• The Journal of the Korea Contents Association
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• v.20 no.10
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• pp.100-108
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• 2020

20th century music has been recognized as disconnected. Some criticized that it is not music. This controversy has been continued over decades in music history. This study applied Darwin's evolutionary theory to John Cage's 4'33", the most popular music in 20th century and tried to prove musical continuity embedded in it. 4'33" has always been a subject of controversy because it has no sound. However, the study found out that 4'33" has the common musical factor, the rest. 4'33" can be interpreted as the variation of the rest in evolutionary view. The rest has undergone a variety of variations in form and meaning since the beginning of the musical notation and was suitable for a new musical environment changed in 20th century. In the evolutionary view, 4'33" is evolved music, not disconnected.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.41 no.2
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• pp.17-28
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• 2004

A deadzone compensator is designed for a XY positioning table using fuzzy logic. The classification property of fuzzy logic systems makes them a natural candidate for the rejection of errors induced by the deadzone, which has regions in which it behaves differently. A tuning algorithm is given for the fuzzy logic parameters, so that the deadzone compensation scheme becomes adaptive, guaranteeing small tracking errors and bounded parameter estimates. Formal nonlinear stability proofs are given to show that the tracking error is small. The fuzzy logic deadzone compensator is implemented on a XY positioning table to show its efficacy.

• Proceedings of the KIEE Conference
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• 2008.10b
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• pp.187-192
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• 2008

A saturation and deadzone compensator is designed for robot systems using fuzzy logic (FL) and neural network (NN). The classification property of FL system and the function approximation ability of the NN make them the natural candidate for the rejection of errors induced by the saturation and deadzone. The tuning algorithms are given for the fuzzy logic parameters and the NN weights, so that the saturation and deadzone compensation scheme becomes adaptive, guaranteeing small tracking errors and bounded parameter estimates. Formal nonlinear stability proofs are given to show that the tracking error is small. The NN saturation and FL deadzone compensator is simulated on a robot system to show its efficacy.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• Digital Contents
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• no.4 s.119
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• pp.102-105
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• 2003

기존의 포탈들과는 차별화된 서비스를 제공하는 디지털 콘텐츠몰이 인터넷 업계의 새로운 수익모델로 떠오르고 있다. 디지털 콘텐츠몰은 말 그대로 인터넷 곳곳에 퍼져있는 디지털 콘텐츠들을 한자리에 모아 원스톱 쇼핑을 가능케 해주는 '콘텐츠 백화점'이다. 이러한 디지털 콘텐츠몰이 활성화되기 위해서는 다양한 콘텐츠를 갖춰야 할 뿐만 아니라 네티즌들이 실제로 이를 이용할 수 있도록 하기 위한 획기적인 전략과 아이디어도 필요하다. 특히 네티즌들을 한눈에 사로잡을 수 있는 '콘텐츠 인테리어'는 필수적이라 할 수 있다.

• Korean Journal of Agricultural Science
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• v.7 no.1
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• pp.33-37
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• 1980

To clarify the influence of ethylene on flowering and senescence of carnation flowers and the treatment of the floral preservative solution for reducing their ethylene production, bud-cut carnations (Dianthus caryophyllus L. cv. Coral) were sprayed with/without 500 ppm ethephon [(2-chloroethyl) phosphonic acid] and then held in distilled water or preservative solution (5% sucrose+50 ppm $AgNO_3$+300 ppm 8-hydroxyquinoline). 1. Ethylene inhibited to bloom carnation flowers because of causing sleepiness. 2. Carnation flowers were led to senescence after a lot of ethylene was produced by them. Therefore, ethylene seems to act as a trigger of senescence in carnation flowers. 3. The features of senescence in carnation flowers were different in accordance with the amount of ethylene produced by the flowers. 4. Exposure to ethylene decreased fresh weight, flower diameter, and water uptake of carnations. 5. The floral preservative extended vase life markedly by inhibiting ethylene production of cut flowers. The flowers exposed to lots of ethylene, however, were not restored even though they were held in the preservative solution.

• Korean Journal of Labor Studies
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• v.19 no.1
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• pp.1-34
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• 2013

Labor share of income in Korea has fallen from 90% in 1996 to 79% in 2010. This paper explores the factors driving the movements in the labor share of income based on a panel dataset containing 19 years of data on 18 Korean manufacturing industries. The effects of technical progress, globalization and the bargaining power of labor and capital on the labor share of income are tested for the period of 1991-2009. The main empirical results are as follows. (1) Capital-aug menting technical prog ress measured by capital-labor ratio and R&D intensity has a negative effect on the labor share. (2) Market openness measured by the value of export and import as a ratio to value-added production is found to have a positive impact. (3) Globalization of production measured by inward-FDI and outward-FDI as a ratio to total domestic fixed capital is found to have a negative impact on the labor share. (4) Union density is found to have had a statistically significant effect in 1991-1998. This finding is consistent with the efficient bargain model in which firms and workers bargain over both wages and employment. But union density is insignificant in 2000-2009. This implies that since the financial crisis in 1997, the bargaining institution in Korea has been approaching the right-to-manage model in which firms and unions bargain over wages and then firms set employment unilaterally. (5) Variables for domestic financialization measured by dividend-income ratio and financial-fixed assets ratio have an insignificant effect on labor share.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.