• Journal of Intelligence and Information Systems
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• v.17 no.4
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• pp.213-226
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• 2011

In global supply chain, the scheduling problems of large products such as ships, airplanes, space shuttles, assembled constructions, and/or automobiles are complicated by nature. New scheduling systems are often developed in order to reduce inherent computational complexity. As a result, a problem can be decomposed into small sub-problems, problems that contain independently small scheduling systems integrating into the initial problem. As one of the authors experienced, DAS (Daewoo Shipbuilding Scheduling System) has adopted a two-layered hierarchical architecture. In the hierarchical architecture, individual scheduling systems composed of a high-level dock scheduler, DAS-ERECT and low-level assembly plant schedulers, DAS-PBS, DAS-3DS, DAS-NPS, and DAS-A7 try to search the best schedules under their own constraints. Moreover, the steep growth of communication technology and logistics enables it to introduce distributed multi-nation production plants by which different parts are produced by designated plants. Therefore vertical and lateral coordination among decomposed scheduling systems is necessary. No standard coordination mechanism of multiple scheduling systems exists, even though there are various scheduling systems existing in the area of scheduling research. Previous research regarding the coordination mechanism has mainly focused on external conversation without capacity model. Prior research has heavily focuses on agent-based coordination in the area of agent research. Yet, no scheduling domain has been developed. Previous research regarding the agent-based scheduling has paid its ample attention to internal coordination of scheduling process, a process that has not been efficient. In this study, we suggest a general framework for agent-based coordination of multiple scheduling systems in global supply chain. The purpose of this study was to design a standard coordination mechanism. To do so, we first define an individual scheduling agent responsible for their own plants and a meta-level coordination agent involved with each individual scheduling agent. We then suggest variables and values describing the individual scheduling agent and meta-level coordination agent. These variables and values are represented by Backus-Naur Form. Second, we suggest scheduling agent communication protocols for each scheduling agent topology classified into the system architectures, existence or nonexistence of coordinator, and directions of coordination. If there was a coordinating agent, an individual scheduling agent could communicate with another individual agent indirectly through the coordinator. On the other hand, if there was not any coordinating agent existing, an individual scheduling agent should communicate with another individual agent directly. To apply agent communication language specifically to the scheduling coordination domain, we had to additionally define an inner language, a language that suitably expresses scheduling coordination. A scheduling agent communication language is devised for the communication among agents independent of domain. We adopt three message layers which are ACL layer, scheduling coordination layer, and industry-specific layer. The ACL layer is a domain independent outer language layer. The scheduling coordination layer has terms necessary for scheduling coordination. The industry-specific layer expresses the industry specification. Third, in order to improve the efficiency of communication among scheduling agents and avoid possible infinite loops, we suggest a look-ahead load balancing model which supports to monitor participating agents and to analyze the status of the agents. To build the look-ahead load balancing model, the status of participating agents should be monitored. Most of all, the amount of sharing information should be considered. If complete information is collected, updating and maintenance cost of sharing information will be increasing although the frequency of communication will be decreasing. Therefore the level of detail and updating period of sharing information should be decided contingently. By means of this standard coordination mechanism, we can easily model coordination processes of multiple scheduling systems into supply chain. Finally, we apply this mechanism to shipbuilding domain and develop a prototype system which consists of a dock-scheduling agent, four assembly- plant-scheduling agents, and a meta-level coordination agent. A series of experiments using the real world data are used to empirically examine this mechanism. The results of this study show that the effect of agent-based platform on coordinated scheduling is evident in terms of the number of tardy jobs, tardiness, and makespan.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.303-345
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• 2019

This article analyzes the multi-layered communication in the Webtoon Princess Pari, released on the Daum portal site, created (written and illustrated) by Kim Naim, through analyzing the narrative structure and comments with the qualitative / quantitative methodology. The webtoon Princess Pari is structured in an omnibus style in which unit narratives are intermittently articulated, multi-lined, and interconnected. As integrated narratives which link with unitary narratives, Pari's growth story as a shaman and a romance narrative are structured. The classical original story of the shaman was used as a prehistory corresponding to the prequel of the webtoon through a preview, and the writer restructured the narrative to overcome the contradictions of the gender asymmetry and the patriarchal ideology of the original text. The viewer then creates a conversational space by giving critical and reflective comments. According to a statistical analysis conducted through sampling, the types of comments can be classified as follows: Appreciation and criticism of the contents ≫ Emotional response ≫ Intuitive overall review ≫ Knowledge and reflection ≫ Comments on comments. In the process of creation and acceptance of the Webtoon, a multi-layered dialogue between classical and modern, content and audience, acceptance and creation has been at play. In the creation dimension, the writer used a device to fill the gap of mythical symbols of the contents. At the level of the audience, they formed a culture of sharing information, knowledge, and reflection about tradition/folk/culture through comments. This corresponds to classical and modern dialogue through the webtoon. The viewers form a sympathetic bond, attempt hermeneutical coordination, supplement the information, and search for a balanced angle through controversial conversation. In addition, by commenting on attitudes, views, and perspective, the commentators showed a behavioral pattern corresponding to meta-criticism in literature. The viewers' comments acted as feedback on the creation of the webtoons, so that the creation and acceptance itself influenced the production of the content of the webtoon. The webtoon Princess Pari, which was based on Korean classical narrative, has been reorganized onto 'moving and dynamic' content, which leads to sense, thinking, criticism and reflection through the formation of various dialogues.

• (The) Research of the performance art and culture
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• no.18
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• pp.413-444
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• 2009

This paper is an analysis of stage and performance elements for the ceremonial procedures and dance featured in bongsudang-jinchan, a feast celebrating the 60th birthday of Hyegyeong-gung Hongssi (Crown Princess Hong of Hyegyeonggung), the mother of King Jeongjo, which took place in Hwaseong haegung palace in 1795. The primary sources used are data on bongsudangjinchan recorded in Wonhaeng-eulmyojeongriuigwe, Jeongjo-sillok, Hongjae-jeonseo, pictorial sources such as Folding Screens of Hwaseong-neunghaeng and Hwaseong Ilgi, which is a journal in Korean by Yi Hui-pyeong. A court ceremony to offer music, dance, flowers, and food, as well as wine and poetry which express the sentiments of chung (fidelity) and hyo (filial piety) was considered a national ceremony and has constituted a unique musical culture during the 500 years of Joseon dynasty. However, after the fall of Joseon dynasty, ceremonial music and dance, which have been organically linked within the overall symbolic system of ye (courtesy), became scattered to become independent 'pieces.' As a result, all of their philosophy, principles, and the time-space interpretation of court music and dance became greatly reduced, leaving only the artistic expression and formal structure of the music and dance to become emphasized. Since the 1990s, there has been many research and events aiming to re-create the court ceremonial tradition, resulting in the increase of the related performance activities. This is especially true with bongsudang-jinchan, which is now being performed on modern stage in various forms. However there are still many problems to be solved, such as the issue of re-creating and restoring the original, and the question of artistic value found in the traditional pieces. Until now, much focus has been paid to the outer re-construction of uiju document as recorded in Wonhaeng-eulmyo-jeongriuigwe. On the other hand, there lacked an in-depth study which analyzes the stage situation and performance elements. Therefore in this paper, after focusing on the stage structure and performance elements, it is concluded that bongsudang-jinchan, the only court feast to be held in Haeng gung, not only consists of the fundamental aspects of court performance principle as 'governing through ye and ak (music),' but also served as an important occasion to bring together the sovereign and the subject. Bongsudang-jinchan had features of both naeyeon (feast for ladies) and oeyeon (feast for gentlemen). It minimized the use of screens and allowed every guest to enjoy food, music, and dance together, but provided a separate tent for foreign guests, maintaining the ideal balance between equality and distinction among different gender and social status. A screen symbolizing the venue for the feast is placed for all of the government officials. The king then pronounces the beginning of the banquet in which the ideal of gunsin-dongyeon (king and officials dining together) is realized. This indicates that bongsudang-jinchan, compared to other court ceremonies that emphasize the principle of yeak (courtesy and music), focuses more on the spirit of harmony and rapprochement. The king played a more active role in bongsudang-jinchan than in any other royal feasts. Examples as recorded in uiju documents are; Jeongjo's conversation with his retainers after the 7th wine, king's bestowing of food and flowers to the officials, writing his own majesty's poems with regard to the festival, and asking the retainers to write replying poems. All these played an important part in making the occasion more rich, extensive, and meaningful. Moreover, as analysis of the structure of orchestral music and court dance featured in bongsudang-jinchan shows, it was like any other court banquet in that it employed minimal use of extravagance in movements and conversation. However, the colors and tonal texture used in the music and dance were more brilliant in this case. Compared to other banquets that took place before king Jeongjo, the dance style was more diverse, which included some of the latest additions. There were past performances arranged anew. Noteworthy are; the incorporation of "Seonyurak (Boat Dance)" and "Geommu (Sword Dance)," traditionally used for local officials and civilians feast, to suit the court taste; and the use of saenghwang (mouth organ), which was a rising instrument in pungnyubang (literati's private salon), for "Hakmu (Cranes Dance)." This especially indicates the nature of the 'open structure' pursued by the court banquets at the time, which strove to break away from the traditional rules and customs and accept something new.