• Journal of Intelligence and Information Systems
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• 제26권4호
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• pp.87-109
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• 2020

Currently, thanks to the major stride made in developing wired and wireless communication technology, a variety of IT services are available on land. This trend is leading to an increasing demand for IT services to vessels on the water as well. And it is expected that the request for various IT services such as two-way digital data transmission, Web, APP, etc. is on the rise to the extent that they are available on land. However, while a high-speed information communication network is easily accessible on land because it is based upon a fixed infrastructure like an AP and a base station, it is not the case on the water. As a result, a radio communication network-based voice communication service is usually used at sea. To solve this problem, an additional frequency for digital data exchange was allocated, and a ship ad-hoc network (SANET) was proposed that can be utilized by using this frequency. Instead of satellite communication that costs a lot in installation and usage, SANET was developed to provide various IT services to ships based on IP in the sea. Connectivity between land base stations and ships is important in the SANET. To have this connection, a ship must be a member of the network with its IP address assigned. This paper proposes a SANET-CC protocol that allows ships to be assigned their own IP address. SANET-CC propagates several non-overlapping IP addresses through the entire network from land base stations to ships in the form of the tree. Ships allocate their own IP addresses through the exchange of simple requests and response messages with land base stations or M-ships that can allocate IP addresses. Therefore, SANET-CC can eliminate the IP collision prevention (Duplicate Address Detection) process and the process of network separation or integration caused by the movement of the ship. Various simulations were performed to verify the applicability of this protocol to SANET. The outcome of such simulations shows us the following. First, using SANET-CC, about 91% of the ships in the network were able to receive IP addresses under any circumstances. It is 6% higher than the existing studies. And it suggests that if variables are adjusted to each port's environment, it may show further improved results. Second, this work shows us that it takes all vessels an average of 10 seconds to receive IP addresses regardless of conditions. It represents a 50% decrease in time compared to the average of 20 seconds in the previous study. Also Besides, taking it into account that when existing studies were on 50 to 200 vessels, this study on 100 to 400 vessels, the efficiency can be much higher. Third, existing studies have not been able to derive optimal values according to variables. This is because it does not have a consistent pattern depending on the variable. This means that optimal variables values cannot be set for each port under diverse environments. This paper, however, shows us that the result values from the variables exhibit a consistent pattern. This is significant in that it can be applied to each port by adjusting the variable values. It was also confirmed that regardless of the number of ships, the IP allocation ratio was the most efficient at about 96 percent if the waiting time after the IP request was 75ms, and that the tree structure could maintain a stable network configuration when the number of IPs was over 30000. Fourth, this study can be used to design a network for supporting intelligent maritime control systems and services offshore, instead of satellite communication. And if LTE-M is set up, it is possible to use it for various intelligent services.

• (The) Research of the performance art and culture
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• 제43호
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• pp.5-46
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• 2021

The film Moranbong is the product of a trip to North Korea in 1958, when Armangati, Chris Marker, Claude Lantzmann, Francis Lemarck and Jean-Claude Bonardo left at the invitation of Joseon Film. However, for political reasons, the film was not immediately released, and it was not until 2010 that it was rediscovered and received attention. The movie consists of the narratives of Young-ran and Dong-il, set in the Korean War, that are folded into the narratives of Chunhyang and Mongryong in the classic Chunhyangjeon of Joseon. At this time, Joseon's classics are reproduced in the form of the drama Chunhyangjeon, which shares the time zone with the two main characters, and the two narratives are covered in a total of six scenes. There are two layers of middle-story frames in the movie, and if the same narrative is set in North Korea in the 1950s, there is an epic produced by the producers and actors of the Changgeuk Chunhyangjeon and the Changgeuk Chunhyangjeon as a complete work. In the outermost frame of the movie, Dong-il is the main character, but in the inner double frame, Young-ran, who is an actor growing up with the Changgeuk Chunhyangjeon and a character in the Changgeuk Chunhyangjeon, is the center. The following three OST albums are Corée Moranbong released in France in 1960, Musique de corée released in 1970, and 朝鮮の伝統音樂-唱劇 「春香伝」と伝統樂器- released in 1968 in Japan. While Corée Moranbong consists only of the music from the film Moranbong, the two subsequent albums included additional songs collected and recorded by Pyongyang National Broadcasting System. However, there is no information about the movie Moranbong on the album released in Japan. Under the circumstances, it is highly likely that the author of the record label or music commentary has not confirmed the existence of the movie Moranbong, and may have intentionally excluded related contents due to the background of the film's ban on its release. The results of analyzing the detailed scenes of the Changgeuk Chunhyangjeon, Farewell Song, Sipjang-ga, Chundangsigwa, Bakseokti and Prison Song in the movie Moranbong or OST album in the 1950s are as follows. First, the process of establishing the North Korean Changgeuk Chunhyangjeon in the 1950s was confirmed. The play, compiled in 1955 through the Joseon Changgeuk Collection, was settled in the form of a Changgeuk that can be performed in the late 1950s by the Changgeuk Chunhyangjeon between 1956 and 1958. Since the 1960s, Chunhyangjeon has no longer been performed as a traditional pansori-style Changgeuk, so the film Moranbong and the album Corée moranbong are almost the last records to capture the Changgeuk Chunhyangjeon and its music. Second, we confirmed the responses of the actors to the controversy over Takseong in the North Korean creative world in the 1950s. Until 1959, there was a voice of criticism surrounding Takseong and a voice of advocacy that it was also a national characteristic. Shin Woo-sun, who almost eliminated Takseong with clear and high-pitched phrases, air man who changed according to the situation, who chose Takseong but did not actively remove Takseong, Lim So-hyang, who tried to maintain his own tone while accepting some of modern vocalization. Although Cho Sang-sun and Lim So-hyang were also guaranteed roles to continue their voices, the selection/exclusion patterns in the movie Moranbong were linked to the Takseong removal guidelines required by North Korean musicians in the name of Dang and People in the 1950s. Second, Changgeuk actors' response to the controversy over the turbidity of the North Korean Changgeuk community in the 1950s was confirmed. Until 1959, there were voices of criticism and support surrounding Taksung in North Korea. Shin Woo-sun, who showed consistent performance in removing turbidity with clear, high-pitched vocal sounds, Gong Gi-nam, who did not actively remove turbidity depending on the situation, Cho Sang-sun, who accepted some of the vocalization required by the party, while maintaining his original tone. On the other hand, Cho Sang-seon and Lim So-hyang were guaranteed roles to continue their sounds, but the selection/exclusion patterns of Moranbong was independently linked to the guidelines for removing turbidity that the Gugak musicians who crossed to North Korea had been asked for.