• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.503-514
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• 2016

The starting point of this study is an examination of the vital role of terrestrial broadcasting in Korean society, where ethnic minorities have increasingly become visible. Korean terrestrial broadcasters' mandate emphasises the broadcaster's responsibility to represent and reflect the range of public opinion and experiences beyond class, age, ethnicity and ideological orientation. The main purpose of this study is to visually examine the means through which terrestrial broadcasting generates discourses of We-ness and Otherness at times of change in the Korean society. The study focuses on prime-time broadcasting news programmes' visual representations of migrants and ethnic minorities.

• Proceedings of the Korean Information Science Society Conference
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• 2005.07b
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• pp.550-552
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• 2005

실감 재현이 중요한 가상현실 응용에서는 사용자에게 고급 그래픽 환경을 제시하고 사용자의 인터랙션에 즉각적인 피드백을 제공함으로서 실재감과 몰입감을 증대시키는 연구가 진행되어왔다. 실재감, 공간감 전달을 위해 시각과 청각을 함께 활용하는 것이 효과적이나, 가상공간의 특징을 반영한 3차원 사운도 재현 연구는 국내외 통틀어 초기단계에 머물러 있다. 실재감과 공간감을 반영한 3차원 사운드의 재현을 위해서는 음원의 전파, 반사, 잔향 풍의 계산이 사용자의 인터랙션에 따라 새롭게 계산되어야한다. 그러나 사운드 전파경로와 공간을 이루는 모든 폴리곤들과의 충돌을 검사하며 반사 등을 계산하는 것은 실시간성이 중요한 가상현실응용에서는 무리가 따르므로 실 시간성을 보장하기 위한 계산량 축소가 요구된다. 본 논문에서는 다수의 음원이 존재하는 복잡한 가상공간에서의 3차원 사운드를 재현하기 위하여 사운드 신과 계산에 필요한 최소한의 정보를 가지는 오디오 씬 그라프의 공간을 재구성하고 다수의 음원을 대상으로 음원 축소 및 군집화를 적용하여 3차원 사운드효과를 실시간으로 재현하는 알고리즘을 제안한다.

• Proceedings of the Korea Water Resources Association Conference
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• 2023.05a
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• pp.117-117
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• 2023

도시 홍수, 하천 범람, 산사태와 같은 폭우와 관련된 재해는 자주 동시에 발생하며, 각 재해는 서로 다른 범위의 시간 스케일에서 강우 변동성에 민감하게 반응한다. 따라서 재해 복합화 모델링에 적합한 확률 강우 모델은 모든 유형의 재해와 관련된 모든 시간 스케일에서 강우 변동성을 잘 재현할 수 있어야 한다. 본 연구에서는 5분에서 10년 사이의 시간 스케일에서 다양한 강우통계특성을 재현할 수 있는 추계학적 강우 생성기를 제안하였다. 이 모델은 우선 Randomized Bartlett-Lewis Rectangular Pulse (RBLRP) 모델을 사용하여 미세 규모의 강우량 시계열을 생성한 후, 연속된 폭풍 사이의 상관관계 구조가 유지되도록 폭풍우의 순서를 섞는다. 마지막으로, 별도의 월별 강우량 모델링 결과에 따라 월 단위로 시계열을 재배열한다. 독일 보훔에서 기록된 69년간의 5분 강우량 데이터를 사용하여 본 모형을 검증한 결과, 평균, 분산, 공분산, 왜곡도 및 강우 간헐성은 5분에서 10년에 이르는 시간 스케일에서 체계적인 편향 없이 잘 재현됨은 물론, 5분에서 3일 사이의 시간 스케일에서의 극한 강수량 값도 잘 재현음을 확인하였다. 아울러, 극한 강우 및 산사태에 큰 영향을 주는 극한 강우 발생 전 과거 7일간의 강수량도 정확히 재현되었다.

• The Korean Journal of Applied Statistics
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• v.36 no.4
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• pp.279-294
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• 2023

It is well known to generate synthetic data sets by the sequential regression multiple imputation (SRMI) method. The R-package synthpop are widely used for generating synthetic data by the SRMI approaches. In this paper, I suggest generating synthetic data based on the probabilistic principal component analysis (PPCA) method. Two simple data sets are used for a simulation study to compare the SRMI and PPCA approaches. Simulation results demonstrate that pairwise coefficients in synthetic data sets by PPCA can be closer to original ones than by SRMI. Furthermore, for the various data types that PPCA applications are well established, such as time series data, the PPCA approach can be extended to generate synthetic data sets.

• Proceedings of the Korea Water Resources Association Conference
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• 2021.06a
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• pp.363-363
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• 2021

수자원설계 및 계획 시 제한된 강우자료로 인해 나타나는 한계를 개선하기 위한 목적으로 추계학적 강수모의 모형을 활용한다. 대표적인 추계학적 강수모형으로 Bartlett-Lewis Rectangular Pulse Modified Model(BLPRM)과 Neyman-Scott Rectangular Pulse Model(NSRPM) 등이 활용되고 있으며, 관측강수량의 통계적 모멘트를 재현할 수 있도록 모형 매개변수를 최적화하는 과정이 필수적으로 요구된다. 기본적으로 모형 매개변수들의 조합을 통해 추정되는 통계적 모멘트와 관측값의 통계적 모멘트를 반복적으로 비교하면서 최적 매개변수를 추정하게 된다. 그러나 상대적으로 적은 관측값을 이용하여 매개변수를 추정하기 때문에, 매개변수 추정이 어려울 뿐만 아니라 매개변수의 불확실성도 큰 특징을 가지고 있다. 모형 매개변수 추정과정에서 다양한 목적함수가 활용되고 있으나, 고려되는 통계적 모멘트가 평균 및 분산 등 2차 모멘트에 제한되고 있어 극치강수량에 대한 재현성은 상대적으로 부족한 부분이 있다. 본 연구에서는 3차 모멘트를 포함한 목적함수를 활용하여 NSRP모형 매개변수를 추정하고, 기존 2차 모멘트를 이용한 매개변수 접근방법과 극치강수량 재현 측면에서 비교를 수행하였다. 최종적으로 유역 단위에서 극치강수량 재현효과를 평가하기 위해서는 면적강수량 추정이 매우 중요하며, 본 연구에서는 이러한 점을 감안하여 강우 지점 간의 상관성을 유지하면서 강우모의가 가능한 다지점 NSRP 모형과 연계하여 극치강우 재현 가능성을 평가하였다.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.393-425
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• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.

• Journal of Science and Technology Studies
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• v.10 no.2
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• pp.107-141
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• 2010

Visualization techniques are transformed into reliable representations through socio-technological processes which include the agreement on the instrument and the embodiment of practices in relevant scientific communities. Visual representations thus produced are justified by realistic and epistemic virtues in science. This paper analyzes different visual images presented in the scientific papers of two research groups who argue different theories about the mechanism of face perception. These two scientific groups use the same fMRI technology; yet, different experimental paradigms and visual stimuli change their hypotheses into distinct testable theories, which in turn lead to different evidences to support their own theories. Visual evidences are intermediate representations which lie between fMRI brain images and scientific theories, and theoretical models obtain the scientific value based on the consistency in the chain of visual representations. This study shows that representations in science tend to be good representations within the context of scientific communities. It will provide a chance to think of the value and limit of the scientific knowledge

• Journal of Wetlands Research
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• v.15 no.4
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• pp.585-593
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• 2013

This study aims to investigate inundation characteristics such as inundated area, inundation depth according to variation in return period of design rainfall and to draw a comparison between the inundation characteristics by adapting design storm using dual-drainage model. Lidar data is used to construct terrain data with $1m{\times}1m$ resolution in Cheongju. The designed storm by return periods(10year, 30year, 50year and 200year) are acquired from Intensity Duration Frequency curve, which are distributed in 5 minutes interval using Huff's method. As a results, the inundation volume is linearly increased, but inundated area is gradually increased in accordance with swell of return period for design storm. On the other hands, as a result of calculating discharge capacity for each points, deficit of discharge capacity is not observed using designed storm of 10 year return period at every points. If the return period is increased up more than 10 years, both the deficit of discharge capacity for each PT and entire study area are enlarged drastically.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.12-24
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• 2017

This paper analyzed the representation of migrants in television with the example of KBS's My Neighbor, Charles. This primetime TV show with consistent popularity has showcased different types of migrants from other Korean television shows in terms of gender and race, and, partly the difference brought popularity to it. This study finds the major reason of the difference from changed migration patterns in Korea. Until recently, the main population of immigrants in Korea was composed of female brides and workers, but it became diversified to include male and the West migrants. This triggered the changes in media representation, but not thoroughly. Though the faces of migrant protagonists have been diversified, the remaining ideology of nation-centric that has been the main frame to regard migrants as someone to be integrated through traditional values persists. This study finds a few conflicts between the traditional and the change. For example, represented realities of migrants are extends to include their activities in public domain, disputes of multicultural society such as social differentiation and bias, and the criticism of Korean traditional culture. In a gender perspective, while all the marriages represented showed different kinds of vulnerability, discourses of traditional familialism were also clearly presented through different tools of representation. This study aims at contributing existing studies of media representations of migrants with a more complicated pictures in the context of social changes and migration population changes.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.