• Proceedings of the Korean Information Science Society Conference
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• 2000.10a
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• pp.605-607
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• 2000

본 논문에서는 유한 필드 GF(2m)상에서 모듈러 곱셈 A(x)B(x) mod p(x)를 수행하는 2-디지트 시리얼 (2-digit-serial) 시스톨릭 어레이 구조인 곱셈기를 제안하였다. LSB-first 곱셈 알고리즘을 분석한 후 2-디지트 시리얼 형태의 자료의존 그래프(data dependency graph, 이하 DG)를 생성하여 시스톨릭 어레이를 설계하였다. 제안한 구조는 정규적이고 서로 반대 방향으로 진행하는 에지들이 없다. 그래서 VLSI 구현에 적합하다. 제안한 2-디지트 시리얼 곱셈기는 비트-패러럴(bit-parallel) 곱셈기 보다는 적은 하드웨어를 사용하며 비트-시리얼(bit-serial) 곱셈기 보다는 빠르다. 본 논문에서 제안한 2-디지트 시리얼 시스톨릭 곱셈기는 기존의 같은 종류의 곱셈기 보다 처리기의 최대 지연 시간이 적다. 그러므로 전체 시스톨릭 곱셈기의 처리시간을 향상시킬 수 있다.

• Food Science and Preservation
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• v.12 no.3
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• pp.235-240
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• 2005

The purpose of this study was to develop new functional cereal bars for breakfast with 9 types of cereal(corn, whole wheat, rice, brown rice, black rice, indian millet, sprouting brown rice, black soybean, job's tear) and their chemical and sensory properties were evaluated. Process of cereal bars are cereal mixing ${\to}$ formation ${\to}$ baking ${\to}$ cooling ${\to}$ topping. Moisture content of sunsik-type cereal bars were $9.4\%$, and puffed-type cereal bars were $10.1\%$. L-values of sunsik cereal bars were lower than that of puffed type cereal bars, and a-value was the highest in sunsik-type cereal bars with fructooligosaccaride. Texture measurement showed that hardness of sunsik-type cereal bars was higher than that of puffed-type cereal bars. Sensory evaluation resulted that sunsik-type cereal bars showed the high quality Score.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.171-176
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• 2021

This article analyze that the everyday life shown in reality entertainment, and examine the semiotics of reality entertainment and the everyday life. With the perspectives of Guy Debord and Olivier Razac, the everyday life in the reality entertainment be concluded the Spectacles of everyday life. And it brings to Barthes's structure of Myth, designs the stricture of reality entertainment. Unlike Debord and Razac, who only refer to the public as passive audience, today's consumers are capable of active interpretation and consumption-the active audience. Instead of criticizing only the media's adverse function, Spectacle, I would like to suggest that the everyday life story-telling of reality entertainment can be interpreted as the recovery of the audience.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.12-24
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• 2010

The purpose of this study was to analyze design characteristics of Korean War Memorials(KWM) in the United States(KWMUS). Through site survey and internet searching, the researcher selected 25 KWMUS and analyzed four analysis categories: design concept, spatial form, landscape details, and sculptures. The results are as follows: 1. The analysis revealed that main concepts of KWMUS were to cherish victims of the Korean War, show membership/locality/patriotism, express feelings and the meaning of war, and explain the Korean War realistically and symbolically. 2. Most KWMUS in memorial parks and plazas were designed to pursue the completion of each memorial assuming the form of typical and symmetrical circles and squares. Also, spatial order including spatial sequence was seen in some of KWMUS. 3. Stone walls, stone monument, flags, emblems and paving were used as main landscape details. The map of the Korean peninsula and Taegeuk were often introduced to symbolize Korea and the Korean War, and the symbolic phrase, 'Forgotten War' or 'Freedom is Not Free' were written on the stone to keep the Korean War in the minds of Americans. 4. Sculptures were used as important media to represent the Korean War in a variety of ways. Most of them were formed realistically, except for a few sculptures that aimed to represent the Korean War symbolically and narratively. In particular, the sculptures in Washington D.C. KWVM and Minnesota KWM were remarkable as symbolic media of war memorials in contemporary society. Further study will be required to analyze comparatively KWM in Korea and the U.S. and to understand characteristics of KWM in the point of design style.

• Proceedings of the Korean Information Science Society Conference
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• 2004.04a
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• pp.799-801
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• 2004

무선랜과 시리얼 통신장치를 지원하는 센서들을 활용하는 원격 소음(Noise) 계측 유비쿼터스 컴퓨팅 플랫폼을 개발하였다. 먼저 유비쿼터스 컴퓨팅 플랫폼을 개발하기 위하여 시리얼 통신을 지원하는 테스터를 이용하였다. COTS (Commercial Off The Shelf) 개념을 활용하기 위하여 무선랜과 시리얼 통신을 지원하는 PDA를 메인보드로 사용하였다. 구현된 플랫폼은 건설용 중장비의 소음을 원격환경에서 계측하는 응용에서 활용되었다.

• Proceedings of the Korean Information Science Society Conference
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• 2003.10a
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• pp.415-417
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• 2003

본 논문에서는 유한 필드 GF(2$^{m}$ ) 상에서 A$B^2$연산을 수행하는 디지트 시리얼(digit-serial) 시스톨릭 구조를 제안하였다. 제안한 구조는 디지트 크기를 적당히 선택했을 때, 비트-패러럴(bit-parallel) 구조에 비해 적은 하드웨어를 사용하고 비트-시리얼(bit-serial) 구조에 비해 빠르다 또한, 제안한 디지트 시리얼 구조에 파이프라인 기법을 적용하면 그렇지 않은 구조에 비해 m=160, L=2 일 때 공간-시간 복잡도가 10.9% 적다.

• Proceedings of the Korea Information Processing Society Conference
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• 2009.11a
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• pp.69-70
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• 2009

단거리에서의 MCU들의 통신을 위해서 직렬방식의 통신이 많이 사용되어지고 있다. 이러한 시리얼 통신에서도 통신 규격을 변경하면 일대일 통신뿐만 아니라 다대다 통신을 통한 네트워크 구성도 가능하다. 네트워크로 구성되어지는 시리얼 통신에서 각 MCU들의 원활한 통신을 위한 방법이 필요하기 때문에, 본 논문에서는 그 방법을 Ethernet의 패킷 데이터그램 형태를 응용하여 시리얼 통신에서의 데이터 패킷을 메시지단위로 통신하는 방법을 제안한다.

• Archives of design research
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• v.19 no.2 s.64
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• pp.273-282
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• 2006

The earlier animations aimed to express the characters realistically by making the illustrations look like moving and alive. Since then, animations have been influenced by development of media technology, men's changed mentality and evolvement of diverse social phenomena, while influencing them, too. Among them, the computer which emerged first in 1946 has sewed to more diversify the tools for realistic expressions of animations, and further, enhance the intellectual power of expression media only to expand the new visual expressions and thereby, usher in a multi-media video information environment. Moreover, this technology or computer has urged every discipline to disintegrate its conventional order for the post-modernism characterized by polysemous, diversified, obscure and sometimes, mutually contradicting elements, and as a result, animations had to find a new breakthrough in the conventional reality (cognitive and reflective reality). Thus, animations have been real enough to be perceived impromptu and emotionally, faster than the logical cognitive process beyond the simple technological barrier or the screen image processing. With such backgrounds in mind and by defining such a reality as 'sensuous reality', this study aimed to apply Gilles Deleuze's, reality of space to animation films and interpret it.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.47-56
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• 2019

In line with the increasing demand for domestic travel, Reality Travel Programs(hereinafter referred to as RTP) in which actors don't have the script in program are increasing. We explored the impact of RTP "Viewing Satisfaction" and "Revisit Intentions". Firstly, factors of "entertainment", "sympathy", "aesthetic", "information", "interaction" and "Indirect Experience" were confirmed. Secondly, common factors that have a positive impact on Dependent variables in RPT were "esthetics" and "IE". By empathizing with the beauty of the environment and actor's emotions, the RTP had a positive influence to "VS" and wanting to visit the area. Provided a theoretical basis by verifying that viewing motives for RTP have a positive impact on VS and RI.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.