• 한국조경학회지
• /
• 제35권4호
• /
• pp.1-15
• /
• 2007

The purpose of this study is to mate a basic foundation for the discourse of Koreanness of contemporary Korean landscape architecture by way of searching the conceptual definitions of Koreanness through analysis of Koreanness discourses. The results are that discourses of Koreanness are to be classified in aesthetics type, spatial-temporal type, and cultural type. Aesthetics type is understood as style in terms of formal and design representation planning principles of spatial composition and immanence in terms of philosophy. Spatial-temporal type is understood as contemporaneity. This is classified as the concept of connoting of tradition, and separating and keeping a distance from tradition. Cultural type is prescribed as cultural identity. This is classified as unity, generality and individuality. The intension of Koreanness of these types is represented as an aspect changing and shifting from one regulation to another regulation. First, in the concerns of substantial archetypes like Korean original form, decorative element, spatial composition aesthetic perception and philosophy, Koreanness shifts to the point of view of contemporaniety which is created and defined in history. Second, Koreanness as contemporaniety shows a trend of shifting the point of view which is to be found through the reconsideration on modem history and modernism. Third, Koreanness defined as cultural identity shows a trend to emphasize the differences in other cultures and includes all the modem cultural agents. The number of views understood as individuality and denial are small but provide important points. Programmatic definition of Koreanness is not suitable. This basic study uses a stipulative or operational definition of Koreanness in many ways such as spatial and regional identity. Koreanness study for Korean contemporary landscape architecture requires a systematic understanding of modernity and colonization relating to identity. Also, it is needed to elaborate on the discourse to divide the meaning of a concept of identity.

• 한국의류학회지
• /
• 제19권2호
• /
• pp.297-316
• /
• 1995

The system and symbolizing ideologic meanings of the metallic Kwon in period of the Three-Kingdoms were comsidered by comparing to their cultural path and structal styles throughout the tree and the deer worship ideology. The results of this study are as followings; Firstly, the beginning of the Korean, mostly northern style was originated from metal tools of the Bronze age in BC 6c-7c. The maJ;lufature of the metallic adornment brought the pr-evailing use of metallic objects of craftwork after the supply of ironmongery. Secondly, the cultmal characteristics of the metallic Kwan in the kor-ean Peninsula were influenced f-rom the northern chinese tribes, Momg Go, Hung No, and Sien-pi who were transmitted from the scythian of the southern Russia having a prefenence for gold. Thir-dly, the metallic Kwon of the Kogmgo and the Baekje era was ideologically based on the ar-t of Buddism of the pattern of blazing flame, the carved pattern of flower- of herb, and the honey. sukle which were tramsmitted to china thr-ough the silk noad. Fourthly, the metallic K wam of the silla era consisted of the tree and the antler types in closely nelated to the tree and the deer ideology which were based on the background of shamanism. It should be raid that the metallic Kwan of the silla esa are connected to the type of nor-them ancient K wan. Lasthy, the metallic Kwan-Mo of the Kaja esa was mosthy original type of flower of herb even if kome of these ar-e similiar to the tree adornment type of silla. This type of flower of herb in based on the scythian type with a statue im silveer founded at Alexandnopol in the southern russia.

• 한국콘텐츠학회논문지
• /
• 제9권3호
• /
• pp.127-136
• /
• 2009

2008년 게임백서에 의하면 게임 산업의 발전 속에서도 개발자 및 사용자의 게임기획에 대한 불만족 수치가 매년 높은 것으로 나타나고 있다. 이러한 불만족을 해소하기 위해 게임기획의 작업방식과 사용자와의 피드백 방식을 수정하는 방법을 활용하고자 한다. 이를 위해 심성모형과 UML(Unified Modeling Language)을 활용한 지식표상모델 개념을 고찰함으로써 개발자의 작업방식과 사용자와의 커뮤니케이션을 동시에 고려할 수 있는 방안을 제시하고자 한다. 이 두 모델을 통해 기존의 게임기획을 피드백이 용이하도록 구조화함으로써 쉽게 적용하고 활용할 수 있는 개선방향을 제시할 수 있다.

• 한국감성과학회:학술대회논문집
• /
• 한국감성과학회 2009년도 춘계학술대회
• /
• pp.109-112
• /
• 2009

The purpose of this study was to examine the differences in the brain activation evoked by music arranged in major and minor key used with an identical motion film during the fMRI testing. A part of the audio-visual combinations composed by Iwamiya and Sano were used for the study stimuli. This audio- visual clip was originally developed by combining a small motion segment of the animation "The Snowman" and music arranged in both major and minor key from the original jazz music "Avalon" rewritten in a classical style. Twenty-seven Japanese male graduate and undergraduate students participated in the study. Brain regions more activated by the major key than the minor key when presented with the identical motion film were the left cerebellum, the right fusiform gyrus, the right superior occipital, the left superior orbito frontal, the right pallidum, the left precuneus, and the bilateral thalamus. On the other hand, brain regions more activated by the minor key than the major key when presented with the identical motion film were the right medial frontal, the left inferior orbito frontal, the bilateral superior parietal, the left postcentral, and the right precuneus. The study showed a difference in brain regions activated between the two different stimulus (i.e., major key and minor key) controlling for the visual aspect of the experiment. These findings imply that our brain systematically generates differently in the way it processes music written in major and minor key(Supported by the User Science Institute of Kyushu University, Japan and the Korea Science and Engineering Foundation).

• 인문언어
• /
• 제1권1호
• /
• pp.255-274
• /
• 2001

This paper examines the history of Korean names, focusing on the structural characteristics and the literal meanings of those for kings and ordinary people. Roughly speaking, the Korean surname system traces its source to China. Historical records show that the Chinese were already using their family names around 1000 B.C. After a millennium or so, the Korean began to follow suit. Initially, however, surnames were in regular use among kings and their kin only: it was not until the late Shilla dynasty, around A.D. 800, that the commoners began to have Heir surnames. And yet, surnames still tended to be limited to men of noble birth, until around A.D. 1000. Though the Korean surname system may be said to have its origin in Chinese, there are no lack of native surnames that have as long a history, e.g., Hae, Bak, Sok, Sol, Ul, and Ol. Typical surnames of Chinese origin that are found during the late Shilla dynasty, around A.D. 900, include Jang (as in Jang Bogo) and Choi (as in Choi Chiwon). Unlike those of Chinese origin, typical Korean names during the age of Three Nations tended to allude to nature or natural phenomena, as can be witnessed in Bit 'light,' Balgum 'bright,' Nuri 'world,' and Soidori where soi means 'steel' and dol 'stone,' Other surnames abound that have to do with river, stream, field, prairie, and so on. King Muryong's original name was Sama, a variant of som 'island,' indicating where he was born. A person skilled in archery was called Jumong or Hwalbo. Baembo was so called because he 'crawls like a snake, baem,' In these last two examples, bo, as well as its variant bu, functions as a suffix, and is also found in Cochilbu, Isabu, Babo, Nolbu, Hungbu, etc. The tradition of using this kind of native Korean names has gradually disappeared, giving place to the names of Chinese style-although very recently we see an on-going movement toward using native names.

• 한국게임학회 논문지
• /
• 제14권5호
• /
• pp.137-146
• /
• 2014

최근 게임시장은 게임제작과정과 게임디자인 분야의 많은 발전에 의하여 게임 상 컷씬(cut-scene)의 디자인 스타일과 완성도 또한 지속적인 발전을 이루고 있다. 따라서 항상 게임 디자이너들은 여러 디자인 방향성에서 보다 쉬운 인지와 인기 있는 디자인을 얻으려는 노력을 한다. 그러나 개발자에 의존한 디자인 전략은 최종 디자인결과물이 게임플레이어에게 사랑 받고 있는지 성과여부를 판단 할 수 없게 되며 모든 면에서 빠르게 변화하는 게임시장의 요구를 충족 할 수 없다. 또한 디자인 최종 완성도와 같은 어려운 절차들은 게임 컷씬 장면의 제작 및 이용을 어렵게 한다. 따라서 본 연구는 사용자 중심 디자인(UCD) 바탕의 비디오 게임 속 컷씬 디자인방법을 제시하여 제작환경에서 원작의 느낌을 훼손하지 않으면서 디자이너가 전하고자 하는 메시지를 더욱 부각시키고 흥미를 이끌어 몰입감을 높이는데 도움이 될 것이다.

• 건축역사연구
• /
• 제21권4호
• /
• pp.7-24
• /
• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• 한국음향학회지
• /
• 제21권4호
• /
• pp.401-406
• /
• 2002

한국어 숫자는 모두 단음절로 이루어져 있으며, 연속적으로 발음될 때 인접 숫자들의 상호조음현상에 의해 각 숫자의 고유 발음이 변화하고, 또한 그 숫자들의 경계도 모호해지는 문제점이 있다. 이러한 문제점들과 더불어 배경잡음이나 채널에 의한 왜곡에 따른 문제점들로 인해 한국어 연결숫자의 인식 성능은 만족스럽지 못한 것이 현실이다. 본 논문에서는 연결숫자의 인식성능 향상을 위해서 한국어 숫자들의 음운변화를 고려하여 유사음소 (phonelike units: PLUs)군을 정의하고, 사용자의 여러 가지 발성형태에 따른 다양한 음운 현상의 변화를 흡수할 수 있도록 인식 시스템을 구성하는 방식을 검토하였다. 전화망 4연숫자를 이용한 화자독립 인식 실험을 수행한 결과 제안된 방법의 숫자열 인식률은 상태당 믹스쳐 (mixture) 개수가 1인 경우 83.2%로, 기준 시스템 (baseline)에 대한 오류감소률이 7.2%였고 가장 높은 성능을 나타낸 믹스쳐 개수가 11인 경우 숫자열 인식률은 91.8% 오류감소율은 4.7%였다.

• Journal of Communications and Networks
• /
• 제18권3호
• /
• pp.273-287
• /
• 2016

White-box cryptography presented by Chow et al. is an obfuscation technique for protecting secret keys in software implementations even if an adversary has full access to the implementation of the encryption algorithm and full control over its execution platforms. Despite its practical importance, progress has not been substantial. In fact, it is repeated that as a proposal for a white-box implementation is reported, an attack of lower complexity is soon announced. This is mainly because most cryptanalytic methods target specific implementations, and there is no general attack tool for white-box cryptography. In this paper, we present an analytic toolbox on white-box implementations of the Chow et al.'s style using lookup tables. According to our toolbox, for a substitution-linear transformation cipher on n bits with S-boxes on m bits, the complexity for recovering the $$O\((3n/max(m_Q,m))2^{3max(m_Q,m)}+2min\{(n/m)L^{m+3}2^{2m},\;(n/m)L^32^{3m}+n{\log}L{\cdot}2^{L/2}\}\)$$, where $m_Q$ is the input size of nonlinear encodings,$m_A$ is the minimized block size of linear encodings, and $L=lcm(m_A,m_Q)$. As a result, a white-box implementation in the Chow et al.'s framework has complexity at most $O\(min\{(2^{2m}/m)n^{m+4},\;n{\log}n{\cdot}2^{n/2}\}\)$ which is much less than $2^n$. To overcome this, we introduce an idea that obfuscates two advanced encryption standard (AES)-128 ciphers at once with input/output encoding on 256 bits. To reduce storage, we use a sparse unsplit input encoding. As a result, our white-box AES implementation has up to 110-bit security against our toolbox, close to that of the original cipher. More generally, we may consider a white-box implementation of the t parallel encryption of AES to increase security.

• 한국실내디자인학회논문집
• /
• 제16권4호
• /
• pp.12-20
• /
• 2007

This study, as discussed herein, tries to understand how modern commercial buildings occur and develop in certain type of social and cultural conditions. There are many words standing for modern society, of which the most remarkable one is 'commercial society'. Commercial society is where goods are manufactured to one's taste and consumption is a way of communication and a way of discriminating one from the others by using different code. Nowadays, architecture gets more and more popular and becomes commercial object which is intended to the sign of the social meaning. So, the sign of commercial buildings varies according to the social and cultural backgrounds and kitsch is applicable to it. The original meaning of kitsch, which usually is considered an inferior copy of an existing style, is examined and applied to architecture in order for comprehension. Throughout this study, the types of commercial buildings are selected and immanent meaning to the psychology of consumers as applicable to commercial buildings is considered. Also, the trend of kitsch in commercial buildings is analyzed by classifying the image and code of a building's shape. In a conclusion of the study, two major points can be found; commercial building has a significant meaning in terms of design, and commercial building is the conceptual result of a continuous change in the relationship between society and art.