been emerged. The avant-garde and resisteive attribute of modern art was diluted fast due to the influx of popular culture. As time goes it can be attracted by spectacle taste than metaphysical peculiarity. It has to inevitably justified the drift of light and quick themes, contents, and images. Such as these phenomena realistically shows fact that postmodern art had been failed to open a new chapter of consilience which intermediates beauty and usual communication to overcome the solipsism of modernism. A trial to pursuit the opened esthetics conceived more ‘heroic’ ‘Star-Subject’ than before by dismantling the modern ‘Hero-Subject’. Postmodernism has been recorded as a regression of art, which is the technology of profound spirit that mitigates antagonism and confrontation and mediates mutual encountering of human being. Prevailing of postmodern freedom had been accompanied by popularity, osetentation consumption, marketing, gambling level exitement, mixtures of desires with price fluctuations. We witness ‘self-confinement’ and ‘lasting absence of exit’ phenomena in postmodernism ideology and practice. We have to deal postmodernism as an ‘ideology which closes the discussion for the future’ in the context of ‘absence of way’ at this point. We are going to investigate how postmodern ideology and practice takes part in the prospection beyond thereafter through discussion. We also pay attention to the ‘absence of prospection’ as a internal problem in itself nevertheless mention the three merge points such as tradition or memory, earthy thought, the self who confrontation others as the clue of prospecting thought which is allowing coming over postmodern absence.

Nous obserbons dans le champs de l’art aujourd’hui, le changement radicalprovoquant étant donné que le pouvoir du marché de l’art s’augmente de plus en plus. C’est pour cela que le champ du discours de l’art n’est actuellement plus formé par desnotions esthètiques artistiques, mais par celles qui sont réservées au domaine de l’économie et du marché. Il n’est plus significatif de croire la valeur esthètique de l’oeuvred’art, puisque l’esthètique elle-même ne fonctionne plus. Par contre, le système de donnerle prix à l’oeuvre d’art fonctionne rigoureusement. En plus, cette situation s’aggrave étantdonné que la mondialisation du marché de l’art s’installe avec rapidité. Malgré lamondialisation de l’art, des gens qui habitent par exemple à Séoul ne peuvent pas s’approcher facilement de ce qui se passe à New York, le vrai centre de l’art contemporain.Dans cette situation, le champ de discours de l’art n’a pas d’autre solution de se rétrécirremaquablement et le sujet de discussion sur le grand art est remplacé par celui du successde l’art. Cette recherche est arrivée à remarquer que le système du foire internationale de l’art fonctionne comme une locomotive dans le marché de l’art qui est le vrai dominateur del’art contemporain. Aujourd’hui les grands clients du monde de l’art et les jeunesspéctateurs, les clients de l’avenir s’assemblent autour de quelques foires internationalesréputés qui ont de l’autorité. C’est ainsi que l’achat et la vante de l’oeuvres d’art estsuffisamment mondialisé et que le système local du marché est dérangé et s’éffondrégravement.Malgré la différence significative, la majorité des galeries d’art lacaux s’oblige desuivre à la suite du style du foire internationale de l’art. C’est la raison pour laquelle quecette recherche se fait une idée nette que la prospérité actuelle du marché de l’art n’est quela situation économique ou financière. A ce stade de la réflexion, cette recherche arrivera à poser une question primordialeci-dessous: “Si l’art qu’on à l’intention de proclamer ne serai plus possible de faire réfléchirsur la liberté et la solidarité humain, la dignité de l’homme, cet art n’est plus autre choseque l’insignifiance. Au lieu de parcourir divers phénomène du marché de l’art aujourd’hui, cetterecherche fixera son attention sur la réalité du foire internationales de l’art. Dans cecontext, cette recherche sera composée par trois chapitres donc le première essayera derépondre á la question de son influence extraodinairement puissante. Le deuxième chapitreessayera d’analiser la réalité et la source du pouvoir du foire internationale de l’art. Nousessayeront au troisième chapitre de configurer le point de vue critique qui permettra debien comprendre notre sujet.

In this report, we provide the focus on suggesting a method of estimating and measurement of CBM(Customer Behavior Model). Through the use of internet, a new trend of business for e-CRM on B2C Web Site known as EC has emerged. The purpose of this study is to identify the relationship between the customers of a shopping mall and CBM characteristics. It can be used to gain a better understanding of customers. From this we can determine trends, and so refine business toward customer's needs and target new products to particular customer groups. Result shows that there is a significant relationship between the customers pattern of shopping mall and CBM, CVM(Customer Visit Model).

Many technical and nontechnical issues hinder enterprise wide workflow management. The most significant technical issue is the inability to deal with the heterogeneity among users, workflow types, and WFMSs. Not all users demand the same workflow functionality, so user interfaces of different levels of sophistication are required. Because workflow types cannot always be fully predefined, they often need to be adjusted or extended during execution. Unlike relational database management systems, however, each WFMS often has differing workflow metamodels. This leads to incompatibility between WFMSs, making integration into an environment comprising many heterogeneous WFMSs a troublesome and sometimes impossible task. Current Workflow system consists mainly of Database system. It contains some problems like that the integration relationship among system processes cant be expressed properly. This research has been focused on two phases that should be considered in the Workflow system. First of all, the first phase is the analysis phase; one of its role is to figure out independent execution task unit(Workflow component). The second phase is design phase that provides with the framework to execute these task units actively. The Workflow component extraction method in the analysis phase uses a analysis method called C-C Net and, in the design phase, the architecture that makes the these Workflow component executed actively is provided. Through this research, each process is divided into a task unit and more effective Workflow system could be formed by executing these units actively. Current system layer calls task units, on the other hand, the Workflow system this research implemented provides with the architecture that places a layer between them that controls task units actively.

Studies on western art in Korea has been caught in a dilemma that they could deal with only those things which had been arranged according to their ‘historical generalization’ in their contexts because of the bounds of time and space. It is not trivial that such conditions affect art studies in Korea. Access to the original texts and to their contexts of production is so restricted that the studies on them are prone to be superficial. And it is not independent on the politics of Korean art scene. Such factors are on the background of Korean art’s excessive ‘assimilation or accordance’ with western art. The domestic studies on western art history and art theory have failed to notice the differences in context and Korean art has simply mediated or reproduced the restricted information by those studies. Also the studies on western art in Korea have been made use of as a justifying method of one’s own academic domains. In such situations we should lead the studies on western art history and western art theory to a more reflective direction and confirm that the studies should not have any privileges of the realities. And we should try to reform a scholarship which participates in our life and existence. The field of domestic studies on western art history and western art theory should free itself from the invention of objectivity or the neutrality of mechanical reading and turn its eyes to the realities of life where events happens. Constantly suggesting which way Korean art and world art should go has to be the field’s new coordinates.

Today's environment of enterprise is changing. They have to face customers' demands with the right product, the right service and supply them at the right time. And aIso cut down logistics and inventory cost and bring up the Profit as much as they can. This means the change of putting enterprise first in importance to putting customer first in importance. therefore to correspond to customer's demand, shorting lead time is becoming a essential condition. The answer to this changes of environment is supply chain management In this study, we use Goldratt's drum-buffer-rope scheduling in between manufacturer and supplier. And when shortage of inventory occur, search for the supply chain's CCR. Pressing CCR for more production, and supply Inventory from logistic center to guide for inventory buffing. using logistic warehouse between manufacturer and supplier, can execute function of buffer.

오늘날 기업환경은 고객의 요구에 대응하여 적시에 효율적으로 상품과 서비스를 공급하고 전체비용의 대부분을 차지하는 물류와 재고비용을 줄여 기업의 이윤을 극대화하는 것으로 변화하고 있다. 예전에 기업위주의 시장형성에서 고객위주로 시장이 변화하고 있는 것이다. 이에 따라 기업은 고객의 요구에 능동적으로 대응하기 위하여 리드타임의 단축이 필수적인 요소가 되어가고 있다. 이러한 기업환경에 변화에 따른 대안으로 나온 것이 실시간 제조와 공급사슬망관리(Supply Chain Management : SCM)이다. 본 연구는 실시간 제조를 지원하기 위하여 제조업체와 협력사간의 물류에 있어 Goldratt의 Drunm-Buffer-Rope 스케줄링을 이용하여 물류창고라는 Buffer를 두어 협력사중 재고의 부족현상이 일어날 경우에는 공급체인상의 능력제약자원(Capacity Constraint Resource: CCR)을 찾아 능력제약자원이 되는 협력사에 대하여 생산을 독촉하고 물류창고에서는 부족재고에 대한 불출을 개시하여 재고의 완충을 도모하고자 한다. 제조업체와 협력사간의 정보를 실시간 감시시스템(Real-Time Monitoring System : RTMS)를 응용하여 웹상에서 공유하며, 실시간 거래가 가능토록하는 공급사슬망 구축에 관한 연구와 이를 프로그램 구현을 통해 실제적으로 시험해 보고자 한다.