• Journal of the Korean Society of Manufacturing Process Engineers
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• v.14 no.4
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• pp.151-159
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• 2015

In this study, we developed an automated contact-type thickness measurement machine that continuously and precisely measures the thickness of a PCB module product using multi-LVDT sensors. The system contains a measurement part to automatically measure the thickness in real time according to the set conditions with an alignment supply unit and unloading unit to separate OK and NG products. The sensors were calibrated before assembly in the measuring machine, and precision and accuracy performance tests were also performed to reduce uncertainty errors in the measurement machine. In the calibration test, the precision errors of the LVDT sensor were determined to be $1-3{\mu}m$ as 0.1% at the measuring range. A measurement error of 0.8 mm and 1.0 mm thickness test standards were found to be $1{\mu}m$ and $4{\mu}m$, and the standard deviations of two 1.0 mm products were measured as $14{\mu}m$ and $8{\mu}m$, respectively. In the measurement system analysis, the accuracies of test PCB standards were found to be $2{\mu}m$ and $3{\mu}m$, respectively. From the results of gage repeatability and reproducibility (R & R) crossed, we found that the machine is suitable for the measurement and process control in the mass production line as 7.92% of total gage R & R and in seven distinct categories. The maximum operating speed was limited at 13 pcs/min, showing a value good enough to measure.

• Journal of Digital Convergence
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• v.14 no.4
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• pp.425-435
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• 2016

This paper has the aim to track down the viewers' cognitive emotion of how they are interacting with the story of Shakespeare in Love. Human minds have cognitive and emotional flows while plots, characters, and action-ideas are intertwined in the story of the film. This paper especially focused on the analysis of characters' networks with four statistical data pictures in order to schematize the storytelling architecture on how and why Shakespeare has strongly motivated to write a great star-crossed love play, Romeo and Juliet in his very young age. This paper examines that Shakespeare's subject of desire is to accomplish both a true love and a sincere play which can make the nature of love true. The desire of subject is always slipped aside into scattering with "object a." In the film of Shakespeare in Love, the "object a" is a writing process and has a product of Romeo and Juliet as well.

• Journal of the Korea Institute of Military Science and Technology
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• v.14 no.3
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• pp.423-431
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• 2011

Warfighting experimentation is an important process for identifying requirements against changing military environment and for verifying proposed measures for reforming military service. The wargame simulation experiment is regarded as one of the most effective means to warfighting experimentation, and its importance is increasing than ever. On the other hand, the results of wargame experiments could be unreliable due to the uncertainty involved in the experimental procedure. To improve the reliability of the experimental results, systematic experimental procedures and analysis methods must be employed, and the design and analysis of experiments technique can be used effectively for this purpose. In this paper, AWAM, a wargame simulator, is used to optimize the organization of operational troops. The simulation model describes a warfighting situation in which the 'survival rate of our force' and the 'survival rate of the enemy force' are considered as responses, 'the numbers of weapons in the squad' as control factors, and 'the uncontrollable variables of the battlefield' as noise factors. In addition, for the purpose of effective experimentation, the product array approach in which the inner and outer orthogonal arrays are crossed is adopted. Then, the signal-to-noise-ratio for each response and the desirabilities for the means and standard deviations of responses are calculated and used to determine a compromise optimal solution. The experimental procedures and analysis methods developed in this paper can provide guidelines for designing and analyzing wargame simulation experiments for similar warfighting situations.

• (The) Research of the performance art and culture
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• no.43
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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.