• 제목/요약/키워드: Autonomous Integration

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'국민학교'로 들어온 '전(全) 국민의 과학화운동' (The "Pan-National Scientification Movement" in Elementary Schools)

  • 강유진
    • 한국초등과학교육학회지:초등과학교육
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    • 제43권2호
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    • pp.301-321
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    • 2024
  • 이 연구의 목적은 과학교사에게 오랫동안 요청된 이원화된 업무, 즉 '과학교과수업'과 '교과 외 과학 관련 행사'의 역사적 연원을 밝히는 것이다. 1970년대에는 기초과학 중심의 제3차 교육과정과 기술교육 중심의 과학화운동 사이의 긴장 속에서 국민학교 과학교육이 이루어졌다. 문교부는 과학화운동이 도입되기 전부터 오랫동안 국제기구의 지원을 받아서 탐구 중심의 기초과학교육 정책을 추진하였고, 특히 1973년 제3차 교육과정을 통해서 이를 실현하려고 하였다. 그러던 중 1973년에 '전 국민의 과학화운동'이 정권 차원에서 갑자기 추진되었다. 문교부로서는 갑작스러운 유신정권의 요구를 이미 진행 중이던 제3차 교육과정 속으로 편입해야 하는 상황에 처하게 된 것이다. 이처럼 두 가지 정책에서 비롯된 두 가지 요구가 공존하였기 때문에 이후 초등학교 과학교육 활동은 과학교과수업과 교과 외 과학 관련 행사로 이원화되어 실행되었다. 과학화운동은 교육과정 자체에 직접적인 영향을 미치지는 못하였지만, 학교 현장의 인사조직, 활동 공간, 평가 제도에 변화를 주었다. 국민학교에 과학화운동이라는 거대 프로그램이 도입되면서, 학교 내부의 인사조직을 변화시켜서 '과학주임교사제'가 새롭게 만들어졌고, '과학코너'라는 새로운 공간이 확보되었으며, '과학장제'라는 새로운 제도가 보급된 것이다. 이처럼 과학화운동 자체는 초등교육에 갑작스럽게 도입되었으나 결과적으로는 제3차 교육과정이 목표로 삼았던 탐구 중심 과학교육이 실천되는 데 어느 정도 기여했던 듯하다. 이는 역설적으로 과학화운동의 여파가 일선 교육청과 학교의 '교과 외' 자율적 활동으로 흡수된 것에 기인했다. 과학화운동 자체는 특정 시기의 정부 주도 정책이었지만, 다양한 과학교육종사자들이 오래 준비해 온 제3차 교육과정의 틀을 유지하면서도 긴급한 정부의 요청에 응답하는 방식이 교과 수업과 교과외 과학 활동으로 이원화된 것이었다. 이처럼 1970년대 과학교육현장에서 과학교육종사자들이 능동적으로 대응한 과정을 살펴봄으로써 과학교육계가 현재의 급변하는 환경에 대응할 수 있는 실마리를 얻을 수 있을 것이다.

Hardware Approach to Fuzzy Inference―ASIC and RISC―

  • Watanabe, Hiroyuki
    • 한국지능시스템학회:학술대회논문집
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    • 한국퍼지및지능시스템학회 1993년도 Fifth International Fuzzy Systems Association World Congress 93
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    • pp.975-976
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    • 1993
  • This talk presents the overview of the author's research and development activities on fuzzy inference hardware. We involved it with two distinct approaches. The first approach is to use application specific integrated circuits (ASIC) technology. The fuzzy inference method is directly implemented in silicon. The second approach, which is in its preliminary stage, is to use more conventional microprocessor architecture. Here, we use a quantitative technique used by designer of reduced instruction set computer (RISC) to modify an architecture of a microprocessor. In the ASIC approach, we implemented the most widely used fuzzy inference mechanism directly on silicon. The mechanism is beaded on a max-min compositional rule of inference, and Mandami's method of fuzzy implication. The two VLSI fuzzy inference chips are designed, fabricated, and fully tested. Both used a full-custom CMOS technology. The second and more claborate chip was designed at the University of North Carolina(U C) in cooperation with MCNC. Both VLSI chips had muliple datapaths for rule digital fuzzy inference chips had multiple datapaths for rule evaluation, and they executed multiple fuzzy if-then rules in parallel. The AT & T chip is the first digital fuzzy inference chip in the world. It ran with a 20 MHz clock cycle and achieved an approximately 80.000 Fuzzy Logical inferences Per Second (FLIPS). It stored and executed 16 fuzzy if-then rules. Since it was designed as a proof of concept prototype chip, it had minimal amount of peripheral logic for system integration. UNC/MCNC chip consists of 688,131 transistors of which 476,160 are used for RAM memory. It ran with a 10 MHz clock cycle. The chip has a 3-staged pipeline and initiates a computation of new inference every 64 cycle. This chip achieved an approximately 160,000 FLIPS. The new architecture have the following important improvements from the AT & T chip: Programmable rule set memory (RAM). On-chip fuzzification operation by a table lookup method. On-chip defuzzification operation by a centroid method. Reconfigurable architecture for processing two rule formats. RAM/datapath redundancy for higher yield It can store and execute 51 if-then rule of the following format: IF A and B and C and D Then Do E, and Then Do F. With this format, the chip takes four inputs and produces two outputs. By software reconfiguration, it can store and execute 102 if-then rules of the following simpler format using the same datapath: IF A and B Then Do E. With this format the chip takes two inputs and produces one outputs. We have built two VME-bus board systems based on this chip for Oak Ridge National Laboratory (ORNL). The board is now installed in a robot at ORNL. Researchers uses this board for experiment in autonomous robot navigation. The Fuzzy Logic system board places the Fuzzy chip into a VMEbus environment. High level C language functions hide the operational details of the board from the applications programme . The programmer treats rule memories and fuzzification function memories as local structures passed as parameters to the C functions. ASIC fuzzy inference hardware is extremely fast, but they are limited in generality. Many aspects of the design are limited or fixed. We have proposed to designing a are limited or fixed. We have proposed to designing a fuzzy information processor as an application specific processor using a quantitative approach. The quantitative approach was developed by RISC designers. In effect, we are interested in evaluating the effectiveness of a specialized RISC processor for fuzzy information processing. As the first step, we measured the possible speed-up of a fuzzy inference program based on if-then rules by an introduction of specialized instructions, i.e., min and max instructions. The minimum and maximum operations are heavily used in fuzzy logic applications as fuzzy intersection and union. We performed measurements using a MIPS R3000 as a base micropro essor. The initial result is encouraging. We can achieve as high as a 2.5 increase in inference speed if the R3000 had min and max instructions. Also, they are useful for speeding up other fuzzy operations such as bounded product and bounded sum. The embedded processor's main task is to control some device or process. It usually runs a single or a embedded processer to create an embedded processor for fuzzy control is very effective. Table I shows the measured speed of the inference by a MIPS R3000 microprocessor, a fictitious MIPS R3000 microprocessor with min and max instructions, and a UNC/MCNC ASIC fuzzy inference chip. The software that used on microprocessors is a simulator of the ASIC chip. The first row is the computation time in seconds of 6000 inferences using 51 rules where each fuzzy set is represented by an array of 64 elements. The second row is the time required to perform a single inference. The last row is the fuzzy logical inferences per second (FLIPS) measured for ach device. There is a large gap in run time between the ASIC and software approaches even if we resort to a specialized fuzzy microprocessor. As for design time and cost, these two approaches represent two extremes. An ASIC approach is extremely expensive. It is, therefore, an important research topic to design a specialized computing architecture for fuzzy applications that falls between these two extremes both in run time and design time/cost. TABLEI INFERENCE TIME BY 51 RULES {{{{Time }}{{MIPS R3000 }}{{ASIC }}{{Regular }}{{With min/mix }}{{6000 inference 1 inference FLIPS }}{{125s 20.8ms 48 }}{{49s 8.2ms 122 }}{{0.0038s 6.4㎲ 156,250 }} }}

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연기의 기술적, 의식적 리미널리티(liminality)와 배우의 아우라의 상관성 - 물질성 탐색의 한 과정으로서의 개념적 이해 - (The relation of Creating Actor's Aura and Conscious Liminality of Acting - a conceptual understanding as a searching process for materiality -)

  • 권경희
    • 한국연극학
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    • 제53호
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    • pp.31-56
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    • 2014
  • If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.