• Journal of the Korea Institute of Information Security & Cryptology
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• v.34 no.1
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• pp.115-127
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• 2024

The recent increase in digital audio media has greatly expanded the size and diversity of sound data, which has increased the importance of sound data analysis in the digital forensics process. However, the lack of standardized procedures and guidelines for sound data analysis has caused problems with the consistency and reliability of analysis results. The digital environment includes a wide variety of audio formats and recording conditions, but current audio forensic methodologies do not adequately reflect this diversity. Therefore, this study identifies Life-Cycle-based sound data elemental technologies and provides overall guidelines for sound data analysis so that effective analysis can be performed in all situations. Furthermore, the identified elemental technologies were analyzed for use in the development of digital forensic techniques for sound data. To demonstrate the effectiveness of the life-cycle-based sound data elemental technology identification system presented in this study, a case study on the process of developing an emergency retrieval technology based on sound data is presented. Through this case study, we confirmed that the elemental technologies identified based on the Life-Cycle in the process of developing digital forensic technology for sound data ensure the quality and consistency of data analysis and enable efficient sound data analysis.

• Korean Journal of Optics and Photonics
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• v.35 no.3
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• pp.107-114
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• 2024

In this study, the feasibility of using the covariance-matrix-adaptation-evolution-strategy (CMA-ES) algorithm in a multichannel coherent-beam-combining (CBC) system was experimentally verified. We constructed a multichannel CBC system utilizing a spatial light modulator (SLM) as a multichannel phase-modulator array, along with a coherent light source at 635 nm, implemented the stochastic-parallel-gradient-descent (SPGD) and CMA-ES algorithms on it, and compared their performances. In particular, we evaluated the characteristics of the CMA-ES and SPGD algorithms in the CBC system in both 16-channel rectangular and 19-channel honeycomb formats. The results of the evaluation showed that the performances of the two algorithms were similar on average, under the given conditions; However, it was verified that under the given conditions the CMA-ES algorithm was able to operate with more stable performance than the SPGD algorithm, as the former had less operational variation with the initial phase setting than the latter. It is emphasized that this study is the first proof-of-principle demonstration of the CMA-ES phase-control algorithm in a multichannel CBC system, to the best of our knowledge, and is expected to be useful for future experimental studies of the effects of additional channel-number increments, or external-phase-noise effects, in multichannel CBC systems based on the CMA-ES phase-control algorithm.

• Information Systems Review
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• v.20 no.2
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• pp.1-19
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• 2018

In many countries, governments invest a substantial amount of budget in open government data (OGD) for governmental performance and transparency. To understand the actual performance of such policies, the governments should measure the realized value. Many organizations and researchers have attempted to assess the value of OGD. However, they have neglected a perspective of consumers who benefit from OGD. Moreover, little research has quantified the economic value. This research examines extant methods of intangible asset valuation to quantify the economic value of OGD in a citizen perspective. In consideration of the extant research methods and the characteristics of OGD, the contingent valuation method is the most appropriate because it effectively reflects various users and their purpose of use. We then conduct a survey of citizens living in Seoul, Korea and assess the economic value of OGD provided by the Seoul government. Findings show that citizens' willingness to pay (WTP) differs across respondents' prior experience, tax resistance, perceived benefit and perceived reality of virtual scenario, but it does not differ across their demographics. WTP also significantly varies across the question formats. We discuss the reliability of the results and implications for future research.

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• The Korean Journal of Nuclear Medicine Technology
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• v.14 no.2
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• pp.38-40
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• 2010

Purpose: This study was performed to find the current problems of PET/CT data from other hospitals. Materials and Methods: The subjects were acquired from 64 hospitals referred to our department for image interpretation. The formats and contents of PET/CT data were reviewed and the phone questionnaire survey about these were performed. Results: PET/CT data from 39 of 64 hospitals (61%) included all transaxial CT and PET images with DICOM (Digital Imaging Communications in Medicine) standard format which were required for authentic interpretation. PET/CT data from the others included only secondary capture images or fusion PET/CT images. Conclusion: The majority of hospitals provided limited PET/CT data which could be inadequate for accurate interpretation and clinical decision making. It is necessary to standardize the format of PET/CT data to transfer including all transaxial CT and PET images with DICOM standard format.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Journal of Broadcast Engineering
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• v.10 no.4 s.29
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• pp.557-575
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• 2005

Much research in core technologies has been done to make it possible the ubiquitous video services over various kinds of user information terminals anytime anywhere in the way the users want to consume. In this paper, we design plototypesystem architecture for the ubiquitous TV program content consumption based on user preference via various kinds of intelligent information terminals in digital home environment, and present an implementation and testing results for the prototype system. For the system design, we utilize the TV Anytime specification fur the consumption of TV program contents based on user preference in TV programs, and also use the MPEG-21 DIA (Digital Item Adaptation) tools which are the representation schema formats in order to describe the context information for user environments, user terminal characteristics, user characteristics for universal access and consumption of the preferred TV program contents. The proposed ubiquitous content mobility prototype system is designed to make it possible to seamlessly consume contents by a single user or multiple users via various kinds of user terminals for the TV program contents they watch together. The proposed ubiquitous content mobility prototype system in digital home environment consists of a home server, a display TV terminal, and an intelligent information terminal. We use 42 TV programs contents in eight different genres from four different TV channels in order to test our prototype system.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.19
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• pp.224-242
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• 2003

The author believes that the main task of study in international trade usage and practice is the management of transactional risks involved in international sale of goods. They are foreign exchange risks, transportation risks, credit risk, risk of miscommunication, etc. In most cases, these risks are more serious and enormous than those involved in domestic sales. Historically, the merchant adventurers organized the voyage abroad, secured trade finance, and went around the ocean with their own or consigned cargo until around the $mid-19^{th}$ century. They did business faceto-face at the trade fair or the open port where they maintained the local offices, so-called "Trading House"(商館). Thererfore, the transactional risks might have been one-sided either with the seller or the buyer. The bottomry seemed a typical arrangement for risk sharing among the interested parties to the adventure. In this way, such organizational arrangements coped with or bore the transactional risks. With the advent of ocean liner services and wireless communication across the national border in the $19^{th}$ century, the business of merchant adventurers developed toward the clear division of labor; sales by mercantile agents, and ocean transportation by the steam ship companies. The international banking helped the process to be accelerated. Then, bills of lading backed up by the statute made it possible to conduct documentary sales with a foreign partner in different country. Thus, FOB terms including ocean freight and CIF terms emerged gradually as standard trade terms in which transactional risks were allocated through negotiation between the seller and the buyer located in different countries. Both of them did not have to go abroad with their cargo. Instead, documentation in compliance with the terms of the contract(plus an L/C in some cases) must by 'strictly' fulfilled. In other words, the set of contractual documents must be tendered in advance of the arrival of the goods at port of discharge. Trust or reliance is placed on such contractual paper documents. However, the container transport services introduced as international intermodal transport since the late 1960s frequently caused the earlier arrival of the goods at the destination before the presentation of the set of paper documents, which may take 5 to 10% of the amount of transaction. In addition, the size of the container vessel required the speedy transport documentation before sailing from the port of loading. In these circumstances, computerized processing of transport related documents became essential for inexpensive transaction cost and uninterrupted distribution of the goods. Such computerization does not stop at the phase of transportation but extends to cover the whole process of international trade, transforming the documentary sales into less-paper trade and further into paperless trade, i.e., EDI or E-Commerce. Now we face the other side of the coin, which is data security and paperless transfer of legal rights and obligations. Unfortunately, these issues are not effectively covered by a set of contracts only. Obviously, EDI or E-Commerce is based on the common business process and harmonized system of various data codes as well as the standard message formats. This essential feature of E-Commerce needs effective coordination of different divisions of business and tight control over credit arrangements in addition to the standard contract of sales. In a few word, information does not alway invite "trust". Credit flows from people, or close organizational tie-ups. It is our common understanding that, without well-orchestrated organizational arrangements made by leading companies, E-Commerce does not work well for paperless trade. With such arrangements well in place, participating E-business members do not need to seriously care for credit risk. Finally, it is also clear that E-International Commerce must be linked up with a set of government EDIs such as NACCS, Port EDI, JETRAS, etc, in Japan. Therefore, there is still a long way before us to go for E-Commerce in practice, not on the top of information manager's desk.

• Journal of KIISE:Computing Practices and Letters
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• v.9 no.3
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• pp.322-331
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• 2003

As the complexity of a 3D game is increased by various factors of the game scenario, it has a problem for controlling the interrelation of the game objects. Therefore, a game system has a necessity of the coordination of the responses of the game objects. Also, it is necessary to control the behaviors of animations of the game objects in terms of the game scenario. To produce realistic game simulations, a system has to include a structure for designing the interactions among the game objects. This paper presents a method that designs the dynamic control mechanism for the interaction of the game objects in the game scenario. For the method, we suggest a game agent system as a framework that is based on intelligent agents who can make decisions using specific rules. Game agent systems are used in order to manage environment data, to simulate the game objects, to control interactions among game objects, and to support visual authoring interface that ran define a various interrelations of the game objects. These techniques can process the autonomy level of the game objects and the associated collision avoidance method, etc. Also, it is possible to make the coherent decision-making ability of the game objects about a change of the scene. In this paper, the rule-based behavior control was designed to guide the simulation of the game objects. The rules are pre-defined by the user using visual interface for designing their interaction. The Agent State Decision Network, which is composed of the visual elements, is able to pass the information and infers the current state of the game objects. All of such methods can monitor and check a variation of motion state between game objects in real time. Finally, we present a validation of the control method together with a simple case-study example. In this paper, we design and implement the supervised classification systems for high resolution satellite images. The systems support various interfaces and statistical data of training samples so that we can select the most effective training data. In addition, the efficient extension of new classification algorithms and satellite image formats are applied easily through the modularized systems. The classifiers are considered the characteristics of spectral bands from the selected training data. They provide various supervised classification algorithms which include Parallelepiped, Minimum distance, Mahalanobis distance, Maximum likelihood and Fuzzy theory. We used IKONOS images for the input and verified the systems for the classification of high resolution satellite images.

• Nuclear Medicine and Molecular Imaging
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• v.43 no.2
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• pp.137-142
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• 2009

Purpose: This study was performed to find the current problems of positron emission tomography/computed tomography(PET/CT) data on CD for inter-hospital transfer. Materials and Methods: The subjects were 746 consecutive $^{18}F$-fluorodeoxyglucose PET/CT data CDs from 56 hospitals referred to our department for image interpretation. The formats and contents of PET/CT data CDs were reviewed and the email questionnaire survey about this was performed. Results: PET/CT data CDs from 21 of 56 hospitals(37.5%) included all transaxial CT and PET images with DICOM standard format which were required for authentic interpretation. PET/CT data from the others included only secondary capture images or fusion PET/CT images. According to this survey, the main reason of limited PET/CT data on CD for inter-hospital transfer was that the data volume of PET/CT was too large to upload to the Picture Archiving and Communication System. Conclusion: The majority of hospitals provided limited PET/CT data on CD for inter-hospital transfer, which could be inadequate for accurate interpretation and clinical decision making. It is necessary to standardize the format of PET/CT data on CD for inter-hospital transfer including all transaxial CT and PET images with DICOM standard format.