• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.807-814
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• 2021

As economic activities decrease, and the stock market decline due to COVID-19, many people are jumping into stock investment as an alternative source of income. As people's interest increases, many stock price analysis studies are underway to earn more profits. Due to the variance observed in the stock markets, it is necessary to analyze each stock independently and consistently. To solve this problem, we designed and implemented models and services that analyze stock prices using a reinforcement learning technique called Asynchronous Advantage Actor-Critic(A3C). Stock market data reflected external factors such as government bonds and KOSPI (Korea Composite Stock Price Index) as well as stock prices. Our proposed work provides a web service with a visual representation of predictions of stocks and stock information through which directions are given to investors to make safe investments without analyzing domestic and foreign stock market trends.

• The Mathematical Education
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• v.60 no.4
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• pp.543-554
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• 2021

The dynamic geometric environment plays a positive role in solving students' geometric problems. Students can infer invariance in change through dragging, and help solve geometric problems through the analysis method. In this study, the continuous spectrum of the dynamic geometric environment can be used to solve problems of students. The continuous spectrum can be used in the 'Understand the problem' of Polya(1957)'s problem solving stage. Visually representation using continuous spectrum allows students to immediately understand the problem. The continuous spectrum can be used in the 'Devise a plan' stage. Students can define a function and explore changes visually in function values in a continuous range through continuous spectrum. Students can guess the solution of the optimization problem based on the results of their visual exploration, guess common properties through exploration activities on solutions optimized in dynamic geometries, and establish problem solving strategies based on this hypothesis. The continuous spectrum can be used in the 'Review/Extend' stage. Students can check whether their solution is equal to the solution in question through a continuous spectrum. Through this, students can look back on their thinking process. In addition, the continuous spectrum can help students guess and justify the generalized nature of a given problem. Continuous spectrum are likely to help students problem solving, so it is necessary to apply and analysis of educational effects using continuous spectrum in students' geometric learning.

• Geomechanics and Engineering
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• v.34 no.3
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• pp.317-328
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• 2023

The soil behaviour can be represented by numerical modelling of element testing using diverse constitutive models. However, not all constitutive models allow the simulation of the stress-strain response at the critical state in granular soils with both contractive and dilative behaviour. Moreover, the accuracy of these models depends highly on the quality of the experimental data used for their calibration. This study addresses the modelling of the critical state behaviour of an alluvial natural soil from the Lower Tagus Valley (south of Portugal), known as TP-Lisbon sand, using the NorSand constitutive law. For this purpose, a series of numerical simulations of element testing was carried out using two algorithms performed in Visual Basic (VB) and Fast Lagrangian Analysis of Continua (FLAC). Moreover, this study presents the characterisation of of NorSand parameters from an accurate experimental programme based on triaxial and bender element testing. This experimental program allowed defining: (i) the critical state locus, (ii) the stress-dilatancy, and (iii) the soil elasticity of TP-Lisbon sand -all fundamental to calibrate the contractive and dilative behaviour of such alluvial soil. The results revealed a good agreement between experimental data and NorSand simulations using VB and FLAC. Therefore, this study showed that the quality of laboratory testing procedures and its good interpretation enables NorSand constitutive law to capture representatively the non-associated plastic strains, often expressed by the state parameter, allowing a representation of soil behaviour of alluvial soils within the critical state soil mechanics framework for different state parameters.

• International conference on construction engineering and project management
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• 2013.01a
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• pp.403-411
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• 2013

Horizontal construction projects such as oil and gas pipeline projects typically involve repetitive-work activities with the same crew and equipment from one end of the project to the other. Repetitive scheduling also known as linear scheduling is known to have superior schedule management capabilities specifically for such horizontal construction projects. This study discusses on expanding the capabilities of repetitive scheduling to account for the variance in production rates and visual representation by developing an automated alignment based linear scheduling program for applying temporal and spatial changes in production rates. The study outlines a framework to apply changes in productions rates when and where they will occur along the horizontal alignment of the project and illustrates the complexity of construction through the time-location chart through a new linear scheduling model, Linear Scheduling Model with Varying Production Rates (LSM_VPR). The program uses empirically derived production rate equations with appropriate variables as an input at the appropriate time and location based on actual 750 mile natural gas liquids pipeline project starting in Wyoming and terminating in the center of Kansas. The study showed that the changes in production rates due to time and location resulted in a close approximation of the actual progress of work as compared to the planned progress and can be modeled for use in predicting future linear construction projects. LSM_VPR allows the scheduler to develop schedule durations based on minimal project information. The model also allows the scheduler to analyze the impact of various routes or start dates for construction and the corresponding impact on the schedule. In addition, the graphical format lets the construction team to visualize the obstacles in the project when and where they occur due to a new feature called the Activity Performance Index (API). This index is used to shade the linear scheduling chart by time and location with the variation in color indicating the variance in predicted production rate from the desired production rate.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.1089-1095
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• 2023

Windows are essential and important architectural elements for the organization of architectural spaces, and they give character to the space and have a great impact on the reaction of users. Virtual windows are installed to activate architectural spaces such as underground spaces where windows cannot be installed, and to provide a sense of psychological security to users in hospital clinics, etc. In this study, we reviewed the literature and collected and analyzed the precedents of virtual windows to discuss the factors necessary to improve the realism of virtual windows. The factors that affect the realism of virtual windows are further grouped into five categories: 1. Use of reproduced images or videos for views, 2. Representation of temporality, 3. Responsiveness to changes in the observer's perspective, 4. Realistic reproduction of sunlight, and 5. Provision of non-visual sensory elements. Virtual windows are not just a replacement for traditional windows, but a way to realize a virtual environment using digital media, and it is necessary to expand the discussion to the realization of the virtual environment and the relationship with architectural elements.

• The Journal of the Korea institute of electronic communication sciences
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• v.19 no.3
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• pp.563-570
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• 2024

This paper proposes a method to recognize and track drivable lane areas to assist the driver. The main topic is designing a deep-based network that predicts drivable road areas using computer vision and deep learning technology based on images acquired in real time through a camera installed in the center of the windshield inside the vehicle. This study aims to develop a new model trained with data directly obtained from cameras using the YOLO algorithm. It is expected to play a role in assisting the driver's driving by visualizing the exact location of the vehicle on the actual road consistent with the actual image and displaying and tracking the drivable lane area. As a result of the experiment, it was possible to track the drivable road area in most cases, but in bad weather such as heavy rain at night, there were cases where lanes were not accurately recognized, so improvement in model performance is needed to solve this problem.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Archives of design research
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• v.19 no.5 s.67
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• pp.119-128
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• 2006

The scale of visual expression has expanded from freeze frame to motion picture as media have developed. Moving pictures such as animation, movies, TV CM and GUI become formative elements whose movement is necessary compared to freeze frame as apparent movement phenomenon and unit structure such as short and scene appear. Therefore, of formative elements such as a shape, color, space, size and movement, movement is importantly distinguished in the moving image. The expression and form of image as a relationship between the signified and signifier explained by Saussure are accepted as a sign by mutual complement even though they limit the content. This makes it possible to infer that the formal feature of movement participates in the message content. To verify this, the result of moving picture visual perception experiment based on the gestalt grouping principle result shows that 70-80 percent of subjects think that 'movement' is the important grouping clue in perception. Movement affects the maintenance of the context of message content in the communication process when the meaning structure of moving picture is analyzed based on the structural feature. The identity can be maintained with if there is a movement with similar directive point even if the color and shape of people, things and background are changed. Second, the clarity of the content is elevated by a distinguished object as a figure by movement. Third, it acts as a knowledge representation which can predict similar movement process of next information processing. Forth, movement gives the content consistency even though more than two scenes have fast switch and complicated editing structure like cross-cutting. Movement becomes a clue which can make grouping information input by visual perception reaction. Also, it gives the order to the visual expression which can be used improperly by formation of structural frame of image message and has the effectiveness which elevates the clarity of signification. Moving picture has discourse with several mixed unit structures because it fundamentally contains time and the common and distinguished expression is needed by media-mix circumstances. Therefore, by the application of gestalt grouping principle to moving picture field, movement becomes the more distinguished than other formative elements and affects the formation of meaning structure. This study propose a viewpoint that develops structural formative beauty and new image expression in the media image field.