Nathalie Miebach: Art made of storms

62,733 views ใƒป 2011-10-21

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Tae Han Yoon ๊ฒ€ํ† : Bianca Lee
00:20
(Music)
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(์Œ์•…)
00:39
What you just heard
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๋ฐฉ๊ธˆ ๋“ค์œผ์‹  ๊ณก์€
00:41
are the interactions of barometric pressure, wind and temperature readings
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2007๋…„ ํญํ’ ๋…ธ์—˜ ๋‹น์‹œ ์ธก์ •๋œ ๊ธฐ์••, ๋ฐ”๋žŒ๊ณผ ๊ธฐ์˜จ์˜
00:44
that were recorded of Hurricane Noel in 2007.
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์ƒํ˜ธ ์ž‘์šฉ์„ ํ‘œํ˜„ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:48
The musicians played off a three-dimensional graph of weather data like this.
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์—ฐ์ฃผ์ž๋“ค์ด ์—ฌ๊ธฐ ์žˆ๋Š” 3D ๊ธฐ์ƒ ์ •๋ณด ๊ทธ๋ž˜ํ”„๋ฅผ ์—ฐ์ฃผํ•œ ๊ฒƒ์ด์ง€์š”.
00:52
Every single bead, every single colored band,
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์ด ๊ตฌ์Šฌ, ์ƒ‰ ๋ˆ ํ•˜๋‚˜ํ•˜๋‚˜๊ฐ€
00:54
represents a weather element
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๊ธฐ์ƒ ์ •๋ณด๋ฅผ ๋‚˜ํƒ€๋‚ด๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
00:56
that can also be read as a musical note.
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์›ํ•œ๋‹ค๋ฉด ์•…๋ณด๋กœ์„œ๋„ ์ฝ์„ ์ˆ˜ ์žˆ์ง€์š”.
00:59
I find weather extremely fascinating.
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์ €๋Š” ๋‚ ์”จ๊ฐ€ ๊ต‰์žฅํžˆ ๋งค๋ ฅ์ ์ด๋‹ค๊ณ  ์ƒ๊ฐํ•ฉ๋‹ˆ๋‹ค.
01:01
Weather is an amalgam of systems
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๋‚ ์”จ๋Š” ์„ ์ฒœ์ ์œผ๋กœ ๋ณผ ์ˆ˜ ์—†๋Š”
01:03
that is inherently invisible to most of us.
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์ •๋ณด๋“ค์˜ ํ˜ผํ•ฉ์ฒด์ด์ง€์š”.
01:05
So I use sculpture and music
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๊ทธ๋ž˜์„œ ์ €๋Š” ์กฐ๊ฐ๊ณผ ์Œ์•…์„ ํ†ตํ•˜์—ฌ,
01:07
to make it, not just visible,
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์ด ์ •๋ณด๋“ค์„ ์‹œ๊ฐ์  ๋ฟ๋งŒ์ด ์•„๋‹Œ
01:09
but also tactile and audible.
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์ด‰๊ฐ์ , ๊ทธ๋ฆฌ๊ณ  ์ฒญ๊ฐ์ ์œผ๋กœ ๋Š๋‚„ ์ˆ˜ ์žˆ๋„๋ก ํ•˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
01:11
All of my work begins very simple.
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์ œ ๋ชจ๋“  ์ž‘์—…์€ ๊ฐ„๋‹จํ•˜๊ฒŒ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค.
01:13
I extract information from a specific environment
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์šฐ์„ , ํŠน์ • ํ™˜๊ฒฝ์˜ ์ •๋ณด๋ฅผ
01:15
using very low-tech data collecting devices --
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๋กœํ…Œํฌ(low-tech) ์ž๋ฃŒ ์ˆ˜์ง‘ ์žฅ๋น„๋ฅผ ์ด์šฉํ•ด ๋ฝ‘์•„๋ƒ…๋‹ˆ๋‹ค --
01:18
generally anything I can find in the hardware store.
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์›ฌ๋งŒํ•œ ์ƒ์  ์–ด๋””์„œ๋“ ์ง€ ์ฐพ์„ ์ˆ˜ ์žˆ๋Š” ๋ฌผ๊ฑด๋“ค๋กœ ๋ง์ด์ง€์š”.
01:21
I then compare my information to the things I find on the Internet --
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๋‹ค์Œ์œผ๋กœ๋Š” ์ œ ์ •๋ณด๋ฅผ ์ธํ„ฐ๋„ท์—์„œ ์ฐพ์„ ์ˆ˜ ์žˆ๋Š” ๊ฒƒ๊ณผ ๋น„๊ตํ•ฉ๋‹ˆ๋‹ค --
01:24
satellite images, weather data
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์œ„์„ฑ ์‚ฌ์ง„, ๊ธฐ์ƒ ๊ด€์ธก์†Œ ๋ฐ ํ•ด์•ˆ๊ฐ€์˜ ๋ถ€ํ‘œ์—์„œ
01:26
from weather stations as well as offshore buoys.
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์ธก์ •ํ•œ ๊ธฐ์ƒ ์ •๋ณด ๋“ฑ์„ ๋ง์ด์ง€์š”.
01:29
That's both historical as well as real data.
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์ด ๋ฐ์ดํ„ฐ๋“ค์€ ์—ญ์‚ฌ์ ์ด๋ฉฐ, ์‚ฌ์‹ค์ž…๋‹ˆ๋‹ค.
01:31
And then I compile all of these numbers on these clipboards that you see here.
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๋‹ค์Œ์œผ๋กœ, ์ด ๋ชจ๋“  ์ˆซ์ž๋ฅผ ์—ฌ๊ธฐ ์žˆ๋Š” ํด๋ฆฝ๋ณด๋“œ ์œ„์— ์ž‘์„ฑํ•ฉ๋‹ˆ๋‹ค.
01:34
These clipboards are filled with numbers.
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์—ฌ๊ธฐ ๋ณด์‹œ๋ฉด ์ˆซ์ž๋“ค๋กœ ๊ฐ€๋“ ์ฐจ์žˆ์ง€์š”?
01:36
And from all of these numbers,
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์ดˆ๋ฐ˜์—๋Š”, ์ด ์ˆซ์ž ์ค‘
01:38
I start with only two or three variables.
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๋‹จ ๋‘์„ธ ๊ฐ€์ง€ ๋ณ€์ˆ˜๋กœ๋งŒ ์ž‘์—…์„ ํ•ฉ๋‹ˆ๋‹ค.
01:40
That begins my translation process.
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์ด๋Ÿฐ ์‹์œผ๋กœ ์ œ ๋ณ€ํ™˜ ์ž‘์—…์ด ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค.
01:42
My translation medium is a very simple basket.
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๋ณ€ํ™˜ ์ž‘์—…์€ ์ด ๋‹จ์ˆœํ•œ ๋ฐ”๊ตฌ๋‹ˆ๋กœ ํ–‰ํ•ด์ง‘๋‹ˆ๋‹ค.
01:45
A basket is made up of horizontal and vertical elements.
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๋ฐ”๊ตฌ๋‹ˆ๋Š” ์ˆ˜ํ‰๊ณผ ์ˆ˜์ง์˜ ์š”์†Œ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ์ง€์š”.
01:49
When I assign values to the vertical and horizontal elements,
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์ œ๊ฐ€ ์ด ์š”์†Œ๋“ค์— ํŠน์ • ๊ฐ’์„ ๋ถ€์—ฌํ•˜๋ฉด,
01:52
I can use the changes of those data points over time
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๋ฐ์ดํ„ฐ์˜ ๋ณ€ํ™”๋ฅผ ์ด์šฉํ•˜์—ฌ
01:55
to create the form.
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๊ตฌ์กฐ๋ฌผ์„ ๋งŒ๋“ค ์ˆ˜ ์žˆ๊ฒŒ ๋˜์ง€์š”.
01:57
I use natural reed,
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์ €๋Š” ์ฃผ๋กœ ๊ฐˆ๋Œ€๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
01:59
because natural reed has a lot of tension in it
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์™œ๋ƒํ•˜๋ฉด, ๊ฐˆ๋Œ€๋Š” ์ œ๊ฐ€ ์กฐ์ ˆํ•  ์ˆ˜ ์—†๋Š” ์žฅ๋ ฅ์„
02:01
that I cannot fully control.
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๊ฐ–๊ณ  ์žˆ๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
02:03
That means that it is the numbers that control the form,
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์ด ๊ตฌ์กฐ๋ฌผ์„ ๊ฒฐ์ •ํ•˜๋Š” ๊ฒƒ์€ ๋ณ€์ˆ˜์ด์ง€,
02:05
not me.
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์ œ๊ฐ€ ์•„๋‹™๋‹ˆ๋‹ค.
02:07
What I come up with are forms like these.
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์ด ๊ฒฐ๊ณผ๋ฌผ๋“ค์€ ์ด๋Ÿฐ ๊ตฌ์กฐ๋ฌผ๋กœ ๋‚˜ํƒ€๋‚˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
02:09
These forms are completely made up
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์ด ๊ตฌ์กฐ๋ฌผ๋“ค์€ ์˜ค์ง ๊ธฐ์ƒ ์ •๋ณด์™€
02:11
of weather data or science data.
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๊ณผํ•™ ์ •๋ณด๋งŒ์œผ๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ์ง€์š”.
02:13
Every colored bead, every colored string,
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๋ชจ๋“  ์ƒ‰ ๊ตฌ์Šฌ๊ณผ ์ƒ‰ ๋ˆ๋“ค์€
02:15
represents a weather element.
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๊ธฐ์ƒ ์ •๋ณด๋ฅผ ๋‚˜ํƒ€๋ƒ…๋‹ˆ๋‹ค.
02:17
And together, these elements, not only construct the form,
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์ด ์ •๋ณด๋“ค์€
02:19
but they also reveal behavioral relationships
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๋‹จ์ˆœํžˆ ๊ตฌ์กฐ๋งŒ์„ ๊ฒฐ์ •ํ•˜์ง€ ์•Š๊ณ ,
02:21
that may not come across
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2์ฐจ์› ๊ทธ๋ž˜ํ”„์—์„œ ๋‚˜ํƒ€๋‚ผ ์ˆ˜ ์—†๋Š”
02:23
through a two-dimensional graph.
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๊ด€๊ณ„ ํ–‰๋™๊นŒ์ง€ ํ‘œํ˜„ํ•ฉ๋‹ˆ๋‹ค.
02:25
When you step closer, you actually see
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์กฐ๊ธˆ ๋” ์ž์„ธํžˆ ๋ณด๋ฉด,
02:27
that it is indeed all made up of numbers.
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๋ชจ๋“  ๊ฒƒ๋“ค์ด ์ˆซ์ž๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ์•Œ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:29
The vertical elements
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์ˆ˜์ง์œผ๋กœ๋Š”
02:31
are assigned a specific hour of the day.
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ํ•˜๋ฃจ์˜ ํŠน์ • ์‹œ๊ฐ„๋Œ€๋ฅผ ํ‘œํ˜„ํ•ฉ๋‹ˆ๋‹ค.
02:33
So all the way around, you have a 24-hour timeline.
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์ด๋ ‡๊ฒŒ ์ „์ฒด์ ์œผ๋กœ๋Š” 24์‹œ๊ฐ„์„ ํ‘œํ˜„ํ•  ์ˆ˜ ์žˆ๋‹ค๋Š” ๋œป์ด์ง€์š”.
02:36
But it's also used to assign a temperature range.
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ํ•˜์ง€๋งŒ ์ด ์ˆ˜์ง์„ ์€ ์˜จ๋„ ๋ฒ”์œ„๋ฅผ ํ‘œํ˜„ํ•˜๋Š”๋ฐ๋„ ์‚ฌ์šฉ๋ฉ๋‹ˆ๋‹ค.
02:38
On that grid, I can then weave the high tide readings,
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์ด ๊ฒฉ์ž ์œ„์— ๋งŒ์กฐ, ์ˆ˜์˜จ, ๊ธฐ์˜จ ๋ฐ ์›”์˜ ์ •๋ณด๋ฅผ
02:41
water temperature, air temperature and Moon phases.
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์งœ ๋„ฃ์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
02:44
I also translate weather data into musical scores.
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์ €๋Š” ๊ธฐ์ƒ ์ •๋ณด๋ฅผ ์•…๋ณด๋กœ ๋ณ€ํ™˜ํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
02:47
And musical notation allows me a more nuanced way
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๊ธฐ๋ณด๋ฒ•์€
02:50
of translating information
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์ •๋ณด๋ฅผ ์™œ๊ณกํ•˜์ง€ ์•Š๊ณ 
02:52
without compromising it.
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๋‰˜์•™์Šค๋ฅผ ์‚ด๋ฆด ์ˆ˜ ์žˆ๋„๋ก ๋„์™€์ค๋‹ˆ๋‹ค.
02:54
So all of these scores are made up of weather data.
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์ด ๋ชจ๋“  ์•…๋ณด๋Š” ๊ธฐ์ƒ ์ •๋ณด๋กœ ์ด๋ฃจ์–ด์ ธ ์žˆ์Šต๋‹ˆ๋‹ค.
02:56
Every single color, dot, every single line,
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์ƒ‰, ์ , ์„  ํ•˜๋‚˜ํ•˜๋‚˜๊ฐ€ ๋ชจ๋‘
02:58
is a weather element.
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๊ธฐ์ƒ ์ •๋ณด์ธ ์…ˆ์ž…๋‹ˆ๋‹ค.
03:00
And together, these variables construct a score.
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์ด ๋ชจ๋“  ์ •๋ณด๊ฐ€ ํ•ฉ์ณ์ ธ ์•…๋ณด๋ฅผ ์ด๋ฃจ๋Š” ๊ฒƒ์ด์ง€์š”.
03:03
I use these scores to collaborate with musicians.
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์ด ์•…๋ณด๋“ค์€ ์Œ์•…๊ฐ€๋“ค๊ณผ์˜ ๊ณต๋™ ์ž‘์—…์„ ์œ„ํ•ด ์ด์šฉ๋ฉ๋‹ˆ๋‹ค.
03:05
This is the 1913 Trio
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์ด๊ฒƒ์€ 1913 ํŠธ๋ฆฌ์˜ค๊ฐ€
03:07
performing one of my pieces
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๋ฐ€์›Œํ‚ค ๋ฏธ์ˆ ๊ด€์—์„œ
03:09
at the Milwaukee Art Museum.
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์ œ ๊ณก ์ค‘ ํ•˜๋‚˜๋ฅผ ์—ฐ์ฃผํ•˜๋Š” ์žฅ๋ฉด์ž…๋‹ˆ๋‹ค.
03:11
Meanwhile, I use these scores as blueprints
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์ด ์•…๋ณด๋“ค์€ ์ด๋ ‡๊ฒŒ
03:14
to translate into sculptural forms like this,
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์กฐ๊ฐ์œผ๋กœ ๋ณ€ํ˜•ํ•˜๋Š”๋ฐ ์ฒญ์‚ฌ์ง„์œผ๋กœ๋„ ์‚ฌ์šฉ๋˜๊ณ  ์žˆ์ง€์š”.
03:18
that function still in the sense
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์ด ์กฐ๊ฐ๋“ค๋„ ์—ฌ์ „ํžˆ ๊ธฐ์ƒ ์ •๋ณด๋ฅผ
03:20
of being a three-dimensional weather visualization,
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3์ฐจ์›์œผ๋กœ ํ‘œํ˜„ํ•˜๋Š”๋ฐ ์‚ฌ์šฉ๋˜๊ณ  ์žˆ์Šต๋‹ˆ๋‹ค.
03:22
but now they're embedding
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ํ•˜์ง€๋งŒ, ์ด ์˜์ƒ ๋งคํŠธ๋ฆญ์Šค๊ฐ€
03:24
the visual matrix of the musical score,
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์‹ค์งˆ์ ์ธ ์•…๋ณด๋กœ ๊ตฌ์„ฑ ๋˜์–ด์žˆ๋‹ค๋Š” ์ฐจ์ด๊ฐ€ ์žˆ์ง€์š”.
03:26
so it can actually be read as a musical score.
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์ •๋ง๋กœ ์•…๋ณด๋กœ ์ด์šฉ๋  ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:28
What I love about this work
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์ œ๊ฐ€ ์ด ์ž‘ํ’ˆ์„ ์ข‹์•„ํ•˜๋Š” ์ด์œ  ์ค‘ ํ•˜๋‚˜๋Š”,
03:30
is that it challenges our assumptions
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์–ด๋–ค ์ข…๋ฅ˜์˜ ์˜ˆ์ˆ  ์–ดํœ˜๊ฐ€ ๊ฐ๊ฐ ๋ฏธ์ˆ  ์„ธ๊ณ„์™€ ๊ณผํ•™ ์„ธ๊ณ„์— ํฌํ•จ๋˜๋Š”์ง€์— ๊ด€ํ•œ
03:32
of what kind of visual vocabulary belongs in the world of art, versus science.
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์ €ํฌ์˜ ๊ฐ€์ •์„ ๋ฐ˜๋ฐ•ํ•˜๊ธฐ ๋•Œ๋ฌธ์ด์ง€์š”.
03:35
This piece here is read very differently
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์ด ์ž‘ํ’ˆ์€, ์–ด๋””์— ๋†“๋Š๋ƒ์— ๋”ฐ๋ผ
03:37
depending on where you place it.
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๊ต‰์žฅํžˆ ๋‹ค๋ฅธ ๋ฐฉ๋ฒ•์œผ๋กœ ์ฝํž ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
03:39
You place it in an art museum, it becomes a sculpture.
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๋งŒ์•ฝ ๋ฏธ์ˆ ๊ด€์— ์žˆ๋‹ค๋ฉด, ์ด๊ฒƒ์€ ์กฐ๊ฐ์ƒ์ด ๋ฉ๋‹ˆ๋‹ค.
03:41
You place it in a science museum,
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๋งŒ์•ฝ ๊ณผํ•™๊ด€์— ์žˆ๋‹ค๋ฉด,
03:43
it becomes a three-dimensional visualization of data.
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์ด๊ฒƒ์€ 3D๋กœ ํ‘œํ˜„ํ•œ ๋ฐ์ดํ„ฐ๊ฐ€ ๋ฉ๋‹ˆ๋‹ค.
03:46
You place it in a music hall,
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๋งŒ์•ฝ ๋ฎค์งํ™€์— ์žˆ๋‹ค๋ฉด,
03:48
it all of a sudden becomes a musical score.
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์ด๊ฒƒ์€ ๊ฐ‘์ž๊ธฐ ์•…๋ณด๋กœ ๋ณ€์‹ ํ•ฉ๋‹ˆ๋‹ค.
03:50
And I really like that,
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๊ต‰์žฅํžˆ ์žฌ๋ฏธ์žˆ์ง€์š”.
03:52
because the viewer is really challenged
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๊ด€์ฐฐ์ž๋“ค์€ ์–ด๋–ค ํŠน์ •ํ•œ ์˜ˆ์ˆ  ์–ดํœ˜๊ฐ€
03:54
as to what visual language
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๋ฏธ์ˆ  ์„ธ๊ณ„์— ์†ํ•˜๋Š”์ง€, ๊ณผํ•™ ์„ธ๊ณ„์— ์†ํ•˜๋Š”์ง€
03:56
is part of science versus art versus music.
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ํ—›๊ฐˆ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ•  ๊ฒ๋‹ˆ๋‹ค.
03:58
The other reason why I really like this
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๋˜ ๋‹ค๋ฅธ ์ด์œ ๋Š”
04:00
is because it offers an alternative entry point
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์ด๊ฒƒ์ด ๊ณผํ•™์˜ ๋ณต์žก์„ฑ์—
04:03
into the complexity of science.
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๋˜ ๋‹ค๋ฅธ ์ ‘๊ทผ ๋ฐฉ์‹์„ ์ œ๊ณตํ•œ๋‹ค๋Š” ์ ์ž…๋‹ˆ๋‹ค.
04:05
And not everyone has a Ph.D. in science.
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๋ชจ๋“  ์‚ฌ๋žŒ์ด ๊ณผํ•™ ๋ฐ•์‚ฌ ํ•™์œ„๋ฅผ ๊ฐ–๊ณ  ์žˆ์ง€๋Š” ์•Š์ง€์š”.
04:07
So for me, that was my way into it.
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์ด๊ฒƒ์€ ์ œ ๋‚˜๋ฆ„๋Œ€๋กœ์˜ ๋ฐฉ์‹์ด๊ธฐ๋„ ํ•œ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
04:09
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
04:11
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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