• Journal of Korean Society of Transportation
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• v.21 no.3
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• pp.107-120
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• 2003

Over the decades, a lot of studies have dealt with the traffic characteristics and phenomena at a merging area. However, relatively few analytical techniques have been developed to evaluate the traffic flow at the area and, especially, the ramp merging capacity has rarely been. This study focused on the merging behaviors that were characterized by the relationship between the shoulder lane flow and the on-ramp flow, and modeled these behaviors to determine ramp merge capacity by using gap acceptance theory. In the process of building the model, both an ideal mergence and a forced mergence were considered when ramp-merging vehicles entered the gap provided by the flow of the shoulder lane. In addition, the model for the critical gap was proposed because the critical gap was the most influential factor to determine merging capacity in the developed models. The developed models showed that the merging capacity value was on the increase as the critical gap decreased and the shoulder lane volume increased. This study has a meaning of modeling the merging behaviors including the forced merging type to determine ramp merging capacity more precisely. The findings of this study would help analyze traffic phenomena and understand traffic behaviors at a merging area, and might be applicable to decide the primary parameters of on-ramp control by considering the effects of ramp merging flow.

• Journal of Korea Spatial Information System Society
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• v.6 no.2 s.12
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• pp.3-13
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• 2004

The TPR-tree exploits bounding rectangles based on the function of time in order to index moving objects. As time passes on, each edge of a BR expands with the fastest velocity vector. Since the expansion of the BR results in a serious overlaps between neighboring nodes, the performance of range query is getting worse. In this paper, we propose schemes to reorganize bounding rectangles of nodes. When inserting a moving object, we exploit a forced merging scheme to merge two overlapped nodes and re-split it. When deleting a moving object, we used forced reinsertion schemes to reinsert other objects of a node into a tree. The forced reinsertion schemes are classified into a deleted node reinsertion scheme and an overlapped nodes reinsertion scheme. The overlapped nodes reinsertion scheme outperforms the forced merging scheme and the deleted node reinsertion scheme in all experiments.

• Transactions of the Korean Society of Mechanical Engineers B
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• v.25 no.1
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• pp.96-107
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• 2001

An unsteady numerical simulation was performed to analyze flow structures behind a local suction/blowing in a flat-plate turbulent boundary layer. The local forcing was given to the boundary layer flow by means of sinusoidally oscillating jet. A version of the unsteady $\kappa$-$\xi$-f(sub)u model (Rhee and Sung 2000) was employed. The Reynolds number based on the momentum thickness was about Re(sub)$\theta$=1700. The forcing frequency was varied in the range 0.011$\leq$f(sup)+$\leq$0.044 with a fixed forcing amplitude A(sub)o=0.4. The predicted results were compared and validated with the experimental data. It was shown that the unsteady locally-forced boundary layer flow is predicted well by the $\kappa$-$\xi$-f(sub)u model. The effect of the pitch angle of local forcing on the reduction of skin friction was also examined.

• Transactions of the Korean Society of Mechanical Engineers B
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• v.24 no.3
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• pp.467-476
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• 2000

An unsteady numerical simulation was performed for locally-forced separated and reattaching flow over a backward-facing step. The local forcing was given to the separated and reattaching flow by means of a sinusoidally oscillating jet from a separation line. A version of the $k-{\varepsilon}-f_{\mu}$ model was employed, in which the near-wall behavior without reference to distance and the nonequilibrium effect in the recirculation region were incorporated. The Reynolds number based on the step height (H) was fixed at $Re_H=33000$, and the forcing frequency was varied in the range $0{\leq}St_H{\leq}2$. The predicted results were compared and validated with the experimental data of Chun and Sung. It was shown that the unsteady locally-forced separated and reattaching flows are predicted reasonably well with the $k-{\varepsilon}-f_{\mu}$ model. To characterize the large-scale vortex evolution due to the local forcing, numerical flow visualizations were carried out.

• The Journal of Society for e-Business Studies
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• v.11 no.3
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• pp.53-71
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• 2006

In order to cope with the rapidly changing product development environment, individual manufacturing enterprises are forced to collaborate with each other through establishing a virtual organization. In collaboration, designated organizations work together for mutual gain based on product data interoperability. However, product data interoperability is not fully facilitated due to semantic inconsistency among product data models of individual enterprises. In order to overcome the semantic inconsistency problem, this paper proposes a reference ontology, Reference Domain Ontology(RDO), and a methodology for product data interoperability with semantic consistency using RDO. RDO describes semantics of product data model and metamodel for all application domains in a virtual organization. Using RDO, application domains in a virtual organization can easily understand the product data models of others. RDO is agile and temporal such that it is created with the formation of a virtual organization, copes with changes of the organization, and disappears with the vanishment of the organization. RDO is built by a hybrid approach of top-down using a upper ontology and bottom-up based on the merging of ontologies of application domains in a virtual organization. With this methodology, every domain in a virtual organization can achieve product data model interoperability without model transformation.

• Journal of KIISE:Databases
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• v.30 no.3
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• pp.320-335
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• 2003

Location-Based Services(LBS) give rise to location-based queries of which results depend on the locations of moving objects. One of important applications of LBS is to examine tracks of continuously moving objects. Moving objects databases need to provide 3-dimensional indexing for efficiently processing range queries on the movement of continuously changing positions. An extension of the 2-dimensional R-tree to include time dimension shows low space utilization and poor search performance, because of high overlap of index nodes and their dead space. To solve these problems, we propose a new R-tree based indexing technique, namely TR-tree. To increase storage utilization, we assign more entries to the past node by using the unbalanced splitting policy. If two nodes are highly overlapped, these nodes are forcibly merged. It is the forced merging policy that reduces the dead space and the overlap of nodes. Since big line segments can also affect the overlap of index nodes to be increased, big line segments should be clipped by the clipping policy when splitting overfull nodes. The TR-tree outperforms the 3DR-tree and TB-tree in all experiments. Particularly, the storage utilization of the TR-tree is higher than the R-tree and R*-tree.

• Journal of the Economic Geographical Society of Korea
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• v.12 no.4
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• pp.681-701
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• 2009

There were three banks that had the head office in Busan since 1912, Gyong-Nam Bank, Dong-Rae Bank and Busan Commercial Bank. This article tries to catch hold of the characteristics of the establishment and management, and the merging process of three banks. The main stockholders and managers made use of the money of the banks for the enterprises that they operated. Gyong-Nam Bank was combined with Dae-Gu Bank in 1928 to be Dae-Gu Commercial & Industrial Bank. The revised bank ordinance of 1928 regulated that the head office banks had to meet the requirement of the paid-in capital, 2 million yen. Not meeting such an excessive requirement, Dong-Rae Bank was amalgamated to Ho-Nam Bank of Gwang-Ju in 1933. Busan Commercial Bank was absorbed in Cho-Sun Commercial Bank in 1935 because it couldn't get back huge loan from a company which belonged to its three main stockholders. Japanese were already the main stockholders of Cho-Sun Commercial Bank from the beginning of 1920s. The banking agencies were not able to deal with the economic fluctuations effectively, and didn't have any economic organization in support of their profit. Cho-Sun Government-General forced the head office banks to be merged to control the colonial economy.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.5-47
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• 2013

Among the styles of performing arts, perhaps the genre that has attracted the largest audience would be musical. Popularity of musical has brought diverse changes in our performing arts market, and, upon emerging another musical genre, called 'Korean Traditional Musical Comedy,' it has been well-received by the audiences. 'Korean Traditional Musical Comedy' is a word that are formed by merging two other terms such as 'Korean Traditional Music' and 'Musical (Comedy).' In the meantime, however, it has yet some problems in order to be defined as the genre that has concrete concepts. It is because the term such as Korean Traditional Musical Comedy was created being closely associated with a marketing purpose rather than a term that defines the characteristics of a genre of performing arts. Although this new musical genre has drawn attentions of many audiences by adding 'Musical Comedy' to 'Korean Traditional Music' that was not quite popular to the public, it still does not have any established forms so that there is a fine line between "Korean Traditional Musical Comedy" and another genre like traditional style folk opera ("Changgeuk"). Looking at the characteristics of the musical work called 'Korean Traditional Musical Comedy, in general, first of all, it is a performance where music and drama are played. Here, the distinctive characteristic of this musical is that 'Korean Traditional Music' is sung. And the kinds of Korean traditional musics being sung are mainly Pansori (dramatic story-singing) and folk-songs, and, in most cases, Korean traditional musical instruments are being used as accompanying music. In this paper, the researcher investigated the aspects of experiment centering around Korean Musical Group, Taroo. These days, various experiments has been repeated not only for the works of Taroo but other musical work presently called 'Korean Traditional Musical Comedy' also. Having encompassed overall performance factors including use of musical instruments, dance, acting, materials for drama as well as music in drama, the researcher has gone through experiments repeatedly. Meanwhile, however, the subject matters that make 'Korean Traditional Musical Comedy' mostly attractive to the audiences are music and songs or sounds. ["Sori" also called "Chang" (唱)] Particularly, under the current situation of our musicals, the role of "Sori" is extremely important. The factor that plays absolutely most important role in acceptance and transformation of "Sori" is the created Pansori. Since the created Pansori is composed with new rhythmic patterns and new narrative poems, it tells the present story. Also it draws good responses from the audiences owing to easy conveyance of dialogues. And, its new style brings diversification to organization of musical instruments, so then this leads to the arrangements of music for Korean traditional music instruments, as well as instrumental music ensemble, orchestra, and jazz band, etc. Likewise, upon appearing creative musics in 'Korean Traditional Musical Comedy,' professional music and vocal compositions have begun to emerge naturally. And, the song specialist and writer, of course, staffs including direction, lighting, and sounds, etc are required. That is, professional composition method are forced to be introduced to all areas. Other than this, there are many music pieces which are based on our unique songs and sounds ("Sori") and such traditional factors as use of lead singer for ceremony or chorus, and the method that puts weight on Pansori. Accordingly many things accomplished. However, it is required that 'Korean Traditional Musical Comedy' go through numerous discussions and more experiments. Above all, the most important things are the role of actor and actress, and their changes, and training of actor and actress further. Good news is there are good audience responses. 'Korean Traditional Musical Comedy' is an open genre. As musicals are divided into several domains according to the characteristics thereof, 'Korean Traditional Musical Comedy' will be able to show its distinctive features in various styles according to embodiment.