• 한국멀티미디어학회논문지
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• 제14권7호
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• pp.849-857
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• 2011

주문형 게임 서비스는 서버에서 실행하는 게임을 동영상 부호화하여 클라이언트에 전송하고, 클라이언트에서 비디오 복호화를 통해 게임을 즐길 수 있게 해 준다. 다수의 사용자가 네트워크상에서 실시간 게임 서비스를 즐기기 위해서는 초고속 게임 인코더가 필요하다. 본 논문에서 제안한 방법은 장면 기술자를 정의하고, 이를 게임 영상을 부호화하는 부호화기에 부가적인 정보로 입력함으로써 움직임 예측, 율 왜곡 최적화와 같은 복잡도가 높은 부호화 과정을 생략하여 부호화기를 고속화한다. 장면 기술자를 움직임 벡터로 사용하고, 장면 기술자를 이용하여 매크로블록 모드를 결정해 부호화기를 고속화한다. 제안하는 방법의 성능 평가를 위해 H.264/AVC의 오픈 소프트웨어인 x264와 비교한 결과, x264에 어셈블리 코드가 포함되지 않은 경우에 대해서 약 192%의 부호화 속도 향상을 확인하였고, x264에서 일부 모듈에 대해서 어셈블리 최적화를 반영한 결과에 대해서는 86%의 부호화 속도가 향상되는 것을 확인할 수 있었다. 부호화기의 고속화 결과 60 FPS의 부호화 속도를 넘어 주문형 게임을 실시간으로 수행할 수 있게 되었다.

• 건축역사연구
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• 제8권3호
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• pp.9-22
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• 1999

The purpose of this study is to analyse the architectural character of JE-DAMG at farm village in Ulsan. JE-DANG means the building for DONG-JE (the sacrificial rite of a village). The regions of this study are KANG-DONG MYEN, and UNG-CHON MYEN in Ulsan. The method of this study is the analysis of them after the actual field surveys of 47 JE-DANGs in these regions The survey contains the area, the height, the period of the erection, the architectural structure, the roof shape, the material, the landowner, SHIN-CHE (means a god's name and shape), DANG-SU tree and so on. Methods of the survey are the field survey, the interview of villager, the analysis of reference data and so on. Results of the study are below. JE-DANGs(buildings) of these regions had been built first in the period of Japanese occupancy and erections of them had continued until 1970's. Since then, they have been rebuilt. The primary JE-DANG is characterized by a tiled roof, a wooden post lintel, a mud-plastered wall, and a wooden door. After rebuilding, characters are a flat slab, a tiled roof, a structure of using red bricks, and the area is getting larger than the primary JE-DANG, but 1 KAN persists without variety. Most of houses in the inland area like UNG-CHON MYEN face the south, and ones in the coastal area like KANG-BONG MYEN face the east. Generally there is DANG-SU tree behind JE-DANG. That proves DANG-SU tree to be the object of the rite. The species of DANG-SU is a pine in general ,but various in UNG-CHON MYEN. In general names of the god are DONG-SHIN , DANG-SAN SHIN and SUNG-HWANG SHIN. I think that the landownership of JE-DANG should change the private ownership into the village ownership to preserve JE-DANG though most of lands of JE-DANG are private ones.

• 한국식생활문화학회지
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• 제28권6호
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• pp.603-622
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• 2013

Egg is a food that has been loved from ancient times by people all around the world. It has been called a present from god because its rounded shape was believed to refer to the earth. We found the oldest and most perfectly preserved egg fossil at Chunmachong (天馬) in Kyungju (慶州). We believe that it was used during the period of the Three States or the unified Silla (新羅), and, accordingly, it was a noble food that has been found at the king's grave of the age. Egg, which is called egg of chicken in Korean, was written as egg of chicken (鷄卵), son of chicken (鷄子), bird's egg of chicken (鷄蛋), and round thing of chicken (鷄丸) in the Korean alphabet and Chinese characters. The ancient countries had the following myths about eggs In myths about offspring by egg, they were born as heaven's will to make them god. There were 19 proverbs: 'Hitting a rock with an egg', 'It's like the yellow part of an egg' and 'Even an egg stops when it rolls', etc. According to a theory of divination based on topography, people use eggs when they find a good place. There are 10 proverbs (四字 成語): Dongjiipran (冬至立卵), Nanyeoseoktu (卵與石投) etc. Studies for analysis of egg recipes found in the old literature (cooking, agriculture and fishing, and medical books) in the Chosun Dynasty recorded 36 times where cuisine with egg was mentioned as the main ingredient, 154 times as a sub-ingredient, 79 times as a garnish, and 20 times etc. As a garnish, they were 'finely sliced', 'thin rectangular and the rhombus form', and 'rounded shape'; after grilling they were divided into yellow and white parts. When cooked, they were used in comparison of the size or shape of an object with that of other objects.

• 한국실내디자인학회논문집
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• 제14권5호
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• pp.26-34
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• 2005

The systematic way of the boundary thought in Buddhism, when applied to the principles of building, determines certain forms to certain temples, and organizes their topological boundary concept structure - the continuous experience of the visitor from his/her entry bridge(connecting), through the main temple gate(neighbourhood), pavilion gate(including), stairs(continuance), to the arrival at the pavilion of the god of a mountain(spiral), which reconstitutes the Buddhist boundary symbolism and philosophy. The topological boundary spaces of temples are an architectural manifestation of Buddhism's Mahayana boundary concept aspects, whose object is to play a productive and active role in the enlightenment of people, serving the very basic end of the religion. The disciplined topological boundary spaces of the temple, as a reification of the boundary symbolisms of Buddhist topological cosmology, corresponds to Buddha-Ksetra, the highest state of existence in the universe. Visitors to the temple are invited to participate in the world of abundant Buddhist boundary concept symbols, and through this process, is enabled to elevate oneself to the transcendent topological boundary world and have a simulated experience of liberation.

• Journal of information and communication convergence engineering
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• 제8권5호
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• pp.595-601
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• 2010

The strategy through visual sense is one of the ways that subject builds the outside world and communicates. The visual sense seems higher level of dependence than the other senses and contributes to intercommunication. For this reason, the desire of image dates back to primitive art and visual image(visual media and visual culture) has dialectically developed in the history of mankind. Visual subject, based on perspective of Renaissance, was moved from God to human beings. Andre Bazin's 'la genese automatique' through technical art has epochally changed the paradigm of visual art and visual culture. From primitive art to photo and film, the image, based on visual sense, has reflected human wish, appealed visual desire and led to evolution of image. In the late 20 century, without dialectical evolution of technology and culture, rapidly progressive digital image has changed social and cultural implication over rational strategy of production and distribution and it strengthened authority of image through visual approach of endless desire. The goal of this study is to analyze the value change of digital image developing a new Renaissance through production, reading, communication, and implication of evolution due to digitalized image, which has evolved as object and tool of desire.

• 한국의류학회지
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• 제16권2호
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• pp.189-195
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• 1992

Buddhism as one of alien thoughts has been developed conflicting and fusing with Korean Cultural bases. From these fusion process Korean Kasa (i.e, sacerdotal robe for Buddhist monk) also came into possession of different features from original Kasa which Buddhist Command- ment regulates or Kasa of South Asia which is the birthplace of Buddhism. 1. Original kasa was Pamsukula (i.e., a shabby, abandoned, muddy cloth), which did not permit special ornament or luxurious materal. However, we can find splendid colors, letters and embroideries in Korean Kasa. 2. These phenomenon originated from Three Treasures Faith, that is to say, the faith for three treasures, such as Buddha, Buddhist Commandment and Buddhist monk, which was formed by the fusion of Buddhism and conventional Shamanism. 3. Such letters as 천(Heaven), 왕(God). 영(om) stand for what shaped Guardian Deities protecting buddhist Sanctum. 4. The rmbroideries of three-legged bird, such as rabbit and toad, which symbolyze 일(sun) and 월(moon) stand for what shaped conventional divinities. 5. After Kasa possessing originally practical significance, such as Kasa Charity, was penetrated into Korea, it became the object of faith, possessing symbolical significance in addition.

• 대순사상논총
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• 제23권
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• pp.241-292
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• 2014

This article as an attempt to analyze Jin-beop-joo(眞法呪, incantation of true law) and the view of Yang-wui Sangje(兩位上帝, Sangje in two Godship) corresponds to the second preliminary work prior to the research on the view of Sangje in Daesoonjinrihoe. The points of this article are as follows: First, Jin-beop-joo and 15 Godship(神位) based hereupon are one of the most essential elements comprising the view of Sangje in Daesoonjinrihoe. Since the other Jeungsan line religious orders except Daesoonjinrihoe does not use 15 Godship in explaining and understanding Jeungsan, this fact should be regarded as an important characteristic of Daesoonjinrihoe. Second, 15 Godship is the important installation to assemble Sangje and the other gods in the same place. In Buddhism temples and China-Taoism temples, the gods each are placed in a separate palace. Whereas Sangje and the gods are concentrated in the same place, Yound-Dae(靈臺) which is the shrine of Daesoonjinrihoe. This fact shows Sangje takes the reins to the gods visually. 15 Godship facilitates that system. Third, the number 15 of 15 Godship symbolizes the natural laws of the cosmos. Thus the shrine of Daesoonjinrihoe implies the law of universe emblematically. Forth, 15 Godship shows that the Highest God in Daesoonjinrihoe are located in the middle of the functional gods ruling over nature like mountain, sea, season, the Great Dipper, and Taoistic or Buddhistic gods like Ok-hwang Sangje(玉皇上帝, The Great Jade Emperor), Seoga-Yeorae(釋迦如來, Tathāgata Buddha), Kwan-seong-Jegoon(關聖帝君, Holy god Guan Yu), along with various envoys and ancestral gods. Besides, considering the fact that the majority of 15 Godship consists of the Eastern deities, it verifies the view of Sangje in Daesoonjinrihoe is built in the Eastern religions. Fifth, whereas the other Jeungsan line religious orders have a tendency of understanding Jeungsan as Ok-hwang Sangje, Daesoonjinrihoe worships Jeungsan as Gu-cheon Sangje(九天上帝), not as Ok-hwang Sangje. This accords with the following fact; Jeungsan is the highest ruling entity in Gu-cheon, whereas in Jinbeonju, which was handed down from Jeungsan, the highest ruling entitiy in Gu-cheon is expressed as a different being from Ok-hwang Sangje. Sixth, Daesoonjinrihoe understands Sangje as the form of two Godship, Yang-wui Sangje, which are Gu-cheon Sangje and Ok-hwang Sangje. Judging from the form of salutation, the status of these two Sangjes are the same. Yet, the object of belief is Gu-cheon Sangje as the highest God, while Ok-hwang Sangje is stipulated as the one who has wielded a true law succeeding to the Gu-cheon Sangje's will. The religious term of Yang-wui Sangje don't imply meaning Gu-cheon Sangje and Ok-hwang Sangje are the same rank. Yang-wui Sangje is the term expresses Sangje in two Godship and involves the orthodox heritage of Daesoonjinrihoe. Along with An Introduction to the Study of the Outlook on the Highest Ruling Entity in Daesoonjinrihoe (I), this article is written, while giving a thought to construct the religiography on the highest God in Daesoonjinrihoe. I hope this article accompanied with the previous one, can be contributed to the fertilization of the soil in the field of Daesoon religious studies.

• 공연문화연구
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• 제41호
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• pp.321-352
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• 2020

동해안풍어제의 원형미학에 대해 연구하였다. 풍어제를 하나의 예술작품으로 바라본 결과이다. 풍어제에는 마을의 서사가 있고, 굿이 있으며, 마을 사람들의 협력과 소통이 있다. 그 속에는 악가무희가 관통하며 그 주변으로 마을의 과거 설화와 현재의 스토리 등이 어우러지며 마을 사람들은 소통하고 추억하고 전망하는 축제의 본질을 나눈다. 동해안별신굿 자체가 바닷가 생활인들의 이상과 꿈이 반영되어 있다. 바닷가 마을에 사는 생활인으로서의 상상력과 물에 대한 관심이 온전히 동해안별신굿에 반영되어 있다. 바닷가 사람들에게 물은 생활의 터전이며 두려움의 대상이다. 생명의 물이면서 죽음의 물이기도 한다. 바다가 포괄하는 세계가 만드는 상상력에 삶의 전 과정을 투영시킨다. 바닷가의 상상력은 삶의 전 과정에 대한 실존적 통찰이자 존재적 고뇌의 반영이다. 풍어제에서 마을 사람들은 신의 구체적인 복덕이 내리기를 희망한다. 신의 응보가 내려야 사람들은 자유로워진다. 무당이 복을 주겠다는 덕담 정도에 마을 사람들은 자유를 느낀다. 정신적으로 자유로움을 얻는 것으로 어느 정도 개인의 트라우마는 극복되는 상태를 체험한다. 예술작품을 직접 창작함으로써 체험하는 미적 쾌감의 상태와 풍어제와 별신굿을 통해 체험하는 미적 쾌감의 본질이 다르지 않다고 볼 수 있다. 풍어제의 원형은 자유정신이고 자유정신을 더 공고히 하기 위한 신앙적 미의식이 원형미학의 핵심인 것이다.

• 대순사상논총
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• 제33집
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• pp.219-255
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• 2019

'도(道)'는 동아시아 종교 사상의 관점에서 '궁극적 실재'를 나타내는 주요한 용어이다. 대순사상이 지향점으로 삼고 있는 도통진경에 이르기 위해서는 도(道)에 대한 개념의 이해가 필수적으로 선행되어야 할 것이다. 『전경(典經)』에는 금문(金文)에 처음 등장하는 '길'로서의 도에서부터 음양(陰陽)의 도, 인도(人道), 천도(天道) 등 각기 다양한 도의 개념이 나타나고 있다. 이를 상도(常道), 천도(天道), 신도(神道), 인도(人道), 상생(相生)의 도 다섯 가지 '도'로 분류하였다. 우주만물의 생성과 성장, 소멸하는 모든 자연현상은 천지자연의 이치이다. 따라서 대순사상에서의 상도는 자연계와 신계뿐만 아니라 인간계에도 적용되는 영원불변의 진리이자 천지의 운행 법칙으로 인간의 행위에도 궁극적인 준칙이 된다. 천도(天道)는 천을 주재하고 통제 관장한다는 관점에서 구천상제의 '대순진리'이자 세상을 구제하는 '제세대도'라고 본다. 신도는 모사재천 성사재인에 의해 '신의 법칙과 뜻에 따라 인간이 일을 완성해야 하는 도' 즉 '상제의 천명에 의해 신과 인간이 인의예지를 지향점으로 함께 신인합일을 이루는 도'라고 할 수 있다. 세상이 우환과 위기에 빠졌을 때 요청되는 성인의 도를 『전경』에서는 요순의 도로 상징하고 있다. 진멸해 가는 세상에서 천하를 구하고 창생을 구제하는 대순사상의 성인의 도는 '제생 의세(濟生醫世)'라 한다. 제생의세는 구천상제의 천명인 제세대도를 따르는 인간의 도리라 할 수 있으며 대순사상의 인도(人道)의 특징이라고 볼 수 있다. 상생의 도는 '상도를 다시 세우고 제생의세의 인도를 펼치는 도'이며 남을 잘되게 해야 내가 사는 후천의 윤리로 상극적 세상을 바로 잡는 진법이라고 할 수 있다. 이를 종합하면 천계와 지계, 신계와 인간계 모든 곳에 치우침 없이 적용되고 작동되는 구천상제의 제세대도로서 대순진리라고 할 수 있다. 대순사상의 도는 그것이 등장한 시대적 배경과 사상적 특징을 담고 있다. 중국 고전에서 말하는 도와 동아시아의 사상을 대표하는 유·불·도에서 전개하는 도의 전통적 개념을 수용하면서도 특별히 신앙대상으로서의 상제의 의지를 내포하고 있다는 점에서 특수성을 보인다. 대순사상은 도 개념을 규정하는 과정에서 한국 근대의 민족종교사상이 지닌 보편성과 특수성의 양 갈래를 조화하고 발전시키면서 전개되어 나왔다는 것을 알 수 있다.

• 영어어문교육
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• 제5호
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• pp.259-272
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• 1999

The real nature of the west wind in Shelley's Ode to the West Wind is the divine providence which influences all things in this world- that is, whether they are on land, in the sky, or in the sea. The divine providence is the manifestation of something beyond the present and tangibel object. In the first stanza, the real nature of the west wind in this poem is the wild wind, the breath of Autumn's being, the unseen presence, the azure sister of the Spring, a Destroyer, a Preserver, the winged seed, a creator, a philosopher, a poet, Shelley, and the wild spirit moving everywhere. In the second stanza, the real nature of the west wind in this poem is cloud, the angel of rain and lightning, fierce Maenad, the approaching storm, the congregated might, the black rain, the fire, hail, solid atmosphere, the tremendous power of revolutionary change, and the power that influences all things in the sky. In the third stanza, the real nature of the west wind in this poem is the voice that makes the oozy woods which wear the sapless foliage of the Atlantic, and the power makes the blue Mediterranean wake from his summer dream. the fit medium of expression which Shelley's soul was seeking for, Shelley's passion, Shelley's partner, Shelley's co-worker, and a strong presence which influences in the sea. In the fourth stanza, the real nature of the west wind in this poem is the mightest presence, the power, the strength, the free presence, the uncontrollable, the wanderer over heaven, a vision, the tameless, the swift, the proud and the God who can save Shelley form the heavy weight of hours and lift Shelley as a wave a leaf, a cloud. In the fifth stanza, the real nature of the west wind in this poem is the mighty harmony, the fierce Spirit, Shelley's spirit, the impetuous spirit, incanation of this verse, spark, the trumpet of a prophecy, the Providence which can make the Winter depart and call Spring, and the prophet. To conclude, the real nature of the west wind in this poem is Shelley's accumulated insight that he visulize his impulse of revolutionary thought.