• 전자공학회논문지A
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• 제33A권11호
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• pp.152-161
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• 1996

This paper descrisbes the implementation of a 20D DCT that can be used for video conference, JPEG, and MPEG-related applications. The implemented DCT consists of two 1-D DCTs and a transposed memory between them, and uses ROM-based multipliers instead of conventional ones. As the system bit length, the minimum bit length that satisfies the accuracy specified by the ITU standard H.261 was chosen through the simulations using the C language. The proposed design uses a dual port RAM for the transposed memory, and processes two bits of input-pixel data simultaneously t ospeed up addition process using two sets of ROMs. The basic system architecture was designed using th Synopsys schematic editor, and internal modules were described in VHDL and synthesized to logic level after simulation. Then, the compass silicon compiler was used to create the final lyout with 0.8um CMOS libraries, using the standard cell approach. The final layout contains about 110, 000 transistors and has a die area of 4.68mm * 4.96mm, and the system has the processing speed of about 50M pixels/sec.

• 정보과학회지
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• 제1권1호
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• pp.23-35
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• 1983

In its global meaning language translation refers to the process whereby a program which is executable in one computer can be executed in another computer directly to obtain the same result. There are four different ways of approaching translation. The first way is translation by a Translator or a Compier, the second way is Interpretation, the third way is Simulation, the last way is Emulation. This paper introduces the M-C Translator which was designed as the first way of translation. The MUSS 80 language (the subsystem of the UNIVAC Solid State 80 S-4 assembly language system) was chosen as the source language which includes forty-three instructions, using the CYBER COMPASS as the object language. The M-C translator is a two pass translator and is a two pas translator and es written in Fortran Extended language. For this M-C Translation, seven COMPASS subroutines and a set of thirty-five macros were prepared. Each executable source instruction corresponds to a macro, so it will be a macro instruction within the object profram. Subroutines are used to retain and handle the source data representation the same way in the object program as in the source system, and are used to convert the decimal source data into the equivalent binary result into the equivalent USS-80digits before and after arithmetic operations. The source instructions can be classified into three categories. First, therd are some instructions which are meaningless in the object system and are therefore unnecessary to translate, and the remaining instructions should be translated. Second, There are some instructions are required to indicate dual address portions. Third, there are Three instructions which have overflow conditions, which are lacking in the remaining instructions. The construction and functions of the M-C Translator, are explained including some of the subroutines, and macros. The problems, difficulties and the method of solving them, and easier features on this translation are analysed. The study of how to save memory and time will be continued.

• 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.