• Journal of Korea Multimedia Society
• /
• v.14 no.7
• /
• pp.849-857
• /
• 2011

Gaming on demand(GOD) makes people enjoy games by encoding and transmitting game screen at a server side, and decoding the video at a client side. In this paper, we propose a fast game video encoder for multiple users over network with low-powered devices. In the proposed system, the computational complexity of game encoders is reduced by using scene descriptors, which consists of an object motion vector, global motion, and scene change. With additional information from game engines, the proposed encoder does not need to perform various complexity processes such as motion estimation and ratedistortion optimization. The motion estimation and rate-distortion optimization skipped by scene descriptors. We found that the proposed method improved 192 % in terms of FPS, compared with x264 software. With partial assembly code, we also improved coding speed by 86 % in terms of FPS. We found that the proposed fast encoder could encode over 60 FPS for real-time GOD applications.

• Journal of architectural history
• /
• v.8 no.3 s.20
• /
• pp.9-22
• /
• 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.

• Journal of the Korean Society of Food Culture
• /
• v.28 no.6
• /
• pp.603-622
• /
• 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.

• Korean Institute of Interior Design Journal
• /
• v.14 no.5 s.52
• /
• pp.26-34
• /
• 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
• /
• v.8 no.5
• /
• pp.595-601
• /
• 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.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.16 no.2
• /
• pp.189-195
• /
• 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.

• Journal of the Daesoon Academy of Sciences
• /
• v.23
• /
• pp.241-292
• /
• 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.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.321-352
• /
• 2020

Donghaean Byeolsingut itself reflects the ideals and dreams of seaside life. Imagination and interest in water are fully reflected in Donghaean Byeolsingut as a living in a seaside town. For the beach people, water is the foundation of life and the object of fear. It is the water of life and the water of death. It projects the whole process of life into the imagination created by the world encompassed by the sea. The beach's imagination is an existential insight into the whole process of life and a reflection of existential agony. At Poongeoje, the villagers hope for a specific blessing from God. People are free only when God's retribution comes down. The villagers feel free because of the virtue of the shaman's blessing. Individual trauma is experienced to a certain extent by gaining mental freedom. It can be said that the state of aesthetic pleasure experienced by creating an art work by itself and the nature of aesthetic pleasure experienced through Pungeoje and Byeolsingut are not different. The prototype of Poongeoje is a free spirit, and a religious aesthetic to strengthen the free spirit is the core of the aesthetic.

• Journal of the Daesoon Academy of Sciences
• /
• v.33
• /
• pp.219-255
• /
• 2019

'Dao' is an important research subject as it is the main term for 'ultimate reality' in East Asian religious thought. Understanding the concept of 'Dao' is essential to reach the state of 'Perfected Unification with Dao,' the ultimate aspiration in Daesoon Thought. The meaning of 'Dao' can vary such as 'Dao' meaning 'way', which was first introduced in Jinwen. There is also the 'Dao' of yin and yang, and Dao used to mean human obligation, or Dao meaning the way of Heaven. These can also be classified into five categories: Constant Dao, Heavenly Dao, Divine Dao, Human Dao, and the Dao of Sangsaeng. Every natural phenomenon of birth, growth, and death in the universe operates under the patterns of Heaven and Earth. Therefore, Constant Dao in Daesoon Thought is the ultimate pattern underlying human action and the operations of Heaven and Earth. These apply not only to the natural and the divine world but also to the human world. It can be said that 'Rather than natural law or moral symbol of the world, 'Heavenly Dao' means the great Dao that saves the world through the Daesoon Truth of Sangje, Supreme God of the Ninth Heaven. Divine Dao can be said to be 'the Dao by which man must complete his work according to the law and the will of God,' that is, 'the Dao by which God and man are united together by Sangje's heavenly order and teaching, which aims for humanity, righteousness, propriety, and wisdom.' When the world is in a state of calamity and crisis, the request for the saint's Dao can symbolized by the kings, Yao and Shun, in The Canonical Scripture (Jeon-gyeong). The saint's Dao saves the dying world and people's lives and is called 'saving lives by curing the world (濟生醫世)'. It can be regarded as a characteristic of Human Dao in Daesoon Thought, which is the human obligation to follow Sangje's order, the great Dao to save the world. The Dao of Sangsaeng is the true dharma that rectifies the world full of mutual conflict through the ethics of the Later World, which is to promote the betterment of others and to practice the human Dao that saves the world and rebuilds the Constant Dao. Thus, The concept of Dao in Daesoon Thought is Daesoon Truth which applies to and operates throughout all realms of Heaven, Earth, Humanity, and the Divine world. Dao in Daesoon Thought was influenced by the historical background in which it emerged and this can be seen in its ideological features. It embraces the traditional concept of Dao, which refers to the Chinese classics and represents the main schools of thought in East Asia: Confucianism, Buddhism, and Daoism. And it is unique in that it implies the will of Sangje as a religious object, a supreme being. It can be seen that Daesoon Thought has developed through the process of defining the concept of Dao by harmonizing both the universality and specificity of modern Korean religious thought.

• English Language & Literature Teaching
• /
• no.5
• /
• pp.259-272
• /
• 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.