• The Journal of the Acoustical Society of Korea
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• v.29 no.7
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• pp.411-421
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• 2010

A time-reversal mirror (TRM) is useful in diverse areas, such as reverberation ing, target echo enhancement and underwater communication. In underwater communication, the bit error rate has been improved significantly due to the increased signal-to-noise ratio by spatio-temporal focusing. This paper deals with two issues. First, the optimal number of array elements for a given environment was investigated based on the exploitation of spatial diversity. Second, an algorithm was developed to determine the optimal location of the given number of array elements. The formulation is based on a genetic algorithm maximizing the contrast between the foci and area of interest as an objective function. In addition, the developed algorithm was applied to the matched field processing with ocean experimental data for verification. The sea-going data and simulation showed almost 3 dB improvement in the output power at the foci when the array elements were optimally distributed.

• The Journal of the Acoustical Society of Korea
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• v.43 no.2
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• pp.225-233
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• 2024

Active sonar transmits sound waves to detect covertly maneuvering underwater objects and detects the signals reflected back from the target. However, in addition to the target's echo, the active sonar's received signal is mixed with seafloor, sea surface reverberation, biological noise, and other noise, making target recognition difficult. Conventional techniques for detecting signals above a threshold not only cause false detections or miss targets depending on the set threshold, but also have the problem of having to set an appropriate threshold for various underwater environments. To overcome this, research has been conducted on automatic calculation of threshold values through techniques such as Constant False Alarm Rate (CFAR) and application of advanced tracking filters and association techniques, but there are limitations in environments where a significant number of detections occur. As deep learning technology has recently developed, efforts have been made to apply it in the field of underwater target detection, but it is very difficult to acquire active sonar data for discriminator learning, so not only is the data rare, but there are only a very small number of targets and a relatively large number of non-targets. There are difficulties due to the imbalance of data. In this paper, the image of the energy distribution of the detection signal is used, and a classifier is learned in a way that takes into account the imbalance of the data to distinguish between targets and non-targets and added to the existing technique. Through the proposed technique, target misclassification was minimized and non-targets were eliminated, making target recognition easier for active sonar operators. And the effectiveness of the proposed technique was verified through sea experiment data obtained in the East Sea.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.