• Journal of Korean Society of Industrial and Systems Engineering
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• v.40 no.2
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• pp.60-67
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• 2017

A baggage handling system (BHS) in airport is an unified system for moving the passengers' baggage in designated time. Input baggage from the check-in counter travels to the baggage claim area or cargo handling terminal through this system. In particular, entryway BHS consists of conveyors, X-ray and sorters such as tilt-tray to send the baggage to departing airplane and it could have various problems for handling certain amount of baggage in restricted time such as baggage jamming at certain merge point. This causes systemic error such as delay of the time, omissions of the baggage and even breakdown of the equipment and inefficiency. Also the increasing maximum time of the baggage passing through the BHS could delay the flight schedule and finally decrease the service level. Thus, the algorithm for controlling the flow of the merge is essential to the system. The window reservation algorithm is the one of the most frequently used methods to control the merge configuration. Above all, the reserve location, so called reserve ahead point, that allocates the window is important for the performance of the algorithm. We propose the modified window reservation algorithm and the best reserve locations by changing the reserve ahead point in the induction conveyors. The effect of various reserve ahead points such as the capacity and utility of the system were analyzed and the most effective reserve ahead point combination was found. The total baggage processing time and the utilization of the tilt-tray are properly considered when choosing the optimal Reserve ahead point combination. In the layout of this study, the configuration of four conveyors merged into one tilt-tray is studied and simulation analysis is done by AutoMod(R), 3D simulation software. Through the simulation, the window reservation algorithm is effectively operated with the best combination of reserve ahead point which reduces the maximum baggage travel time.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.17-22
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• 2021

In this paper, a machine learning-based automatic infographic recommendation system is proposed to improve the existing infographic production method. This system consists of a part that machine learning multiple infographic images and a part that automatically recommends infographics with artificial intelligence only by inputting basic data from the user. The recommended infographics are provided in the form of a library, and additional data can be input by drag & drop method. In addition, the infographic image is designed to be dynamically adjusted according to the size of the input data. As a result of analyzing the machine learning-based automatic infographic recommendation process, the matching success rate for layout and keyword was very high, and the matching success rate for type was rather low. In the future, a study to improve the matching success rate for the image type for each part of the infographic will be needed.

• Korean Journal of Cognitive Science
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• v.25 no.4
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• pp.343-384
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• 2014

In order to unravel the problems of the mind, today's cognitive science has expanded its perspective from the narrow framework of the past computer model or neuronal network model to the wider frameworks of interaction with the brain in interaction with the body in interaction with their environments. The theories of 'the extended mind', 'embodied mind', or 'enactive mind' appeared through such processes are working on a way to move into the environments while the problem to unravel the complex process of interactions between the mind, the body and the environments are left alone. This problem can be traced back as far as to Gibson and Maturana & Varela who tried at first to unravel the problem of the mind in terms of interaction between the brain, the body and there environments in 1960~70s. It's because Gibson stressed the importance of the 'affordance' provided by the environment while Maturana & Varela emphasized the 'autonomy' of auto-poiesis of life. However, it will be proper to say that there are invariants in the affordances provided by the environment as well as the autonomy of life in the state of structural coupling of the environment's variants and life's openness toward the environment. In this case, the confrontational points between Gibson and Maturana & Varela will be resolved. In this article, I propose Benjamin's theory of mimesis as a mediator of both theories. Because Benjamin's concept of mimesis has the process of making a constellation of the embodiment of the affordance and the enaction of new affordance into the environment at the same time, Gibson's concept of the affordance and Maturana & Varela's concept of embodiment and enaction will be so smoothly interconnected to circulate through the medium of Benjamin's concept of mimesis.

• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.141-152
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• 2014

The user interfaces of electronic-book (e-book) readers in the e-book market are highly diverse, and this has led to major usability issues. In this paper, we analyze user preferences in terms of feature-setting options and the use of touchscreen actions in the six most commonly used e-book readers for smartphnoes. We identify alternatives for these features, which can enhance the usability of e-book readers, based on these user preferences. The survey results for the feature-setting options show that it is desirable to support at least eight background colors, as well as the ability to specify the color of the background icons. Adjusting the screen brightness using a setting bar with the support of an auto-brightness option is desirable, as in using +/- buttons to adjust the font size, as well as approximately 10 font faces. We find that it is desirable to support fade, slide, scroll and curl page-turing options, in addition to a simple non-animated page-turning effect, and that page movement should be accomplished using a scroll bar with the support of the page movement features by entering a page number, and by using the table of contents as well as bookmarks. The survey results on the use of touchscreen options indicated that it is useful to be able to configure the screen layout of an e-book reader by dividing it into three areas: left, right, and center. And then, when users briefly touch the left and right areas, it is ideal to move to the previous and subsequent pages, respectively; and when they briefly touch the center region, it is desirable to display a touch feature menu. We believe that the results of this study may provide guidance in the design of user interfaces for e-book readers.

• The Journal of Art Theory & Practice
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• no.2
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.