• Journal of the Korean Institute of Telematics and Electronics B
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• v.33B no.11
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• pp.140-149
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• 1996

Cursive characters are written on an economical principle to reduce the motion of a pen in the limit of distinction between characters. That is, the pen is not lifted up to move for writing a next stroke, the pen is not moved at all, or connected two strokes chance their shapes to a similar and simple shape which is easy to be written. For these reasons, strokes and korean alphabets are not only easy to be changed, but also difficult to be splitted. In this paper, we propose a curvature stroke modeling method for splitting and matching by using a structural primitive. A curvature stroke is defined as a substroke which does not change its curvanture. Input strokes handwritten in a cursive style are splitted into a sequence of curvature strokes by segmenting the points which change the direction of rotation, which occur a sudden change of direction, and which occur an excessive rotation Each reference of korean alphabets is handwritten in a printed style and is saved as a sequence of curvature strikes which is generated by splitting process. And merging process is used to generate various sequences of curvature strikes for matching. Here, it is also considered that imaginary strokes can be written or omitted. By using a curvature stroke as a unit of recognition, redundant splitting points in input characters are effectively reduced and exact matching is possible by generating a reference curvature stroke, which consists of the parts of adjacent two korean alphasbets, even when the connecting points between korean alphabets are not splitted. The results showed 83.6% as recognition rate of the first candidate and 0.99sec./character (CPU clock:66MHz) as processing time.

• The Journal of Korean Academy of Prosthodontics
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• v.59 no.1
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• pp.18-26
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• 2021

Purpose: Generally, patients are noticed to store denture in water when removed from the mouth. However, few studies have reported the advantage of volumetric change in underwater storage over dry storage. To be a reference in defining the proper denture storage method, this study aims to evaluate the volumetric change and dimensional deformation in case of underwater and dry storage. Materials and methods: Definitive casts were scanned by a model scanner, and denture bases were designed with computer-aided design (CAD) software. Twelve denture bases (upper 6, lower 6) were printed with 3D printer. Printed denture bases were invested and flasked with heat-curing method. 6 upper and 6 lower dentures were divided into group A and B, and each group contains 3 upper and 3 lower dentures. Group A was stored dry at room temperature, group B was stored underwater. Group B was scanned at every 24 hours for 28 days and scanned data was saved as stereolithography (SLA) file. These SLA files were analyzed to measure the difference in volumetric change of a month and Kruskal-Wallis test were used for statistical analysis. Best-fit algorithm was used to overlap and 3-dimensional color-coded map was used to observe the changing pattern of impression surface. Results: No significant difference was found in volumetric changes regardless of the storage methods. In dry-stored denture base, significant changes were found in the palate of upper jaw and posterior lingual border of lower jaw in direction away from the underlying tissue, maxillary tuberosity of upper jaw and retromolar pad area of lower jaw in direction towards the underlying tissue. Conclusion: Storing the denture underwater shows less volumetric change of impression surface than storing in the dry air.

• (The) Research of the performance art and culture
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• no.33
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• pp.59-95
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• 2016

The purpose of this study was to examine the text and musical characteristic of , a changgeuk (a Korean traditional opera), by the National Theater of Korea, which was performed overseas with the title of and recognized its artistic values home and abroad alike, focusing on the process of its rebirth from a lost pansori. A changgeuk was dramatized from a lost pansori into a Korean traditional opera. In the process of rebirth of , the content of latter half, which is the performance of a funeral service for the deceased Byeongangsoe, was deleted, and the contents of Ongnyeo's fight against jangseungs in order to take back Byeongangsoe was newly inserted, thus creating textual changes. In addition, as the title presents, Ongnyeo is no longer a conventional lewd woman, but a subjective and independent female who is fighting against fate, different from its original perspective in which the leading character is Byeongangsoe. All the sounds of a changgeuk were made by the creative technique of traditional Korean songs through various attempts, such as inserting chords between performers in order to present most appropriate songs for the opera, namely proper sounds for the hidden side of the opera. In addition, according to the change of mind of performers or characters, the tone and vocal sound of the song were different. In particular, a changgeuk attempted a variety of techniques in the accompaniment of music, and used many sound buks or diverse genres such as popular music, waltz, classic and folk songs of every province, thus presenting challenging attempts. These attempts made the opera more abundant and helped it to be expressed realistically and dramatically. As above, the contents of a changgeuk were borrowed from classical narrations, but its musical aspects got off the technique of traditional changgeuk, thus attempting various changes and techniques. In this vein, it presented a novel modality of changgeuk equiping with the characteristic of 'reviewing the old and learning the new,' thus proposing the directivity and possibility of changgeuk in the present society.