The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.

본 연구에서는 모발의 내부 및 외부구조에 자외선이 미치는 영향에 관하여 조사를 수행하였다. 자외선이 조사된 모발의 형태학적 및 화학적 구조의 변화를 알아보기 위해 주사전자현미경(SEM), 투과전자현미경(TEM), 공초점레이져주사현미경(CLSM) 등을 사용하였다. SEM상에서 자외선이 조사된 모발은 자외선에 의한 화학적 산화반응에 의해 표면이 거칠고 부풀어진 형태를 보였다. 이황화결합(disulfide bond)의 산화에 의한 시스테인산(cysteic acid)의 분해로 팽윤부위가 관찰되었다. 또한 자외선 조사에 의해 표면색의 변화를 나타내었다. TEM 분석결과 버진헤어(virgin hair)의 경우에는 매끄러운 표면구조를 나타내었지만, 자외선 조사모발에 있어서는 거칠고 모수질층이 갈라진 형태를 보여주었다. 모피질층에 존재하는 멜라닌 입자의 크기가 감소하고 소실되는 것이 관찰 되었다. CLSM에 의해 3차원적 구조의 입체영상을 얻을 수 있었으며, 광학분할에 의해 버진헤어는 강한 형광을 나타내었지만, 자외선 조사모발은 낮은 형광을 보여주었다. 이는 버진헤어의 경우 자동형광을 나타낼 수 있는 방향족 아미노산이 많이 존재하는데 비해 자외선 조사모발은 방향족 아미노산이 파괴되어 낮게 나온 것으로 여겨진다.