• Journal of Korean Ophthalmic Optics Society
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• v.13 no.4
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• pp.83-88
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• 2008

Purpose: To design an anamorphic aspherical prism lens for the HMD optical system. Methods: First, we get the initial data, needed in design, which are distances between each surface etc., by analyzing user's demended specifications and by drawing geometrically the shape of prism lens by using CAD. Based on these data and using 'ode V' which is an optical design software, we could progress the optimization in which we treat the coefficients of the anamorphic aspherical surface as the principal variables. To reduce the cost in DTM manufacturing, we would optimize the optical system with the transmitting surface, existed in the direction of video device among 3 surfaces of the prism lens, remaining as a plane. Results: we could design one anamorphic aspherical prism lens which has the finite ray aberration of 15 ${\mu}m$, the distortion of 0.5%, and the MTF value of 0.3 over at 36 lp/mm for the video device of 12 mm ${\times}$ 9 mm size. Conclusions: We designed a prism lens used for HMD. This prism lens has the optical capacities of 15 ${\mu}m$ finite ray aberration and 0.5% distortion for the video device of 12 mm ${\times}$ 9 mm size, and become the optical system having the MTF value of 0.3 over at 36 lp/mm.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.63-118
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• 2016

The purpose of this study is to examine the change in literary materials in secondary school Korean textbooks and literature textbooks as per the 2009 revised curriculum. Literary materials in secondary school Korean textbooks have increased student awareness of literary canons because these have been taught and learned through public education. Seodongyo, Gemangmega, and Gasiri in classical poetry and the tale of Heungbu, Pongsan Mask Dance, the Tale of Ch'unhyang and the tale of Honggildong(by Heo Gyun) in classical prose are published in secondary school Korean textbooks and literature textbooks as per the revised curriculum of 2009. A three-verse Korean ode and a classical novel are the most chosen genres in classical literature.

• Asia pacific journal of information systems
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• v.20 no.2
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• pp.125-155
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• 2010

Ontologies have been adopted in various business and scientific communities as a key component of the Semantic Web. Despite the increasing importance of ontologies, ontology developers still perceive construction tasks as a challenge. A clearly defined and well-structured methodology can reduce the time required to develop an ontology and increase the probability of success of a project. However, no reliable knowledge-engineering methodology for ontology development currently exists; every methodology has been tailored toward the development of a particular ontology. In this study, we developed a Graduation Screen Ontology (GSO). The graduation screen domain was chosen for the several reasons. First, the graduation screen process is a complicated task requiring a complex reasoning process. Second, GSO may be reused for other universities because the graduation screen process is similar for most universities. Finally, GSO can be built within a given period because the size of the selected domain is reasonable. No standard ontology development methodology exists; thus, one of the existing ontology development methodologies had to be chosen. The most important considerations for selecting the ontology development methodology of GSO included whether it can be applied to a new domain; whether it covers a broader set of development tasks; and whether it gives sufficient explanation of each development task. We evaluated various ontology development methodologies based on the evaluation framework proposed by G$\acute{o}$mez-P$\acute{e}$rez et al. We concluded that METHONTOLOGY was the most applicable to the building of GSO for this study. METHONTOLOGY was derived from the experience of developing Chemical Ontology at the Polytechnic University of Madrid by Fern$\acute{a}$ndez-L$\acute{o}$pez et al. and is regarded as the most mature ontology development methodology. METHONTOLOGY describes a very detailed approach for building an ontology under a centralized development environment at the conceptual level. This methodology consists of three broad processes, with each process containing specific sub-processes: management (scheduling, control, and quality assurance); development (specification, conceptualization, formalization, implementation, and maintenance); and support process (knowledge acquisition, evaluation, documentation, configuration management, and integration). An ontology development language and ontology development tool for GSO construction also had to be selected. We adopted OWL-DL as the ontology development language. OWL was selected because of its computational quality of consistency in checking and classification, which is crucial in developing coherent and useful ontological models for very complex domains. In addition, Protege-OWL was chosen for an ontology development tool because it is supported by METHONTOLOGY and is widely used because of its platform-independent characteristics. Based on the GSO development experience of the researchers, some issues relating to the METHONTOLOGY, OWL-DL, and Prot$\acute{e}$g$\acute{e}$-OWL were identified. We focused on presenting drawbacks of METHONTOLOGY and discussing how each weakness could be addressed. First, METHONTOLOGY insists that domain experts who do not have ontology construction experience can easily build ontologies. However, it is still difficult for these domain experts to develop a sophisticated ontology, especially if they have insufficient background knowledge related to the ontology. Second, METHONTOLOGY does not include a development stage called the "feasibility study." This pre-development stage helps developers ensure not only that a planned ontology is necessary and sufficiently valuable to begin an ontology building project, but also to determine whether the project will be successful. Third, METHONTOLOGY excludes an explanation on the use and integration of existing ontologies. If an additional stage for considering reuse is introduced, developers might share benefits of reuse. Fourth, METHONTOLOGY fails to address the importance of collaboration. This methodology needs to explain the allocation of specific tasks to different developer groups, and how to combine these tasks once specific given jobs are completed. Fifth, METHONTOLOGY fails to suggest the methods and techniques applied in the conceptualization stage sufficiently. Introducing methods of concept extraction from multiple informal sources or methods of identifying relations may enhance the quality of ontologies. Sixth, METHONTOLOGY does not provide an evaluation process to confirm whether WebODE perfectly transforms a conceptual ontology into a formal ontology. It also does not guarantee whether the outcomes of the conceptualization stage are completely reflected in the implementation stage. Seventh, METHONTOLOGY needs to add criteria for user evaluation of the actual use of the constructed ontology under user environments. Eighth, although METHONTOLOGY allows continual knowledge acquisition while working on the ontology development process, consistent updates can be difficult for developers. Ninth, METHONTOLOGY demands that developers complete various documents during the conceptualization stage; thus, it can be considered a heavy methodology. Adopting an agile methodology will result in reinforcing active communication among developers and reducing the burden of documentation completion. Finally, this study concludes with contributions and practical implications. No previous research has addressed issues related to METHONTOLOGY from empirical experiences; this study is an initial attempt. In addition, several lessons learned from the development experience are discussed. This study also affords some insights for ontology methodology researchers who want to design a more advanced ontology development methodology.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Electrical & Electronic Materials
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• v.12 no.7
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• pp.7-11
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• 1999

Fully sealed field emission display in size of 4.5 inch has been fabricated using single-wall carbon nanotubes-organic vehicle com-posite. The fabricated display were fully scalable at low temperature below 415$^{\circ}C$ and CNTs were vertically aligned using paste squeeze and surface rubbing techniques. The turn-on fields of 1V/${\mu}{\textrm}{m}$ and field emis-sion current of 1.5mA at 3V/${\mu}{\textrm}{m}$ (J=90${\mu}{\textrm}{m}$/$\textrm{cm}^2$)were observed. Brightness of 1800cd/$m^2$ at 3.7V/${\mu}{\textrm}{m}$ was observed on the entire area of 4.5-inch panel from the green phosphor-ITO glass. The fluctuation of the current was found to be about 7% over a 4.5-inch cath-ode area. This reliable result enables us to produce large area full-color flat panel dis-play in the near future. Carbon nanotubes (CNTs) have attracted much attention because of their unique elec-trical properties and their potential applica-tions [1, 2]. Large aspect ratio of CNTs together with high chemical stability. ther-mal conductivity, and high mechanical strength are advantageous for applications to the field emitter [3]. Several results have been reported on the field emissions from multi-walled nanotubes (MWNTs) and single-walled nanotubes (SWNTs) grown from arc discharge [4, 5]. De Heer et al. have reported the field emission from nan-otubes aligned by the suspension-filtering method. This approach is too difficult to be fully adopted in integration process. Recently, there have been efforts to make applications to field emission devices using nanotubes. Saito et al. demonstrated a car-bon nanotube-based lamp, which was oper-ated at high voltage (10KV) [8]. Aproto-type diode structure was tested by the size of 100mm $\times$ 10mm in vacuum chamber [9]. the difficulties arise from the arrangement of vertically aligned nanotubes after the growth. Recently vertically aligned carbon nanotubes have been synthesized using plasma-enhanced chemical vapor deposition(CVD) [6, 7]. Yet, control of a large area synthesis is still not easily accessible with such approaches. Here we report integra-tion processes of fully sealed 4.5-inch CNT-field emission displays (FEDs). Low turn-on voltage with high brightness, and stabili-ty clearly demonstrate the potential applica-bility of carbon nanotubes to full color dis-plays in near future. For flat panel display in a large area, car-bon nanotubes-based field emitters were fabricated by using nanotubes-organic vehi-cles. The purified SWNTs, which were syn-thesized by dc arc discharge, were dispersed in iso propyl alcohol, and then mixed with on organic binder. The paste of well-dis-persed carbon nanotubes was squeezed onto the metal-patterned sodalime glass throuhg the metal mesh of 20${\mu}{\textrm}{m}$ in size and subse-quently heat-treated in order to remove the organic binder. The insulating spacers in thickness of 200${\mu}{\textrm}{m}$ are inserted between the lower and upper glasses. The Y\ulcornerO\ulcornerS:Eu, ZnS:Cu, Al, and ZnS:Ag, Cl, phosphors are electrically deposited on the upper glass for red, green, and blue colors, respectively. The typical sizes of each phosphor are 2~3 micron. The assembled structure was sealed in an atmosphere of highly purified Ar gas by means of a glass frit. The display plate was evacuated down to the pressure level of 1$\times$10\ulcorner Torr. Three non-evaporable getters of Ti-Zr-V-Fe were activated during the final heat-exhausting procedure. Finally, the active area of 4.5-inch panel with fully sealed carbon nanotubes was pro-duced. Emission currents were character-ized by the DC-mode and pulse-modulating mode at the voltage up to 800 volts. The brightness of field emission was measured by the Luminance calorimeter (BM-7, Topcon).

• Journal of the korean academy of Pediatric Dentistry
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• v.33 no.2
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• pp.221-232
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• 2006

The purpose of this study was to investigate the effect of step-curing mode on polymerization shrinkage and contraction of composite resin restoration. Class I cavities were prepared on the extracted human premolars. The cavities were ailed with Filtek $Z-250^{TM}$ (hybrid resin, 3M ESPE, USA) and Filtek $flow^{TM}$ (flowable resin, 3M ESPE, USA) and cured with one of the following irradiation modes; Halogen 40sec with continuous curing, LED 10sec with continuous curing, and LED 13sec with step-curing. Contraction stress was measured with strain gauge which was connected to TML $Datalogger^{TM}$ (TDS-102, SOKKI, Japan) and resin-dentin interfaces were observed by scanning electron microscope. The results of present study can be summarized as follows : 1. Composite resin restoration showed transient expansion just after irradiation of curing light. Contraction stress was increased rapidly at the early phase of polymerization and reduced slowly as time elapsed (P<0.05) 2. $Filtek\;flow^{TM}$ showed lower contraction stress than Filtek $Z-250^{TM}$ regardless of curing modes. 3. LED step-curing mode showed lowest contraction stress in Filtek $Z-250^{TM}$ compared with other curing modes(P<0.05). 4. LED step-curing mode showed lowest contraction stress in $Filtek\;flow^{TM}$ compared with other curing modes(P<0.05), but difference in contraction stress was not so greate as in $Filtek\;Z-250^{TM}$. 5. Polymerization of composite resin by LED light with step-curing mode and halogen light with continuous ode resulted in better marginal sealing than LED light with continuous mode.

• The Journal of Korean Philosophical History
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• no.59
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• pp.261-286
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• 2018

It is possible to communicate with objects in various styles, but especially the poem[詩], the ode[賦], the inscription[銘] are remarkable. The word is not the mouth, but the mind and the soul. Therefore, if a person is in a relationship with an object that defines the person, what conversation with the object is the person's inner. So if you know what a person has been with things, you can imagine his outer surface, and you can get inner if you know what you talked about. Seo Kyung-duk who lived a poverty life, but can not live without things, so his things are not a thing, Seo Kyung-duk also recorded especially about the dojookjang[bamboo cane], the buchae[fan], and the $k{\breve{o}}mungo$[Korean lute] Seo Kyung-duk with the buchae, Seo Kyung-duk with the dojookjang, and Seo Kyung-duk with the $k{\breve{o}}mungo$. These are the pictures we can imagine. And I can draw Seo Kyung-duk to talk with those things. Seo Kyung-duk, who is reflected in the dojookjang, shows the reality of participating in the rescue of the people's hardships and the stubborn world. Seo Kyung-duk, who is reflected in the buchae, is a philosopher who explores the origin of existence with the appearance of realistic preachers who have to wash away the difficulties of the people. Seo Kyung-duk, who is reflected in the $k{\breve{o}}mungo$, is a philosopher who grasps Ki(氣) the phenomenon and the source, the immaterial and the material, the type and the intangible. Both the strings and non-strings are $k{\breve{o}}mungos$. The $k{\breve{o}}mungo$ is strong in ideology symbolizing the Confucianism ideological ideals, and Seok Kyung-duk is also in the extension line. Seo Gyeong-deok, who has seen through the dojookjang, the buchae, and the $k{\breve{o}}mungo$ has a realistic sense of realizing that he should worry about the pain of the world and fulfill a good world. He is a philosopher who pierces the root of existence and can be governed by the logic of Ki(氣).