• The Journal of Korean Institute of Communications and Information Sciences
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• v.33 no.3C
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• pp.271-280
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• 2008

M channel near-perfect-reconstruction(NPR) pseudo-QMF banks are a hybrid of conventional pseudo-QMF design and spectral factorization approach where the analysis and synthesis filters are cosine-modulated versions of the prototype-lowpass filter(p-LPF). However, p-LPF H(z) does not have linear-phase symmetry as well as magnitude-distortion optimization since it is obtained by spectral factorization of $2M^{-th}$ band filter $G(z)=z^{-(N-1)}H(z^{-1})H(z)$. A fair amount of attention, therefore, has been focused on the design of filter banks for reducing only alias-cancellation distortion without reconstructed-amplitude distortion. In this paper, we propose a new method for designing linear-phase p-LPF in NPR pseudo-QMF banks, which is based on Maxflat(maximally flat) FIR filters with closed-form transfer function. In addition, p-LPF H(z) is optimized in this approach so that the 2M-channel overall distortion response represented with $G(z)=H^2(z)$ approximately becomes an unit magnitude response. Through several examples of NPR pseudo-QMF banks, it is shown that the peek ripple of the overall magnitude distortion is less than $3.5{\times}10^{-4}\;({\simeq}-70dB)$ and analysis/synthesis filters have the sharp monotone-stopband attenuation exceeding 100 dB.

• KIPS Transactions on Software and Data Engineering
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• v.4 no.12
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• pp.543-548
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• 2015

Recently top-k query processing has been extremely important along with the explosion of data produced by a variety of applications. Top-k queries return the best k results ordered by a user-provided monotone scoring function. As cloud computing service has been getting more popular than ever, a hot attention has been paid to cloud-based data outsourcing in which clients' data are stored and managed by the cloud. The cloud-based data outsourcing, though, exposes a critical secuity concern of sensitive data, resulting in the misuse of unauthorized users. Hence it is essential to encrypt sensitive data before outsourcing the data to the cloud. However, there has been little attention to efficient top-k processing on the encrypted cloud data. In this paper we propose a novel top-k processing algorithm that can efficiently process a large amount of encrypted data in the cloud. The main idea of the algorithm is to prune unpromising intermediate results at the early phase without decrypting the encrypted data by leveraging an order-preserving encrypted technique. Experiment results show that the proposed top-k processing algorithm significantly reduces the overhead of client systems from 10X to 10000X.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.