• Journal of the Korean Society of Manufacturing Technology Engineers
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• v.23 no.5
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• pp.421-427
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• 2014

In this paper, the kinestatic control algorithm using a six-axis compliant device is presented. Unlike the traditional control methods using a force/torque sensor with very limited compliance, this method employs a compliant device to provide sufficient compliance between an industrial robot and a rigid environment. This kinestatic control method is used to simply control the position of an industrial robot with twists of compensation, which can be decomposed into twists of compliance and twists of freedom. A simple design method of a six-axis parallel-type compliant device with a diagonal stiffness matrix is presented. A compliant device prototype and kinestatic control hardware system and programming were developed. The effectiveness of the kinestatic control algorithm was verified through two kinds of kinestatic control experiments.

• Proceedings of the KSME Conference
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• 2004.04a
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• pp.917-922
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• 2004

As the tasks of robots become more diverse, some complicated tasks have come to require force and position hybrid control. A compliant device can be used to control force and position simultaneously by separating the twist of the robot's end effector from the twist of compliance and freedom by using stiffness mapping of the compliant device. The development of a fuzzy gain scheduling scheme of control for a robot with a compliant device is described in this paper. Fuzzy rules and reasoning are performed on-line to determine the gain of twists based on wrench error and twist error and twist of compliance and twist of freedom ratio. Simulation results demonstrate that better control performance can be achieved in comparison with constant gain control.

• Bulletin of the Korean Chemical Society
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• v.31 no.11
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• pp.3385-3390
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• 2010

$Li^+$ ion complex of azacrown ether with restricted motion of freedom and pseudo-bilateral symmetry was studied by infrared spectroscopy, which has shown simplified and broadened vibrational features. The C=O and N-H stretching bands, in particular, shows anomalous broadening nearly ${\sim}50\;cm^{-1}$. The density functional calculation at the level of BP86/6-31+$G^{**}$ shows that $Li^+$ ion is trapped and rather free to move around inside the cavity, as much as about $0.70\;{\AA}$. Through the relocation of $Li^+$ ion inside the cavity, the conformational changes would occur rapidly in its symmetry $C_1\;{\rightleftarrows}\;C_2\;{\rightleftarrows}\;C_1$$. The potential barrier was obtained to be merely ~2.2 kJ/mol for $C_1\;{\rightarrow}\;C_2$. During this conformational alteration, the amide backbone twists concurrently its dihedral angle side to side about up to ${\pm}3$ degree. Selected vibrational modes were interpreted in terms of the force constant variations of local symmetry coordinates between conformations in the framework of $C_1\;{\rightleftarrows}\;C_2\;{\rightleftarrows}\;C_1$.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.