• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.65-72
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• 2011

We stand at real world that some practical use method of gene information appears in succession by entrance on the stage of advanced techonlogy. As a lot of studies and development are achieved based on analysis of bio data, necessity of a tool that can help correct interpretation of data is required more and more in a lot of targets of bioinformatics to search new relation and information are established. In this paper, we are offered in existing I wish to offer user a more convenient study tool developing system that can supplement shortcomings of various tools for data analysis. So we've designed to offer in united environment that is not environment that is parted ORF driving out, bio information retrieval and work of similarity comparison lamp to work for bio data analysis and offers lacking consecutiveness in existing analysis system.

• Smart Structures and Systems
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• v.1 no.3
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• pp.267-282
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• 2005

This work describes ongoing development of an embedded sensor system for the early detection and prevention of deterioration of reinforcing steel tendons within reinforced concrete. These devices will evaluate the condition of the steel tendon using ultrasonic techniques and then wirelessly transmit this data to the outside world without human intervention. The ultrasonic transducers and the interpretation of the sensed signals that allow detection and prognosis of tendon condition are detailed. Electrical characterization of concrete mixtures used in bridge construction is conducted and a wideband microstrip antenna is designed and fabricated to operate between 2.4 and 2.5 GHz when embedded in such a medium. Simulations and measurements of the embedded antenna element are presented. Transceiver selection and implementation are discussed as well as future work in operational protocols, sensor networking, and power sources. By implementing commercially available off-the-shelf components whenever possible, these devices have the potential to save millions of dollars a year in evaluation, repair and replacement of reinforced concrete.

• Structural Engineering and Mechanics
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• v.61 no.1
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• pp.15-29
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• 2017

The recently introduced index Ratio Of Torsion (ROT) quantifies the base shear amplification due to torsional effects on shear cantilever types of building structures. In this work, a theoretical proof based on the theory of elasticity is provided, depicting that the ratio of torsion (ROT) is independent of the forces acting on the structure, although its definition stems from the shear forces. This is a particular attribute of other design and evaluation criteria against torsion such as center of rigidity and center of strength. In the case of ROT, this evidence could be considered as inconsistent, as ROT is a function solely of the forces acting on structural members, nevertheless it is proven to be independent of them. As ROT is the amplification of the shear forces due to in-plan irregularities, this work depicts that this increase of internal shear forces rely only on the structural topology. Moreover, a numerical verification of this theoretical finding was accomplished, using linear statistics interpretation and nonlinear neural networks simulation for an adequate database of structures.

• Geomechanics and Engineering
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• v.9 no.6
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• pp.689-707
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• 2015

Progressive increase in population causing land scarcity, which is forcing construction industry to build multistory buildings having underground basements. Normally, basements are constructed for parking facility. This research work evaluates important factors which have caused the collapse of pile-anchor system at under construction five star hotel. 21 m deep excavation is carried out, to have five basements, after installation of 600 mm diameter cast in-situ contiguous concrete piles at plot periphery. To retain piles and backfill, soil anchors are installed as pit excavation is proceeded. Before collapse, anchors are designed by federal highway administration procedure and four anchor rows are installed with three strands per anchor in first row and four in remaining. However, after collapse, system is modeled and analyzed in plaxis using mohr-coulomb method. It is investigated that in-appropriate evaluation of soil properties, additional surcharge loads, lesser number of strands per anchor, shorter grouted body length and shorter pile embedment depth caused large deformations to occur which governed the collapse of east side pile wall. To resume work, old anchors are assumed to be standing at one factor of safety and then system is analyzed using finite element approach. Finally, it is concluded to use four strands per anchor in first new row and five strands in remaining three with increase in grouted and un-grouted body lengths.

• The Journal of Asian Finance, Economics and Business
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• v.8 no.2
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• pp.223-230
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• 2021

The concept of Shariah-based internal audit has received increasing attention from researchers in recent times especially since Islamic financial institutions have been developing in several Asian countries like Bangladesh. To avoid financial irregularities and to maintain Shariah-based financial transactions, an effective Shariah-based internal audit system is extremely important for Islamic financial institutions such as Islamic banks. Hence, the objective of this study is to determine the factors that influence the effectiveness of the Shariah-based audit system. Study data has been gathered from Shariah auditors, members of the Shariah board and audit committee of six private Islamic banks in Dhaka, Bangladesh. A total of 210 survey questionnaires were sent and finally 136 responses were retained, indicating a final sample size of n=136, with a survey feedback rate of 65%. The study adopted a quantitative measure and collected only primary data, followed by convenience sampling. SPSS has been used to run necessary statistical interpretation. Results reveal that auditor's work autonomy, level of competency, and work performance significantly impact the Shariah-based internal audit effectiveness. The study findings can be adopted as guidelines to improve the overall effectiveness of the Shariah-based internal audit system in Islamic financial institutions.

• Wind and Structures
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• v.37 no.3
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• pp.191-209
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• 2023

This work investigates the subcritical free-shear prism wake at Re=22,000 by the Koopman analysis using the Dynamic Mode Decomposition (DMD) algorithm. The Koopman model linearized nonlinearities in the stochastic, homogeneous anisotropic turbulent wake, generating temporally orthogonal eigen tuples that carry meaningful, coherent structures. Phenomenological analysis of dominant modes revealed their physical interpretations: Mode 1 renders the mean-field dynamics, Modes 2 describes the roll-up of the Strouhal vortex, Mode 3 describes the Bloor-Gerrard vortex resulting from the Kelvin-Helmholtz instability inside shear layers, its superposition onto the Strouhal vortex, and the concurrent flow entrainment, Modes 6 and 10 describe the low-frequency shedding of turbulent separation bubbles (TSBs) and turbulence production, respectively, which contribute to the beating phenomenon in the lift time history and the flapping motion of shear layers, Modes 4, 5, 7, 8, and 9 are the relatively trivial harmonic excitations. This work demonstrates the Koopman analysis' ability to provide insights into free-shear flows. Its success in subcritical turbulence also serves as an excellent reference for applications in other nonlinear, stochastic systems.

• Cartoon and Animation Studies
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• s.50
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• pp.75-99
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• 2018

Makoto Shinkai, an animated film maker in Japan, has been featured as a one-person production system and as a 'writer of light', but his 2016 release of "Your Name" was a departure from the elements that characterize his existing works. At the same time, by the combination of the traditional musubi(むすび) story, ending these, it was a big hit due to its rich narratives and attraction of open interpretation possibility. As it can be guessed from the title of this work, this work shows the encounter between the Japanese ancient language and the modern language in relation to the 'name', and presents the image that the role of the name(language) is repeatedly emphasized with various variations in events for the perfect 'encounter'. In this work, the interpretations of $Signifi\acute{e}$ for characters and objects are extended and reserved as a metaphorical role of the similarity, depending on the meaning of the subject which they touch. The relationship between words and objects analyzed through the structure of Signifiant and $Signifi\acute{e}$ is an epoch-making ideological discovery of modern times revealed through F. Saussure. Focusing on "the difference" between being this and that from the notion of Saussure, Derrida dismissed logocentrism, rationalism that fully obeyed the order of Logos. Likewise, dismissing the center, or dismissing the owner had emerged after the exclusive and closed principle of metaphysics in the west was dismissed. Derrida's definition of 'deconstruction' is a philosophical strategy that starts with the insight on the nature of language. 'Dissemination,' a metaphor that he used as a methodological concept to read texts acts as interpretation and practice (or play), but does not pursue an ultimate interpretation. His 'undecidability' does not start with infinity, but ends with infinity. The researcher testifies himself and identifies that we can't be an interpreter of the world because we, as a human are not the subject of language but a user. Derrida also interpreted the world of things composed of Signifiant and $Signifi\acute{e}$ as open texts. In this respect, this study aimed to read Makoto's works telling about the meeting of a thing and a thing with name as a guide, based on Derrida's frame of 'deconstruction' and 'dissemination.' This study intends to re-consider which relationship the Signifiant and $Signifi\acute{e}$ have with human beings who live in modern times, examine the relationship between words and objects presented in this work through Jacques Derrida's destruction and dissemination concepts, and recognize that we are merely a part of Signifiant and $Signifi\acute{e}$. Just as Taki and Mitsuha confirm the existence by asking each other, we are in the world of things, expecting musubi that a world of names calls me.

• 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.

• Proceedings of the Earthquake Engineering Society of Korea Conference
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• 2000.04a
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• pp.55-62
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• 2000

In constructing a synthetic seismogram using ray-tracing method a suite of ray-code is required to obtain a realistic seismogram which is similar to the actual seismogram or earthquake record under consideration. An infinite number of rays exist for any arbitrarily located source and receiver. One select only a finite number of such rays in computing a synthetic seismogram so their selection becomes important to the validity of the seismogram being generated. Missing certain important rays or an inappropriate selection of ray-codes in tracing rays may result in wrong interpretation of the earthquake record or seismogram. Automatic ray-code generation will eliminate such problems. In this study we have developed an efficient algorithm, with which one can generate systemastically all the ray-codes connecting source and receiver arbitrarily located. The result of this work will helpful in analysing multiple reflections in seismic data processing as well as simulating Lg wave and multiply reflected or converted phases in earthquake study.

• Journal of architectural history
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• v.22 no.4
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• pp.45-57
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• 2013

Unlike the extrinsic Modern Functionalist, Louis I. Kahn, a modern American architect, had been pursued intrinsic architectural nature based on historicity; The Essence of Architecture, during his lifetime. That is the reason why he is generally called as one of frontiers toward Post-Modern Architecture. However, the actual meaning of his 'The Essence of Architecture' is so vague and unclear until today, because not only his complex personal thought and career but various and subjective interpretation by so many later architects and architectural theorists. In the context, this paper attempt to reanalyze and clarify Kahn's idea of 'The Essence of Architecture' with the deep and objective view of aesthetics focused on a distinguished contemporary German philosopher, N. Hartman's idea of phenomenological relation and the stratified structure of a work of art.