• 한국정밀공학회:학술대회논문집
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• 한국정밀공학회 2010년도 춘계학술대회 논문집
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• pp.369-370
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• 2010

• 제어로봇시스템학회논문지
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• 제12권9호
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• pp.850-855
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• 2006

This is concerned with the development and design of automatic maneuvering system using Differential Global Positioning System(DGPS). To achievement of autonomous maneuvering controller for giant ship, first, we investigated automatic maneuvering controller using DGPS in motor car. The sensors are configured with DGPS and digital compass. We calculated velocity and steering angle of motor car based on sensor signal. To design the controller, we derived the bicycle model and developed critically damped controller. The critically damped controller can be tracing previously appointed position in the fastest time. We are used a laptop computer to realize and the control algorithm is programmed by visual basic software. The obtained experimental results from developed system show unmanned motor car is good tracing planed positions. Hence, the system is looking forward to use the autonomous maneuvering control fur giant ship.

• 과학교육연구지
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• 제41권1호
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• pp.152-165
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• 2017

직선 도선 주위에 자기장이 생기는 현상은 중등 교육과정에서 다루는 전자기학의 핵심 개념 중 하나이다. 아울러 비가시적인 전류와 자기장의 관계를 설명하는 과정에서 시각적 표상이 사용되는 대표적 사례이다. 이 연구에서는 중학교 3학년 남녀 112명을 대상으로 전류가 흐르는 직선 도선 주위의 자기장에 관한 문제 상황을 제시하고, 시각적 표상에 관련하여 표상 해석, 구성, 적용 능력을 조사하였다. 분석 결과에 따르면 75% 이상의 응답자가 전류와 자기장을 뜻하는 화살표의 의미를 타당하게 해석하였다. 그러나 50% 남짓은 전하가 자기장을 따라 운동하는 것으로 혼동하였고 주어진 시각적 표상을 전체적으로 올바르게 해석한 학생은 3분의 1미만이었다. 또 전체 응답자의 60 % 이상이 직선 도선의 자기장을 원형 폐곡선 모양으로 표현했지만 자기력선의 조밀함을 올바르게 나타낸 경우는 6.3 %에 불과했다. 또 나침반의 방향으로 상황을 바꾸어 표상 적용 능력을 조사한 결과, 과학적 표현에 해당하는 응답자의 비율이 상당히 줄어들었다. 학생들의 표상 능력을 점수화 한 결과 시각적 표상의 해석, 구성, 적용 능력의 순으로 점수가 나타났고 이들 사이에는 유의미한 상관관계(0.3~0.5)가 있는 것으로 나타났다. 이는 세 가지 표상 능력 요소가 서로 연관이 있으면서도 독립적임을 시사한다. 이러한 연구 결과들은 과학 학습 과정에서 시각적 표상을 효과적으로 활용하고 학생들의 표상 능력을 높일 수 있는 방안에 대한 연구가 필요함을 시사한다.

• 복식
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• 제30권
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• pp.261-274
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• 1996

In the present age dominate by both cer-taingty of 1% and uncertainty of 99% 'Fuzzy thinking' of Bart Kosko that is the way to solve the problems by the scientific way through a worldview of Buddhism or Taoism greatly prevails around the world over 'Lateral greatly prevails around the world over 'Lateral thinking' and the authenticity or the right and-wrong of the uncertainty which is the thinking way to find the answer of the problems of illogical way of Edward de Beno against the western vertical thinking were Concurrently fashion designers over the world also adopt the oriental elements. But there exist differences of thoughts between the orient and the occident. And they have dif-ferent thinking way of aestheticism and references of the value on the beauty. Not only beauty but the view through the mind as intuitional thought in which not only the rec-ognition of sense but also the rationalism and the naturalness play key role. The aesthetic sense in the orient contains both the truth and virtue. 2) The beauty of the mean It's from the thought of neutralization of Confucius. The mean or moderation state which in harmony with ethical virtue and aes-thetic beauty is the ideal and is the ultimate. Therefore the thought of Confucian is the creativity in which the balance and the har-mony is most important. Fashion design is also one of the representation of the mean because the spirit of the designer is harmonized for-mlessly with the object of the model of the fashion design. 2) The beauty of skillfulness It indicates the Taoism of Lao-tzu and Chuangtzu. It takes a super-artistic declar-ation that human can feel and recognize the color of colorlessness the sound of sound-lessness and the taste of tastelessness. The thought of arts affected by Taoism is 'ad-vanced age' called the beauty of skillfulness. The view of arts of lao-tzu takes the beauty of cosmos and the nature as a standard. Es-pecially the beauty of inactivity is recognized by the linkage between the beauty and the ugliness. And these things appear in fashion design as a design element such as humor or exaggeration. 3) The beauty of non-dualism It is thought of Buddhism that all evil passions of worry occur form the opposition in dualism. Finally this thought leads to that everything is consistent and truth is only one from the point of view that virtue and vice has on linkage that is 'no virtues no vices' and 'one with two, two, with one, one is not two' A big tendency like this became the root forma-tion of the thought of the oriental arts. 3. Characteristics of the oriental aesthetic sense on the present fashion design 1) The formation of the fashion design on the oriental elements In the picture-incantation which was a representation of an era when the thought of 'cosmic dual forces' dominated the basic polygons of 'a circle square triangle' means both 'one two three' and 'the negative positive mean' of cosmic elements. From this point of view the was of planner cutting in the Orient is dif-ferent from that of the Occidental which is in three-dimensional. The planner polygon type of the cut-pieces comes to have the meaning of the three-dimension when they consist of a suit that has the combination of each cut-piece. This shows the consistency with the principle of cosmos creation of Taoism that one is two two is three and three is every-thing. 2) The coloring and the symbolic represen-tation of the fashion design on the orien-tal elements The sense on the colors in the Orient from the thought of 'the cosmic dual forces and the five elements' is not the experi-enced from the knowledge but contains the consideration of philosophy Five-primary-color representing compass directions Blue(East) Red(South) Yellow(Center) White (West) and Black (North) is called ' the posi-tive' for this five-primary-color secondary-color which comes from the compound of the primary colors is called 'the negative' The thought of 'the cosmic dual forces and the five elements' is also an theory containing the natural order of the cos-mos and this shows the perceptional differ-ence that they are not conceptual but to be recognized and fell directly. A thought of Buddhism which is 'Colors are colorlessness and Clolorlessness are color's proves that. 3) The pattern and symbolic representation of the fashion design on the oriental elements The pattern as a visual style is a figure of symbolic representation which adopt the mental and physical world of human and are the compo-sition of artistic revelation of the human nature and the religous thought of incantation. Es-pecially the symbolic representation of the oriental thought of Confusion. Buddhism and Taoism There are patterns such as plants aminals the oriental four gods and geometry. From the above it's the time toward the 21'th century when the world is constructing one global area and one historical zone. And the exotic mood of the Orient represented in the fashion which doesn't make the common feeling in general does not cease to develop only to express the visual modeling but also adopts the thought religion and the art which are the root of the Orientail and contains inherent willing of modeling.