Recent research has shown that many companies in the fashion industry are increasingly weaving close relationships with the art world, to appropriate art values and meanings to be associated with their own products and brands (Hagdtvedt & Patrick, 2008a; 2008b). Businesses related to the fashion luxury sector have been especially prone to using such strategies to transform their products into true artworks to address the issue of commodification resulting from high production volumes (Dion and Arnoult, 2011; Riot, Chameret & Rigaud, 2013). Over the past two decades, the luxury market has undergone huge structural changes through mergers and acquisitions that have transformed an industry made up of small, family businesses into major financial conglomerates and brand owners (Roux & Floch, 1996; Crane 2012). Secondly, globalization and openness to new fast-growing markets such as Asia, have led these luxury conglomerates to increase sales volumes, failing in one of the basic characteristics of such goods: rarity. But if the real rarity of luxury products is a promise that companies can no longer guarantee their own consumers, the elitism of these products can be ensured through an artificial rarity. Jean-Noël Kapferer used the neologism artification recently introduced by French sociologists Nathalie Heinich and Roberta Shapiro and applied it to the analysis of luxury goods (Kapferer, 2012; 2014; Heinich and Shapiro, 2012; Shapiro and Heinich, 2012). He stressed that a strategy based on art implemented by luxury companies is useful mainly to support the perception of rarity by the final consumer. Artification is based on the notion that art –related objects or persons are associated with positive values. Enhancing a corporate image in the consumer’s mind means building positive ties to the brand that will initiate a form of benevolence towards the brand, providing the legitimization of corporate actions and, in some cases, resulting in the purchase of goods and services produced and distributed by the company (Keller, 1993; Aaker, 1996; Aaker & Joachimsthaler, 2000; Keller, 2003). We decided to analyse the effect of Artification on brand value by focusing on the four dimensions of Awareness, Image, Quality and Loyalty by using the same CbBE ( Customer-based Brand Equity) structure previous authors tested on country of origin effect on consumers, based on the main hypotheses further explained (Pappu, Quester & Cooksey, 2006). The first hypothesis relates to the dimension of Awareness and aims to test the level of brand recognition in final consumers when the logo is modified by an artist. • H1 – Consumers’ awareness remains strong when the brand is ‘artified’. We analyze then the Image, as the second dimension of CbBE. Due to the complexity of this dimension, we posited two hypotheses connected to it: • H2a – Consumers’ free associations to the brand are connected to the artworld when the brand is ‘artified’ (e.g. consumers indicate words as art, contemporary art or the name of the artist). • H2b – Consumers’ evaluation of the brand image points to stronger positive associations when the brand is ‘artified’ The last two hypotheses we mention are connected to the dimensions of Quality and Loyalty: • H3 – Consumers’ evaluation of Quality increases when the brand is ‘artified’.  H4 – Consumers’ Loyalty to the brand increases when the brand is ‘artified’. • The analysis was conducted through a between-subjects randomized experiment and manipulated art presence (with art versus without art). Starting from the same panel, two groups were created: one including the treatment (visual arts) and one including no treatment at all. Furthermore, we limited ourselves in this experiment to images of products and pattern created by Louis Vuitton that are actually on the market, associating them randomly to the research units in order to obtain two statistically consistent groups subjected to the different treatment (with art or without art)4. The two groups were labelled ‘artified’ group and control group, the first grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product modified by art collaboration with Yayoi Kusama; and the second grouping the respondents to the questionnaire containing images of Louis Vuitton Logo, pattern and product in its standard design. The questionnaire was distributed between the months of May and June 2015 via Qualtrics survey software. It was divided into four distinct blocks: the first concerned the presentation of the survey, the declaration of authorization signed by the participants and the demographic information; the second and the third blocks of questions were identical, with the same series of questions but based on different images used. There were 880 respondents, 825 of whom correctly filled the questionnaire we submitted to them. The control group was made of 413 respondents, 73.13 % of whom were female and 26.87 % male. The ‘artified’ group was made of 71.60 % female and 28.40 % male. We analyzed the four dimensions of Awareness, Image, Quality and Loyalty individually and in a comparative manner between the control and ‘artified’ groups. In the CbBE model, dimensions are analyzed individually since Awareness and brand Image measures are not comparable because they are collected through different measure methods, respectively through multiple choice and open-ended questions. Such dimensions as Image, Quality and Loyalty which were raised through Likert scales were then subjected to mono multivariate statistical analysis. The main results are shown in table 1. By reading the results for CbBE, Hypothesis H1 [Consumers’ awareness remain strong when the brand is ‘artified’] has been confirmed. The aided brand awareness shows no important differences between the two groups, so visual artists may modify logos or the appearance of luxury products without the fear of compromising brand awareness in the final consumers. Hypothesis H2a [Consumers’ free associations to the brand are connected to the arts when the brand is ‘artified’ (e.g. the word art, contemporary art or the name of the artist)] was not confirmed. Hypothesis H2b was partially confirmed as Generic Associations and Brand Personality were impacted by the use of the visual arts, while Organizational Associations were not. Brand loyalty and Perceived Quality were not impacted by the Visual Arts either, so Hypothesis H3 and H4 were not confirmed. As a main result for CbBE analysis, the Visual Arts have an impact on Customer-based Brand Equity, limited to Brand Image dimensions. The fact that Brand Image is one of the most complex dimensions of brand value opens the way to the development of future analysis and research in the visual arts as external source for brand equity, especially for Brand Personality. The main results of our research show that an artification effect is visible especially at the level of brand image and brand personality, two complex and valuable components of Brand Value from a consumer perspective. This opens to further in-depth analysis of these two components for future research. Large luxury groups (such as Cartier and Prada) have long used an art-based strategy to increase the value of their products, avoiding the risk of a loss of prestige perceived by the final consumer who would no longer recognize the exclusivity of a product that seems to be increasingly more industrial than handmade. Art can therefore contribute to alter and rework the image and market position of a specific brand or an entire product line, ensuring the transition from an ordinary image to a prestigious one, or strengthening the existing prestigious perception (Hetsroni & Tukachinsky, 2005; Lee et Al., 2015). We believe that a strategy based on art implemented by luxury companies is beneficial mainly to support the perception of rarity by the final consumer. Luxury goods would have to be unique or at least not produced in too high volumes precisely because of their craftsmanship and the care with which they are made. Rarity is not compatible with the increase in sales volumes required by the financial holdings that own the same luxury brands (Roux and Lipovetsky, 2003; Kapferer, 2012; 2014; 2015). The artification process we researched would have exactly the dual purpose of improving the brand image of companies that apply it, while increasing the perception of luxury in end consumers. What is more, we believe that the luxury brands from the industry sector that belong to large financial conglomerates now have the strength to simultaneously apply all the components in the artification process, by sustaining activities of sponsorship, philanthropy or generic collaboration with artists. The fact that luxury products are an integral part of the world of visual arts combined with the fact luxury brands have now the strong support base of large financial conglomerates can ensure the right economic and cultural support needed for the application of such a strategy. In the case of fashion companies, we believe artification is a process in itinere. In our experiment free associations to the brand show that only 2 consumers out of 880 remembered or knew the name of the artist (Yayoi Kusama) and 10 people indicated the substantive ‘art’ or ‘contemporary arts’ as free associations in the ‘artified group’ (only 2 in the control group). This shows that luxury brands ‘art-based strategy cannot only concentrate on temporary collaborations with artists. Luxury brands as Louis Vuitton must act as art institutions able to display arts collections to the widest public and bestow art status and global recognition to collaborating artists (Masè and Cedrola, 2017). This strategy relies on LV ability to raise consumers’ awareness of the arts. While the art-oriented public recognizes artistic collaborations, the larger public does not yet is still very much aware of new designs. Novelty is equally perceived by both, but is partially decoded by one category of consumers.

Among the information technology and automation that have rapidly developed in the manufacturing industries recently, tens of thousands of quality variables are estimated and categorized in database every day. The former existing statistical methods, or variable selection and interpretation by experts, place limits on proper judgment. Accordingly, various data mining methods, including decision tree analysis, have been developed in recent years. Cart and C5.0 are representative algorithms for decision tree analysis, but these algorithms have limits in defining the tolerance of continuous explanatory variables. Also, target variables are restricted by the information that indicates only the quality of the products like the rate of defective products. Therefore it is essential to develop an algorithm that improves upon Cart and C5.0 and allows access to new quality information such as loss cost. In this study, a new algorithm was developed not only to find the major variables which minimize the target variable, loss cost, but also to overcome the limits of Cart and C5.0. The new algorithm is one that defines tolerance of variables systematically by adopting 3 categories of the continuous explanatory variables. The characteristics of larger-the-better was presumed in the environment of programming R to compare the performance among the new algorithm and existing ones, and 10 simulations were performed with 1,000 data sets for each variable. The performance of the new algorithm was verified through a mean test of loss cost. As a result of the verification show, the new algorithm found that the tolerance of continuous explanatory variables lowered loss cost more than existing ones in the larger is better characteristics. In a conclusion, the new algorithm could be used to find the tolerance of continuous explanatory variables to minimize the loss in the process taking into account the loss cost of the products.1)

공기를 이용한 분리막 세정은 MBR공정에서 fouling 억제 및 장기간 성능을 유지시키는 주요 핵심 방법이다. 기존의 MBR은 공기의 부상하는 힘을 이용한 방식으로 적은 동력을 이용하지만 주변환경, 유체흐름 및 원수성상 등으로 다양한 문제가 예기치 못하게 발생한다. 이를 개선하기 위하여 본사에서는 간헐적으로 가압 공기를 이용하여 fouling 억제 및 플럭스의 안정화를 이루는 i-MBR 모듈을 개발하였다. i-MBR 모듈에 들어가는 산기관을 개량하여 공기에 의한 파울링 억제 효과를 최대한 높이는 연구를 진행하였다. 산기관과 air의 상관관계를 진행하고, 이를 기반으로 pilot-scale 장치를 세팅하여 flux recovery 및 내구성 등을 비교분석하 였다.

홍삼에서 사포닌 추출과정 중 부산물로 얻어지는 홍삼오일의 화학적 특성 및 화장품소재로서의 응용가능성을 알아보고자 하였다. Tween 80으로 희석한 1% 홍삼오일의 산가는 0.265, 과산화물가는 0.387, 요오드가는 0.64이었다. DPPH free radical scavenging assay 결과, 1% 홍삼오일은 대조군인 동일 농도의 α-tocopherol에 비해 70% 정도의 항산화능을 나타내었다. 홍삼오일의 total polyphenol 함량은 243 mg/100 g이었다. Tyrosinase저해 활성을 측정한 결과, 홍삼오일은 대조군인 L-ascorbic acid에 비해 14% 정도의 활성억제 효과를 나타내었다. 홍삼오일에 의한 elastase 활성억제 효과는 거의 없었으며 홍삼오일의 Staphylococcus aureus와 Escherichia coli 에 대한 생육억제 효과도 없었다.

본 논문은 휴리스틱 감정 결정 모델로 사용했던 FuSM 감정 시스템을 단순화 하고, 처리 속도를 향상하기 위한 새로운 처리 방법을 제안하려 한다. 자동계획 수립 방법의 지능적인 에이전트 행동 모델로 사용되는 마코프 의사결정과정(MDP)의 기본 이론을 확장한 부분관찰 마코프 의사결정 과정(POMDP)을 통하여 아바타의 감정을 표현한다. 아바타의 감정 생성은 OCC 모델을 기반으로 현재의 상태와 동기 상태를 기준으로 자극에 대한 영향력을 평가한다. 또한 자극이 지속적으로 주어질 경우 이 자극에 대해 감정 반응의 강도에 대한 누적 값 및 조절하게 기능과 시계열 상에서 자극들 사이의 관계를 학습할 수 있는 학습기능이 분석한다. 이러한 세 가지 기능 특성을 POMDP를 이용하여 설계 한다. 연구 범위는 첫째로, 주변의 자극에 대해 즉각적 감정 반응을 생성하는 리액티브 프로세스와 아바타가 가지고 있는 목적과 현재 상황에 대한 인지적 평가에 따라 감정 반응을 생성하는 아바타 감정 생성 시스템을 제시한다.

어떤 영업방법 발명이 특허법상 특허를 받을 수 있는 ‘발명’에 해당하는지 여부에 관한 문제는 우리나라에서 이른바‘영업방법 발명의 성립성’문제로 다루어져 왔다. 영업방법 발명의 성립성에 관한 논의는 그 동안 주로 대법원 판례와 특허청의 심사기준에 대한 검토를 중심으로 이루어져 왔으나, 영업방법 발명의 성립성에 대한 구체적인 판단방법에 관해서는 거의 논의가 이루어지지 아니하였다. 그러나 영업방법 발명의 성립성 여부가 쟁점이 된 실제 사건에 있어서 당해 영업방법이 그러한 판단기준에 해당하는지 여부를 판단하는 일은 쉬운 일이 아니므로, 이에 대한 구체적인 판단방법을 모색할 필요성은 크다고 할 것이다. ‘영업방법 발명의 성립성’문제는 기본적으로 어떤 영업방법 발명이 특허법 제29조 제1항 및 같은 법 제2조 제1호에 규정된‘발명’에 해당될 수 있는지 여부의 문제이다. 따라서 영업방법 발명의 성립성에 대한 적절한 판단방법의 모색은 특허법상 발명의 성립요건인 ‘자연법칙 이용성’ 과 ‘기술적 사상의 창작성’ 및 ‘발명의 완성’이라는 관점에서 영업방법 발명의 성립성 판단기준을 재검토하는 것으로부터 출발하여야 한다.

원자력 발전의 고온 가스로(high temperature gas-cooled reactor, HTGR)의 냉각제로 사용되는 He가스의 열에너지를 이용하여 물을 분해해서 수소를 생산하는 "열화학적 수소제조 IS프로세스"에 대해 설명하였다. 특히, 분리막 기술의 이용에 관한 연구를 중점으로 정리하였다. 고온 원자력 열에너지를 이용한 열화학적 수소 제조법은 실현 가능한 단계까지 왔다고 생각되며, 아직 연구 개발 과제가 많이 남아 있지만, 미래의 청정에너지 중의 하나인 수소를 대량 생산할 수 있는 가능성을 갖고 있다.

There are several models for process quality assurance by quality system(ISO 9000), process capability analysis, acceptance control chart and so on. When a high level process capability has been achieved, it takes a long time to monitor the process shift, so it is sometimes necessary to develop a quicker monitoring system. To achieve a quicker quality assurance model for high-reliability process, this paper presents a model for process quality assurance when the fraction nonconforming is very small. We design an acceptance control chart based on variable quality characteristic and time-censored accelerated testing. The distribution of the characteristics is assumed to be normal of lognormal with a location parameter of the distribution that is a linear function of a stress. The design parameters are sample size, control limits and sample proportions allocated to low stress. These parameters are obtained under minimization of the relative variance of the MLE of location parameter subject to APL and RPL constraints.