• Journal of the Korean Mathematical Society
• /
• v.59 no.5
• /
• pp.997-1013
• /
• 2022

In this paper we give conditions on a matrix which guarantee that it is similar to a centrosymmetric matrix. We use this conditions to show that some 4 × 4 and 6 × 6 Toeplitz matrices are similar to centrosymmetric matrices. Furthermore, we give conditions for a matrix to be similar to a matrix which has a centrosymmetric principal submatrix, and conditions under which a matrix can be dilated to a matrix similar to a centrosymmetric matrix.

• The Bulletin of The Korean Astronomical Society
• /
• v.44 no.2
• /
• pp.58.4-58.4
• /
• 2019

In a homogeneous and isotropic universe, the solution to the Einstein Field equation is the Friedmann-Robertson-Lemaître-Walker metric, which describes an expanding Universe with spatial curvature. The curvature has profound implications, in particular regarding the early universe. In this talk, I will review the state-of-the-arts constraints on the spatial curvature of the Universe using different cosmological observations. In particular, I will focus on model-independent tests using baryon acoustic oscillations and supernovae.

• The Bulletin of The Korean Astronomical Society
• /
• v.45 no.1
• /
• pp.69.1-69.1
• /
• 2020

While Dark Energy is one of the explanations for the accelerating expansion of the Universe, its nature remains a mystery. The standard (flat) ΛCDM model is consistent with cosmological observations: type Ia Supernova, BAO, CMB, and so on. However, the analysis of observations assuming a model, model-dependent approach, is likely to bias the results towards the assumed model. In this poster, I will introduce model-independent approach with Gaussian process and the application of Gaussian process regression to reconstruct the equation of state of dark energy.

• The Journal of the Korea Contents Association
• /
• v.15 no.7
• /
• pp.531-543
• /
• 2015

Benjamin, Lusht, and Shilling(1998) suggested that the level of deposit can be used as a tool to resolve the problem of adverse selection by the leaseholder under the circumstance of information asymmetry. In this respect, this research aims to verify how the level of deposit and monthly rent mitigate the problem of information asymmetry existing in the office market in Seoul. So far, the analysis of the office market in Seoul has been difficult due to the fixed rate of deposit and monthly rent. This research attempts to adopt the concept of occupancy cost, a global standard indicator that would replace the default risk of monthly payment for analyzing the market. As a result of a series of empirical analysis, the lessors tend to add about 9 percent of risk premium to the occupancy cost to hedge against the default risk of monthly payment. It allows for estimating at what extent one should reflect the leaseholder's default risk of monthly payment for operating deposit and monthly rent in the office building lease market.

• The Journal of the Korea Contents Association
• /
• v.13 no.6
• /
• pp.86-94
• /
• 2013

2000s Korean cinema was influenced by capital, so it chose the way of Allegory instead of talking directly about sensitive issues. A representative movie director is Park Chan Wook who directed The Vengeance Trilogy. , The final part of Park Chan Wook's The Vengeance Trilogy, reflected Baroque Aesthetics. I analyzed focusing on Walter Benjamin's Allegory notion in this paper. Walter Benjamin said Allegory is different from a symbol which is represented by totality. Allegory means to reconstruct the fragment instinctively and to expose something repressed. The German Tragic Drama during the baroque period reflects this well. It is my argument that Park Chan Wook incorporated these underlying themes from German Tragic Drama into . He deconstructed the liberation and the birth myth of a nation, and he restored the socialist and anarchist who were completely excluded from history.

• Journal of the Korean Geographical Society
• /
• v.44 no.3
• /
• pp.282-300
• /
• 2009

This paper attempts to focus the ways in which Seoul as an urban space can be read and interpreted from gender perspective, assuming Seoul as a cultural text which represents modernity and post-modernity. Drawing on discussions of urban sociology and human geography which have analyzed the relationship between material spaces and social subjects, this paper explores the gendered segregation and representations of space in Seoul which has been constructed through the process of modernization. The framework of spatial interpretation of Seoul, concentrating on imageablity and legibility, consists of three dimensions; gendered division of labour and sphere, dichotomy of representations along with femininity and masculinity, and the ways of interlocking between modernity and post-modernity. In this paper, 'fl$\check{a}$nerie', Benjamin's method of interpretation of urban culture and the way of seeing with 'speculum' of Irigaray are adopted as metaphoric methodologies. It is an attempt to develop a new methodology to analyze and interpret urban space from gender-cultural perspective.

• Journal of Science and Technology Studies
• /
• v.19 no.3
• /
• pp.1-49
• /
• 2019

First proposed by Paul Crutzen and Eugene Stoermer in 2000, the concept of the Anthropocene has had staggering repercussions in a variety of disciplines. In response to the Anthropocene narrative as a problematization of the eco-ontological emergency that humanity is confronted with in the 21st-century, I will deal with the following theoretical themes in this article. Firstly, I will analyze the central agendas underlying the Anthropocene discourse: the expansion of human agency into the planetary level and the possibility of unprecedented catastrophes in the near future. Secondly, I will propose to address the Anthropocene discourse as problem-assemblage. Thirdly, I will examine Clive Himilton and Dipesh Chakrabarty's theses in order to understand the shock that was brought to bear on the humanities and social sciences by the Anthropocene narrative. Fourthly, I will reinterpret the allegory of the angel appearing in Benjamin's Theses on the Philosophy of History to explore new possibilities of transformative becoming of the subjectivity, focusing on the concept of patiency. Finally, I will present the concept of reflexive catastrophism.

• Journal of the Korean Association of Oral and Maxillofacial Surgeons
• /
• v.45 no.3
• /
• pp.141-151
• /
• 2019

Objectives: The outcomes of the treatment of unilateral cleft lip can vary considerably due to variations in repair techniques. The aim of this study was to evaluate and compare treatment outcomes of surgical repair of unilateral cleft lip using either the Tennison-Randall or Millard technique based on (qualitative) parent/subject and professional assessments. Materials and Methods: This was a prospective, randomized, controlled study conducted at Lagos University Teaching Hospital between January 2013 and July 2014. A total of 56 subjects with unilateral cleft lip presenting for primary surgery who satisfied the inclusion criteria were recruited for the study. Subjects were randomly allocated to surgical groups A or B through balloting. Group A underwent cleft repair with the Tennison-Randall technique, while group B underwent cleft repair with the Millard rotation advancement technique. Surgical outcome was assessed using qualitative evaluation by the guardian/subject and independent assessors based on a modified form of the criteria described by Christofides and colleagues. Results: Of the 56 subjects enrolled in this study, 32 were male, with a male to female ratio of 1.3:1. Fifteen of the guardians/subjects in the Tennison-Randall group were most bothered about the lower part of the residual lip scar, while 12 guardians/subjects in the in the Millard group were most bothered about the upper part of the scar. More noses were judged to be flattened in the Millard group than in the Tennison-Randall group. Assessors observed a striking disparity in scar transgression of the philtral ridges between the two groups. Conclusion: Essentially, there were no major difference in the overall results between Millard rotation-advancement and Tennison-Randall repairs. Both Millard and Tennison-Randall's techniques require significant improvements to improve the appearance of the scar on the upper part and lower part of the lip, respectively.

• The Journal of the Korea Contents Association
• /
• v.21 no.10
• /
• pp.184-193
• /
• 2021

Interactive documentary refers to a new style of documentary that is created and accepted through active interaction. It is attracting attention as a platform that forms a public sphere and mediates audiences to participate in social change. However, the possibilities was not systematically explored, and there was insufficient consideration on how to realize them. In this paper, discussions on the political aesthetics of Walter Benjamin are examined, and the media characteristics of interactive documentary are analyzed through text mining. Then, by connecting the two to each other, we draw a map of the political and aesthetic possibilities, and based on the map, we analyze the actual works. This study has the value of establishing a theoretical framework for the possibilities of interactive documentaries. In the follow-up study, we will consider the practical strategy of interactive documentary as a transmedia activism and develop a practical analysis and planning methodology.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.209-221
• /
• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.