• Journal of KIISE:Computing Practices and Letters
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• v.7 no.6
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• pp.641-652
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• 2001

Most of current internet auction systems are single auction server program that partly automates the function of the conventional auction house. So these systems do not provide sufficient independence, distribution and parallelism between the functions of the conventional auction house. In these suction systems, only some of suction management facilities are automated by the server program, but still users need to execute a repetitive task to monitor the dynamic progress of a certain auction, decide the proper bid price, and submit the bid. Another problem is that they support only the single auctions such as English suction and Dutch auction, but they do not support the double auctions that are superior to the single auction in terms of speed, efficiency, and the fair distribution of profit. In this paper, we present are design and implement of an agent-based continuous double auction system, called CoDABot, in order to overcome the limitations of current auction systems. CoDABot supports the continuous double auction, provides various bidding agents for users to select, and has been implemented with a multi-agent system to realize more independent, and parallel subsystems.

• Korean Journal of Construction Engineering and Management
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• v.20 no.6
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• pp.107-116
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• 2019

Korean construction engineering firms want to pave the way for expansion of overseas markets through the World Bank's Official Development Assistance (ODA) projects as a way to improve their overseas project performance. However, since the World Bank project competes with global companies for limited projects, building partnerships with suitable business partners is essential to gain an upper hand in bidding competition and meet the institutional conditions of the recipient country. In this regard, many network studies have been conducted in the past through Social Network Analysis (SNA), but few have been analyzed based on the process of changes in the network. So, This study collected winning data from the three Southeast Asian countries that ended after the World Bank's ODA project performed smoothly, and established a learning-based link prediction model that reflected the dynamic nature of the network. As a result, the 11 main variables acting on building a cooperative relationship between winning companies were derived and the effect of each variables on the probability value of cooperation between individual links was identified.

• (The) Research of the performance art and culture
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• no.34
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• pp.9-42
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• 2017

Of all Geommu(劍舞, Korean sword dance), Gisaeng-Geommu danced by gisaeng(妓生, Korean female entertainers) for private guests and at the royal court. The Sword dance in the late Joseon Dynasty used to be dynamic exuding menacing "sword spirit(劍氣)." Sword dance being transmitted today is more ritualistic and elegant. This study considers Korean sword dance has a core structure and motifs transcending generational differences, and based on this critical thinking, aims to analyze the structure of Korean sword dance. This study analyzed the prose "Geommugi(劍舞記)" by Park Je-ga(朴齊家) and the poem "Mugeompyeonjeongmiin(舞劍篇贈美人)" by Jeong Yak-yong(丁若鏞) out of literary works from the late Joseon Dynasty, and from official records of rituals(笏記), "Geomgimu(Sword Dance, 劍器舞)" and "Geommu" in "Gyobanggayo(敎坊歌謠)." In the introduction part of Sword dance, a dancer appears, bows and performs a hand dance or hansam(汗衫) dance to and fro. In the development part, a dancer meets with a sword but first hesitates to hold it and dances holding swords in both hands. The climax shows expert sword skills and combat scenes. In the conclusion part, the court dance involves a dancer bidding a formal farewell, while the dance for entertainment, a dance throws away the sword to finish. From literature materials, the structure of Korean sword dance could be divided into an introduction, a development, a climax and a conclusion. Based on this, this study analyzed sword dance movements by linking the beats accompanying the current sword dance, in the order of a Yeombul, the traditional Korean ballad Taryeong or Neujeun Taryeong, Jajin Taryeong, Taryeong and Jajin Taryeong. The introduction part includes a Buddhist prayer and the beginning of Taryeong. Dancers appear, and in two rows they dance facing each other. On the slow beat, their dances are relaxed and elegant. The development part is matched with Jajin Taryeong. Dancers sit in front of swords and grab them, and they dance holding a pair of swords. The beat gradually becomes faster, progressing the development of the dance. But then, the slower Taryeong is placed again. The reason behind it is to create a tension for a little while, before effectively reaching a climax by speeding up the tempo again. Moving on to Jajin Taryeong, dancers' movements are bigger and more dynamic. The highly elated Jajin Taryeong shows dance movements at the climax on fast, robust beats. In the conclusion part, the beat is quick-tempo and on the upbeat again on Jajin Taryeong. Driving on without a stop on the exciting Yeonpungdae(燕風臺) melody, dancers standing in a line dance wielding the swords and bow before finishing.