• Information and Communications Magazine
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• v.30 no.3
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• pp.3-8
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• 2013

본고에서는 최근 많은 관심을 받고 있는 SDN (Software Defined Networking) 기술의 개념 구조에 대해 설명하고 관련 핵심 요소 기술 및 진화 전망에 대해 분석한다. 또한 적용 분야별로 SDN 기술의 도입 필요성 및 적용 시나리오 대해 분석한 내용을 포함한다.

• Proceedings of the Korean Institute of Intelligent Systems Conference
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• 1996.10a
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• pp.186-193
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• 1996

This paper presents a fuzzy structural modeling using the concept of Saaty's pairwise comparison matrix. The merit of this approach can be reduced the number of pairwise comparison.

• Proceedings of the Korea Water Resources Association Conference
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• 2007.05a
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• pp.926-929
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• 2007

방수로는 홍수 피해 경감을 사용되는 구조적 대책으로 최근 국내에서 널리 계획되고 있다. 이러한 방수로는 보통 횡월류위어 등으로 대표되는 유입부 구조물을 통하여 하천 본류와 연결되지만, 평상시에도 본류의 유량을 일부 분담하는 형태로 설계되는 젖은 하도(wet channel) 형태의 방수로는 별도의 유입부 구조물을 설치하지 않고 바로 본류에 연결되는 것이 일반적이다. 유입부 구조물을 통해 연결되는 방수로의 특성은 유입부 구조물의 수리학적인 특성에 의해서 많이 좌우된다. 이에 반해 젖은 하도 형태로 본류에서 바로 분기되는 방수로는 그 특성이 방수로의 폭(W), 방수로 분류각$(\theta)$등에 의해서 많이 좌우되며, 만약 설계된 방수로의 횡단면 형상이 사다리꼴 또는 직사각형 단면을 따른다면 이러한 흐름은 "제한 영마루고 횡월류위어 흐름(restricted zero-height side weir flow)"으로 분류할 수 있다. 이러한 조건에서의 흐름은 일반적인 횡월류위어 흐름과 많이 다른 것으로 알려져 있다. 본 연구에서는 이러한 방수로 폭 및 분류각을 변화시켜 방수로 분류 조건을 다양하게 구현하여 실험을 수행하였으며, 특히 분류각 변화에 따른 유량계수의 변화를 분석, 검토하였다. 또한 측정된 방류량을 기준으로 산정된 유량계수를 기존 연구자들이 제시한 영마루고(zero-height) 횡월류위어 유량계수 산정식에 의해 산정된 결과와 비교하여 분석하였다. 분석결과 분류각이 90도인 경우 본류 프루드수의 증가에 따라 유량계수가 점차 감소하였으나, 분류각이 90도 보다 작은 경우에는 본류 프루드수가 증가함에 따라 유량계수가 점차 증가하는 것으로 나타났다. 이러한 한계를 만족시킬 입체 영상) 입체영상은 영화에서 시작되었으나, 20c후반기에 들어서면서 애니메이션 분야와 모바일, 광고 패널, 텔레비전등의 매체를 이용한 입체 영상의 개발로 인하여 특정 분야에 한정 시킬 수 없으므로 영상으로 칭한다. 입체 영상은 21c에 들어서면서 영상매체의 한 분야로 급부상하고 있다. 1900년 무렵부터 연구된 입체영화(3-Dimensional motion Picture)는 In여 년이 지난 지금 대중화를 눈앞에 두고 있다. 국내에서는 놀이 동산이나 박물관등에서 흔히 볼 수 있다. 하지만 앞으로는 HDW등의 대중화로 화질의 발전을 이룬 텔레비전 분야 등에서 실용화 될 전망이다. 국제적인 흐름과 함께 국내에서도 입체 영화에 대한 연구가 활성화 되어 영상산업의 한 주류로서 대두되고 있다. 이러한 상황에서 입체영상에 대한 이해와 콘텐츠(Contents)의 개발은 기술적인 진보에 발맞추어 준비되어야 한다. 본 논문은 이러한 기술적인 계보에 발맞춘 영상 콘텐츠 개발에 박차를 가하고자 앞으로의 발전분야에 대한 기술적인 면과 기법적인 면을 제시하여 기술만 앞서고 내용은 수입하는 수입국이기 보다는 미리 준비하여 비전문가나 타국의 기술에 선점 당하지 않는 분야로 성장할 수 있는 진보적인 영상 인들의 관심과 지속적인 연구를 독려하고자 한다.시민의 휴식 및 여가선용 공간으로 활용하기 위한 사업의 기초자료로 활용되며 이미 설계검토가 시작되었다. 본 연구결과는 유수지 및 저수지의 환경개선 사업의 선두적인 성공사례로 국내 타 지역의 유사한 사업에 있어 벤치마킹을 할 수 있는 훌륭한 사례가 될 것이다.요 생산이 증가하자 군신의 변별(辨別)과 사치를 이유로 강력하게 규제하여 백

• Korean Institute of Interior Design Journal
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• no.16
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• pp.42-48
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• 1998

Contemporary space design has based on the framework of academic standards on a number of scientific propositions in order to find out correlation of human and environment and closely examine approaches of a normative design. However the contents are enormous and introductory and have limitation of application to practical business affairs so that we will have to understand them as a thinking to explain the design with,. Therefore this study is an experimental research making use of concrete design approaches applicable to the area of space design ad cinematic construction as a medium. The purpose and significance of it lies in examining its validity and contributing to the future development of space design. Accordingly this study conducted the research through a literature survey for the understanding of space perception in the cinema deduced the language of design concept according to it examined the basic unit of cinematic construction then analyzed the cases of practical architectural spaces. The findings of this study indicate that human's perception to space and the cinema is deduced as a common conceptual language characterized by the ideas of articulation scenery and timeness. These concepts are very organic and interdependent and can probably become a means for human to appropriately analyze an behavior attribute type of investigating environment with. Also in composing space the basic units of cinematic construction can be as instrument to be easily applied to practical affairs as they are correlated with the function of space and a constituent language to be reasonably designed.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.626-637
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• 2013

Film sound should be analyzed based upon the profound understanding of sound design process and the principle behind it. Lack of this knowledge prevents the research from having the comprehensiveness and concreteness. This study aims to reaffirm the important role of sound design in filmmaking while also investigating the narrative functions of sound design. The role of sound design as a cinematic technique was defined as creating audio-visual experience with a collection of information, emotion, and ideas organized and presented in the sound narrative of films. Each process of sound design, dialog, ambience, Foley, and sound effects, was proved to be performing this role as a result of a case study of various narrative films. The narrative functions of sound design was able to be defined as well.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.251-260
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• 2020

In , music becomes a passage of spaces in dreams and at the same time causes a problem of temporality between spaces with different time speeds. This paper aims to examine the temporality of the music through Bergson's concept of time. The music used in the film, 《Non, je ne regrette rien》, is divided into the original version, the slowed-down version, and the rearranged version with the slowed-down, and this study visually confirmed the characteristics and similarities through practical analysis. From the perspective of Bergson's perception and memory diagram, non-diegetic music of the actual(the rearranged version) in which diegetic music of the virtual(the slowed-down version) inherent, plays the role of film music and music signal simultaneously. Also, the original version and the slowed-down version are the relationship of durational identity with qualitative changes. We looked at the position in the inverted cone diagram and applied their relationship to the diagram. It is a great achievement of this study that we explored the temporality of music in the multi-layered structure of , based on Bergson's philosophy of coexisting with the present and the past.

• The Journal of the Korea Contents Association
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• v.6 no.10
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• pp.41-52
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• 2006

Animation, presenting laughing, tears and inspiration to the audience, can be classified into several genres according to the structure of scenario and storytelling in the same ways as for movie. This classification of scenario genre and scenario writing is based on the writing for a play. Scenario writing and genre classification that were discussed mainly in the movie theory books has been applied to the animation in spite of the difference of the production technique and storylines. Animation finds its academic values as a movie art due to its frame-by-frame filming technique and the diversity in the production. Since the number of scenario writers for animation is much smaller than that of movie in Korea, it is needed to set an academic basis for the classification of genre and scenario writing. In this study, academic basis for the classification of the genre by the analyzing the animation works.

• Archives of design research
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• v.17 no.4
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• pp.299-306
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• 2004

From oral literature to the online game, the narrative has been extended to be comprehensive of various temporal and meaningful facets. Antagonism between the desire and the obstacle propels the narrative story of the game and film. Essential to the concept of antagonism is the role of an antagonist with power to endanger the protagonist; the strength of that force grabs the spectator's interest. An antagonist becomes the obstacle that guards the distance between a protagonist's desire and ability to attain ti. Although an antagonist is the obstacle to overcome in a story, for ordinary people, the intense rivalry between the pro and antagonist offers an unlimited framework for the discussion of game with film narrative which create an interplay of desire and identification. In this paper, I am going to analyze the diverse aspects of the antagonist in the spectator's fantasy of the visual story such as film and multimedia.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.