• Journal of Korean Tunnelling and Underground Space Association
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• v.24 no.5
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• pp.431-449
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• 2022

As many tunnels generally have been constructed, various experiences and techniques have been accumulated for tunnel design as well as tunnel construction. Hence, there are not a few cases that, for some usual tunnel design works, it is sufficient to perform the design by only modifying or supplementing previous similar design cases unless a tunnel has a unique structure or in geological conditions. In particular, for a tunnel blast design, it is reasonable to refer to previous similar design cases because the blast design in the stage of design is a preliminary design, considering that it is general to perform additional blast design through test blasts prior to the start of tunnel excavation. Meanwhile, entering the industry 4.0 era, artificial intelligence (AI) of which availability is surging across whole industry sector is broadly utilized to tunnel and blasting. For a drill and blast tunnel, AI is mainly applied for the estimation of blast vibration and rock mass classification, etc. however, there are few cases where it is applied to blast pattern design. Thus, this study attempts to automate tunnel blast design by means of machine learning, a branch of artificial intelligence. For this, the data related to a blast design was collected from 25 tunnel design reports for learning as well as 2 additional reports for the test, and from which 4 design parameters, i.e., rock mass class, road type and cross sectional area of upper section as well as bench section as input data as well as16 design elements, i.e., blast cut type, specific charge, the number of drill holes, and spacing and burden for each blast hole group, etc. as output. Based on this design data, three machine learning models, i.e., XGBoost, ANN, SVM, were tested and XGBoost was chosen as the best model and the results show a generally similar trend to an actual design when assumed design parameters were input. It is not enough yet to perform the whole blast design using the results from this study, however, it is planned that additional studies will be carried out to make it possible to put it to practical use after collecting more sufficient blast design data and supplementing detailed machine learning processes.

• Cartoon and Animation Studies
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• s.15
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• pp.1-12
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• 2009

As the technology realizing digital multimedia has been developing remarkably based on Internet environment, today we can gain various information we need quickly and easily without regard to time or place by using world wide web. The recent spread of digital animation as a way of communication on Internet has been forming a new communication paradigm according to the development of age. Besides, digital animations embodied on web are a kind of communication medium which is expressed through interactions using different digital multimedia tools and put the concepts of time and space together. This is a form which can cope with various forms of information, and it occupies a high rate on web and is used often. Web animations offer various forms of communication, such as interface structure design for information transfer, characters, typography, and other graphic elements, which make users feel maximized real dynamics. This paper analyzes and evaluates the categories according to the characteristics, information and usage types of digital animations used on web, examines more efficient communication expressions based on them, and pays attention to the Internet environment that will develop and change in the future. With regard to it, this research aims at suggesting a useful theory so that diverse digital animations on web based on Internet environment would develop into a new communication paradigm responding to the change of time.

• Journal of the Korean GEO-environmental Society
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• v.21 no.6
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• pp.19-25
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• 2020

In the recent downtown works, there are frequent cases where the work on existing piles is impossible due to the influence from lack of space and surrounding environment. In such cases, there has been growing cases of using the micropile method that is available to work with the small equipment and asserts the bearing capacity of the existing piles. The micropile method is a type of drilled shaft with the diameter of a pile to be around 75 mm~300 mm that, even for a case where it has certain surrounding structure, foundation and spatial obstacle, there is almost no work difficulty and the work is feasible under all types of soil conditions. In addition, the work can be done in places where the ceiling of the building is low with less vibration and noise in the work process that such method is significantly used for foundation reinforcement of existing buildings. With respect to the motion characteristics that are changed depending on the foundational characteristics or when the micropile is applied with compression or tensile force, there is very few studies conducted. Therefore, under this study, through the data analysis of the field loading test regarding the micropile worked in the fields, it clarifies the settlement and characteristics of bearing capacity following the embedded condition of the ingredients and piles that consist the foundation if the compression and tensile force are applied to the micropile, and by facilitating the statistical analysis program, SAS, to carry out the analysis on the main elements influencing on settlement of the micropile and bearing capacity.

• Korean Institute of Interior Design Journal
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• v.20 no.4
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• pp.174-182
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• 2011

This study analyzed visitors' behaviors in the viewpoint of Attraction Power and Holding Power of exhibits on the basis of exhibition layout of real science museums. Through the analysis, the study grasped efficiency of analysis index and exhibition environment elements which might have an effect on planning the exhibition space of a large-scale museum and producing detailed ranges of exhibition. The main indicators used are: 1. Attraction Power: it indicates the relative incidence of people who have stopped in front of an object/exhibit during the exhibition tour. It is calculated by dividing the number of people who stop by the total number of people who have visited the museum or gallery. 2. Holding Power: it measures the average time spent in front of an information/communication element. It is calculated by dividing the average time of stay by the time "necessary" to read an element. As a result of analyzing the exhibition areas of National Science Museum (Daejeon) and National Museum of Emerging Science and Innovation(Tokyo), the Holding Power was found to be relatively lower than the Attracting Power. This means that 3.5 out of 10 visitors stop in front of the exhibit in 6 exhibition areas, and among these, only 1/10 is used when compared to the user required time of the exhibits. In other words, like the method of deriving an analysis index, the stage of viewing can be categorized as Attracting Power and Holding Power, and because the stage from Attracting Power to the stage of Holding Power are strongly linked, it shows that it is not easy to display a meaningful result. Except, the general distribution of Attracting Power was shown to be high from the entrance area of the exhibition hall based on the standard of viewing sequence. Also, the Holding Power became sequentially lower according to the sequence of exhibition viewing and displayed a meaningful interrelationship with the distribution ratio of island exhibits. In the case of island exhibition method, it is less influenced by the movement flow of visitors when compared to the wall type method of exhibition and can be understood as an exhibition method that provides spatial chances enabling stopping and viewing.

• Journal of Korea Game Society
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• v.8 no.3
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• pp.43-50
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• 2008

UI design is growing in meaning and form itself through the development of hardware and contents. And it makes users accept its interface as a extension of the body and mind because of the substantial rapport of the user and contents with developing of device and graphic. In this study, we analyzed user interface in a view of digital storytelling by observing of its role within user and contents. Not only this, classifying and investigating story elements in the games for forming the theoretical basis of storytelling UI are enforced. For the case study of UI, we choose the game, Diablo, Half-Life, and Homeworld because the game is suitable for the application of node-type storytelling and effectively uses graphic and input unit. This analysis explains the interface has the contents data that divided or shared and it means the interface performs its part of story nodes, which are extracted from the story, and choice. And we analogized that the story elemental can be substituted and used practically for interface because the stories made through the thing that users and developers are in the space of coexistence by the interface. Storytelling UI will be a good way to make a most intriguing piece as a joyful spontaneous complex that use story node. It is worth by reason of making by user and discovering live inner story so that it can approach to the substance of the story.

• Journal of the Society of Naval Architects of Korea
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• v.28 no.1
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• pp.60-68
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• 1991

The updated Lagrangian Finite Element Method is introduced to analyse rigid body-fluid impact problem which is characterized by incompressible Navier-Stokes equations and impact-contact conditions between free surface and rigid body. For the convenience of numerical computation, velocity fields are splinted into vicous and pressure parts, and then the governing equations and boundary conditions are decomposed in accordance with the decomposition. However, Viscous stresses acting an the solid boundaries are neglected on the assumption that very small velocity gradients may occur during extremely small time interval of the impact. Four coded quadrilateral elements are used to discretize the space domain and the fully explicit time-marching algorithm is employed with a reasonably small time step. At the beginning of each time step, contact velocity of the rigid body is computed from the momentum balance between the body and the fluid. The velocity field is then computed to satisfy the discretized equations of motions and incompressibility and contact constraints as well as an exact free surface boundary condition. At the end of each time step, the fluid domain is updated from the velocity field. In the present time stepping numerical analysis, behaviour of the free surface near the body can be observed without any difficulty which is very important in the water impact problem. The applicability of the algorithm is illustrated by a wedge type falling body problem. The numerical solutions for time-varying pressure distributions and impact loadings acting ion the surface are obtained.

• Journal of Navigation and Port Research
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• v.34 no.5
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• pp.367-373
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• 2010

When the numerical analysis is carried out, it is necessary to set proper elements as a feature of analysis domains for more accurate simulations. In this study, Distinct Element Method(DEM) is applied, only considering repulsive force and tensile force except for frictional force and resisting force of particle. When the filled particles with initial Quad-tree type is relocated by DEM, a blank space existing among the particles can be minimized because the shape of particle is circular. Finally, it is the effective feature that the centroidal disposion of the particles is similar to an equilateral triangle. Triangular mesh are formed by using the Delaunay triangular technique on these relocated particles, the quality of triangular mesh is more improved by carrying out Laplace interpolations. The compared result of Aspect Ratio before and after the Laplace interpolation is shown that although the quality of triangular mesh made by DEM is good, the later triangular mesh are higher quality than the formers. In this study, although the developed technique takes a longer calculational time than the previous technique to generate triangular mesh, it is considered that the applicable possibility is very high in the generation of finite element mesh about wave analysis and various numerical simulation to need a complex or reappearance of exact topography.

• Cartoon and Animation Studies
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• s.36
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• pp.393-416
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• 2014

Comics has three components: cuts, gap between cuts, speech balloons. Still, it is true that speech balloons are not commonly subject to the study for comics. A few preceding researches pinpoint exactly the morphological features and functions of speech balloons. In today when webtoon becomes generalized, these features and functions are continued as they are and are used in webtoon. We can catch that speech balloons are also affected since the environmental elements of web induce the change in the overall comics directing. There are two perspectives to sort out the features of speech balloons: first, the placement issue of speech balloons. The unlimited expansion of web space gives the environment for comicss to use the gap between cuts as wide as they can. It leads to turn out some of the ways to place the balloons, so we can sort them out general placement, exterior placement, the upper and lower placement, scroll-use type. Second, as the directing techniques for webtoon become digitalized by the morphological issue, speech balloon itself has been expanded its ways to express by various expression methods. Analyzing and classifying, recording the newly emerged conditions on the preceding study are worthy of trying and will become the cornerstone for the follow research.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.