• Journal of Korea Society of Industrial Information Systems
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• v.14 no.5
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• pp.139-148
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• 2009

In this paper, I propose an automatic analysis method of golf swine from single-camera video sequences. I define necessary swing features for automatic swing analysis in 2-dimensional environment and present efficient swing analysis methods using various image processing techniques including line and edge detection. The proposed method has two characteristics compared with previous swing analysis systems and related studies. First, the proposed method enables an automatic swing analysis in 2-dimension while previous systems require 3-dimensional environment which is relatively complex and expensive to run. Second, swing analysis is done automatically without human intervention while other 2-dimensional systems necessarily need analysis by a golf expert. I tested the method on 20 swing video sequences and found the proposed method works effective for automatic analysis of golf swing.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.28 no.4D
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• pp.493-504
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• 2008

Considerable effort has been made to improve construction processes through mechanization and robotization of current work. In this paper, the trend of research and development related to the construction machinery automation to improve the construction productivity has been reviewed. A classification system is proposed for automation of architectural and civil works. Then, the priority among the classified construction tasks for automation has been identified through the questionnaire study. Based on the priority for automation a comprehensive technology road map was also developed. The technology road map suggests the time frame to complete R&D work for the selected construction tasks and the core technology required for automation of the selected tasks. Such automation R&D road map for construction machinery can be utilized as a milestone in setting up the R&D strategy in the construction industry.

• Steel and Composite Structures
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• v.50 no.1
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• pp.107-122
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• 2024

Following an internal column failure, adjacent double-span beams above the failed column will play a critical role in the load transfer and internal force redistribution within the remaining structure, and the span-to-depth ratios of double-span beams significantly influence the structural resistance capacity against progressive collapse. Most existing studies have focused on the collapse-resistant performances of single-story symmetric structures, whereas limited published works are available on the collapse resistances of multi-story steel frames with unequal spans. To this end, in this study, numerical models based on shell elements were employed to investigate the structural behavior of multi-story steel frames with unequal spans. The simulation models were validated using the previous experimental results obtained for single- and two-story steel frames, and the load-displacement responses and internal force development of unequal-span three-story steel frames under three cases were comprehensively analyzed. In addition, the specific contributions of the different mechanism resistances of unequal-span, double-span beams of each story were separated quantitatively using the energy equilibrium theory, with an aim to gain a deeper level of understanding of the load-resistance mechanisms in the unequal-span steel frames. The results showed that the axial and flexural mechanism resistances were determined by the span ratio and linear stiffness ratio of double-span beams, respectively.

• Journal of the Daesoon Academy of Sciences
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• v.29
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• pp.171-207
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• 2017

The research regarding religious concepts used in Daesoon Jinrihoe are still incomplete. This study is a suggestion to critically review the existing research on 'seeking out the original root (原始返本)', one of the religious terms of Daesoon Jinrihoe. In addition, this concept will be seen from a new perspective. 'Seeking out the original root' plays a major role in Daesoon theology due to the cosmology established by Daesoon Jinrihoe. However, the existing research on this topic are prone to the perspective of 'returning' and assuming a 'cyclical view on the order of history'. Therefore, the cosmology that has been built by the religious language misleads readers to assume a retrospective process or that the process itself is realized on its own in accordance with the cosmic order. These kinds of studies do not specifically manifest the world view of Daesoon Jinrihoe. They fail to do so because Sangje's reordering works and its fruit, the earthly paradise of the Later World, have never existed before. The concept of 'seeking out the original root' should break away from the frame of a cyclical view of history and exert the uniqueness of Daesoon Jinrihoe. In this regard, this study can be summarized as follows: 'Seeking out the original root', one of the principles needed to achieve the re-creation of the Later World, endeavors to find a way to account for the origin of all things such as civilizations, cultures, and dharmas. If such a way is found, the facts between the root and the beginning should be acknowledged, as the root itself is what has been sustained, succeeded, used, resolved, revised, and rectified. The origin is usually dealt with from the position of rewarding. This was all achieved in Sangje's decisions and his reordering works. Its outcome will be utilized as a basis to establish an earthly paradise in the Later World. This concept, as defined above, excludes a cyclical view of history and implies that the concept of 'seeking out the original root' is a flexible frame within the context of dynamic structuralism. Given the style of this approach, this study provides a view which can be easily differentiated from existing research.

• Cartoon and Animation Studies
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• s.33
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• pp.1-29
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• 2013

Surrealism with the excavation of unconsciousness, seeking for the infinity etc. has established views on aesthetics that conflict traditional western rationalism. The main concern of surrealism is problem of identity and difference. They attempted their own mysterious concept such as 'the marvelous', 'convulsive beauty', 'object chance' etc. These unique views on aesthetics was expressed as various style of art. It is the d$\acute{e}$paysemant that exists one of the typical style in surrealism. D$\acute{e}$paysemant means that objects are taken from be originally place. Therefore, The real world's objects is to leave and change environment from real space as use, ability, meaning of origin. or it is the technique to create surreal illusion that combined to a strange place where relates to extraneous attribute of objects. Namely, objects are newly arranged in expression space. Reconstitutive objects by positioning object over the time and space have given us the marvelous and psychological shock and get unfamiliar meaning and feeling over. This paper is tried to look at the way to use the d$\acute{e}$paysemant which applicated in the media, Especially, focusing on animation. Unlike the other media, animation has its unique artistic characters. First, One of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. The animation image which is created through arrangement obtain life force by unique motility. Works of Norman McLaren and Harry Smith are very interesting that the structural characteristics of the d$\acute{e}$paysemant. It consists with abstract forms and various moving images to let audience the feel characteristics of film. We can experience from these cases, numerous illusion fantasy like change over from creature to inanimate object, space and time, creation and extinction, repetition and metamorphosis etc. One of the main apparat is the emphasis of d$\acute{e}$paysemant in space of frame. In conclusion, d$\acute{e}$paysemant is one of the most characteristic expression technique of surrealism while having inevitable linkage with animation.

• Journal of Broadcast Engineering
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• v.22 no.2
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• pp.193-206
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• 2017

In this paper, we propose a rate control method based on the $R-{\lambda}$ model that supports a parallel encoding structure in GOP levels or IDR period levels for 4K UHD input video in real-time. For this, a slice-level bit allocation method is proposed for parallel encoding instead of sequential encoding. When a rate control algorithm is applied in the GOP level or IDR period level parallelism, the information of how many bits are consumed cannot be shared among the frames belonging to a same frame level except the lowest frame level of the hierarchical B structure. Therefore, it is impossible to manage the bit budget with the existing bit allocation method. In order to solve this problem, we improve the bit allocation procedure of the conventional ones that allocate target bits sequentially according to the encoding order. That is, the proposed bit allocation strategy is to assign the target bits in GOPs first, then to distribute the assigned target bits from the lowest depth level to the highest depth level of the HEVC hierarchical B structure within each GOP. In addition, we proposed a processing method that is used to improve subjective image qualities by allocating the bits according to the coding complexities of the frames. Experimental results show that the proposed bit allocation method works well for frame-level parallel HEVC software encoders and it is confirmed that the performance of our rate controller can be improved with a more elaborate bit allocation strategy by using the preprocessing results.

• Cartoon and Animation Studies
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• s.9
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• pp.112-126
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• 2005

This study investigates how 'multi-perspective' can be utilized in animation. For this goal, 1 used the traditional techniques of Korean folk paintings called 'Minhwa.' Most 'Minhwa' works, employ 'multi-perspectives', instead of linear perspective of the Western tradition that has been only taught to students under the formal education system. In Minhwa parts of reality are not only stylized but also fragmented and combined within the same frame. Other common techniques of 'Minhwa' include frontal view, bird's eye view, and inverse-perspective, which are of ien combined in one single work. The purpose of this study is to develop a working principle and practically apply it to , an animation piece based on the Korean folktale of the same title. In doing so, I have proposed a way to reconstruct and revitalize the traditional art form in the age of digital technology and have concluded that 'Multi-perspective' in 'Minhwa' can be utilized in other contents such as animation.'Multi-perspective' in 'Minhwa' is a rich source that has numerous cultural applications.

• Journal of architectural history
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• v.13 no.2 s.38
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• pp.57-70
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• 2004

Since Korea disclaimed to open the ports, Korean architecture has met the impetuous transformation. Although there would be various factors of this transformation, the new-coming architecture by missionary seemed to be a significant one, and many researches have been carried out on this theme in diverse viewpoints. However, because these researches have preponderated on the Catholic tradition, it is deficient for clarify the whole history of mission architecture. Therefore, this research has the meaning to enrich the history of Korean modern architecture by making balance. First of all, this paper is focused on the activities of one missionary, Graham Lee. He is a practical missionary at the beginning, his architecture made a critical influence in Korean traditional architecture. Graham Lee was born in Rock Island, Illinois, 1861, and he determined to become a missionary through grown up. He spent his boyhood by working as a plumber for his purpose and studied in a university afterward. Graduating of McComick Theological Seminary, he was nominated as a pioneer of Pyeng Yang Mission Station and set foot in Korea, September of 1892. Since then he started to erect missionary facilities in Pyeng Yang, such as Well House(1898), Pyeng Yang Central Church(1900-1901), Pyeng Yang Academy(1902). These all his works are designed with eclectic style which shows western and Korean traditional style intermingled. This unique characteristic made a profound influence to the Korean mission architecture afterwards. Especially, the L-type plan of Pyeng Yang Central Church, which is first shown by him, is recognized very unique, and this plan type had been spread all over the country. Therefore the L-type plan became the peculiar feature of the early Korean churches. Furthermore, working with Korean carpenters, he taught them new skills of modem buildings. After that, they were expanded out northern part of Korea and took the roles of master builders. According to this expansion, his particular style had got spread and had been settled as a unique eclectic style in Korean modern architecture. In the conclusion, he is evaluated to be a critical pioneer missionary, who left a big influence on the frame work of Korean modern architecture in the transitional times.

• Journal of Korean Society of Occupational and Environmental Hygiene
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• v.8 no.1
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• pp.76-87
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• 1998

The concentration of welding fume was measured by 221 welders themselves in chassis frame workplace of the manufactory from February, 1, 1996 to May, 31, 1997. Welding parameters were the welding current and the distance between helmet and arc. Those two optimum conditions were proposed by excess probability analysis using logistic regression, so the best position in the workplace was proposed considering two factors to control the welding fume. The results are as followings; 1) The excess proability of welding fume TLV was over 99% in above 260 Amperes of welding current and also in below 30cm of distanced between helmet and arc. 2) The equation from logistic regression analysis using SPSS/PC+5.02 had the welding current as a independent variable and the excess of welding fume TLV as a dependent variable (p<0.05). Logit(welding fume TLV) = 0.1296 ${\times}$ wlding currnet - 28.8750 3) The equation from logistic regression analysis using SPSS/PC+5.02 had the distance between helmet and arc as a independent variable and the excess of welding fume threshold limit value a, a dependent variable (p<0.05). Logit (welding fume TLV) = -0.6809 ${\times}$ distance between helmet and arc +25.1665 4) Considering both cases or 2) and 3). the result equation is following. (p<0.05). Logit (welding fume TLV) = 0.1346 ${\times}$ welding current -0.3859 ${\times}$ distance between helmet and arc -15.7382 5) The excess probability of welding fume threshold limit value was 100% in above 240 Ampere of welding current. Thus, below 220 Ampere can be suggested to reduce the 40% number of welders who have a excess welding fume threshold limit value. 6) The excess probability of welding fume TLV was 100% in below 34cm of distance between helmet and arc. Thus, over 38cm can be suggested to reduce the 33% number of welders who have a excess welding fume TLV. 7) Considering both 5) and 6) cases, first of all, the best welding current can be 200 Ampere to have a below 15% of welding fume excess probability for the welders who works in distance of 34-37cm. Secondly, to have a below 30% excess probability of welding fume TLV, the working distance must be over 38cm in 220 Ampere and 32cm in 200 Ampere. 8) To reduce the average exposure concentration of welding fume ($8.21{\pm}5.83mg/m^3$), the movable local exhaust system equipped with flexible hoods can be used.

• Cartoon and Animation Studies
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• s.45
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• pp.417-434
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• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.