• Journal of KIISE:Databases
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• v.28 no.4
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• pp.529-544
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• 2001

Prefetching is an effective method to minimize the number of roundtrips between the client and the server in database management systems. In this paper we propose new notions of the type-level access pattern and the type-level access locality and developed an efficient prefetchin policy based on the notions. The type-level access patterns is a sequence of attributes that are referenced in accessing the objects: the type-level access locality a phenomenon that regular and repetitive type-level access patterns exist. Existing prefetching methods are based on object-level or page-level access patterns, which consist of object0ids of page-ids of the objects accessed. However, the drawback of these methods is that they work only when exactly the same objects or pages are accessed repeatedly. In contrast, even though the same objects are not accessed repeatedly, our technique effectively prefetches objects if the same attributes are referenced repeatedly, i,e of there is type-level access locality. Many navigational applications in Object-Relational Database Management System(ORDBMs) have type-level access locality. Therefore our technique can be employed in ORDBMs to effectively reduce the number of roundtrips thereby significantly enhancing the performance. We have conducted extensive experiments in a prototype ORDBMS to show the effectiveness of our algorithm. Experimental results using the 007 benchmark and a real GIS application show that our technique provides orders of magnitude improvements in the roundtrips and several factors of improvements in overall performance over on-demand fetching and context-based prefetching, which a state-of the art prefetching method. These results indicate that our approach significantly and is a practical method that can be implemented in commercial ORDMSs.

• Journal of the Institute of Electronics and Information Engineers
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• v.53 no.3
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• pp.46-55
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• 2016

This work proposes a 13b 100MS/s 45nm CMOS ADC with a high dynamic performance for IF-domain high-speed signal processing systems based on a four-step pipeline architecture to optimize operating specifications. The SHA employs a wideband high-speed sampling network properly to process high-frequency input signals exceeding a sampling frequency. The SHA and MDACs adopt a two-stage amplifier with a gain-boosting technique to obtain the required high DC gain and the wide signal-swing range, while the amplifier and bias circuits use the same unit-size devices repeatedly to minimize device mismatch. Furthermore, a separate analog power supply voltage for on-chip current and voltage references minimizes performance degradation caused by the undesired noise and interference from adjacent functional blocks during high-speed operation. The proposed ADC occupies an active die area of $0.70mm^2$, based on various process-insensitive layout techniques to minimize the physical process imperfection effects. The prototype ADC in a 45nm CMOS demonstrates a measured DNL and INL within 0.77LSB and 1.57LSB, with a maximum SNDR and SFDR of 64.2dB and 78.4dB at 100MS/s, respectively. The ADC is implemented with long-channel devices rather than minimum channel-length devices available in this CMOS technology to process a wide input range of $2.0V_{PP}$ for the required system and to obtain a high dynamic performance at IF-domain input signal bands. The ADC consumes 425.0mW with a single analog voltage of 2.5V and two digital voltages of 2.5V and 1.1V.

• Korean Journal of Community Nutrition
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• v.26 no.5
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• pp.327-336
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• 2021

Objectives: This study was conducted to create a 3D printable snack dish model for the elderly with low food or fluid intake along with barriers towards eating. Methods: The decision was made by the hybrid-brainstorming method for creating the 3D model. Experts were assigned based on their professional areas such as clinical nutrition, food hygiene and chemical safety for the creation process. After serial feedback processes, the grape shape was suggested as the final model. After various concept sketching and making clay models, 3D-printing technology was applied to produce a prototype. Results: 3D design modeling process was conducted by SolidWorks program. After considering Dietary reference intakes for Koreans (KDRIs) and other survey data, appropriate supplementary water serving volume was decided as 285 mL which meets 30% of Adequate intake. To consider printing output conditions, this model has six grapes in one bunch with a safety lid. The FDM printer and PLA filaments were used for food hygiene and safety. To stimulate cognitive functions and interests of eating, numbers one to six was engraved on the lid of the final 3D model. Conclusions: The newly-developed 3D model was designed to increase intakes of nutrients and water in the elderly with dementia during snack time. Since dementia patients often forget to eat, engraving numbers on the grapes was conducted to stimulate cognitive function related to the swallowing and chewing process. We suggest that investigations on the types of foods or fluids are needed in the developed 3D model snack dish for future studies.

• Cross-Cultural Studies
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• v.50
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• pp.31-51
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• 2018

The concept of 'monsters' have become popular, again, in recent times. A number of 'monster narratives' that discuss monsters such as zombies, humanoids, viruses, extraterrestrials, and serial killers have been made and re-made in popular media. Noting such an interesting cultural context, this article attempts, first, to find out some essential prototypical elements of a monster narrative and, second, to relate it with a catastrophic narrative. Correspondingly, the word 'monster' has been used as a conceptual prototype category that denies universal and clear definition, which makes it as one of the most widely used and familiar subjects of the use of metaphor. The prototypical meanings of various monster figures can be converged on a certain creature of being in this way held out as bizarre, curious, and abnormal. The monster figure that surpasses existing normality is also connected to 'abjection,' such as something that is cast aside from the body such as the bodily functions seen in its associated blood, tears, vomit, excrement, or semen, and so on. Nevertheless, both the monster figure and abjection produce disgust and horror in the minds of ordinary spectators or readers of media using this metaphor to heighten excitement for the viewers. The abject characteristic of the monster figure also has something in common with the posthuman figure, meaning to apply to a category of inhuman others who are held outside of the normal category of human beings. In the similar vein, it is natural that the most typical monster figures in our times are posthuman creatures embodied in such forms as seen with zombies, humanoids, cyborgs, robots, and so on. In short, the monster figure includes all of the creatures and beings that disarray normalized humanist categories and values. The monster narrative, in the same sense, is a type of story that tells about others outside modern, anthropocentric, male-centered, and Westernized categories of thought. It can be argued that a catastrophic narrative, a literary genre which depicts the world where a series of catastrophic events demolish the existing human civilization, ought to be seen as a typical modern-day monster narrative, because it also discounts and criticizes normalized humanist categories and values as is the result of the monster narrative. Going beyond the prevailing humanist realist narrative that are so familiar with existing values, the catastrophic narrative is not only a monster narrative per se, but also a monstrous narrative which disrupts and reinvents currently mainstream narratives and ways of thinking.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.32 no.1
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• pp.65-73
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• 2019

In order to increase the production efficiency of the ship and shorten the production cycle, it is important to evaluate the accuracy of the ship components efficiently during the drying cycle. The accuracy control of the block is important for shortening the ship process, reducing the cost, and improving the accuracy of the ship. Some systems have been developed and used mainly in large shipyards, but in some cases, they are measured and managed using conventional measuring instruments such as tape measure and beam, optical instruments as optical equipment, In order to perform accuracy control, these tools and equipment as well as equipment for recording measurement data and paper drawings for measuring the measurement position are inevitably combined. The measured results are managed by the accuracy control system through manual input or recording device. In this case, the measurement result is influenced by the work environment and the skill level of the worker. Also, in the measurement result management side, there are a human error about the lack of the measurement result creation, the lack of the management sheet management, And costs are lost in terms of efficiency due to consumption. The purpose of this study is to improve the working environment in the existing accuracy management process by using the augmented reality technology to visualize the measurement information on the actual block and to obtain the measurement information And a smart management system based on augmented reality that can effectively manage the accuracy management data through interworking with measurement equipment. We confirmed the applicability of the proposed system to the accuracy control through the prototype implementation.

• (The) Research of the performance art and culture
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• no.37
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• pp.187-221
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• 2018

The style of performance to contemporary nongak is not fixed in a specific period of time, but in conjunction with the total change in society that has occurred during its long time from traditional society to the modern times. It is important to recognize that the traditional performance art forms that we see and feel today, including nongak, are constantly interacting with the times and are a change in the design that has been shaped in the past. Now, we must get rid of the negative idea that there is some fixed prototype in Nongak. Also, the value and the need for preservation of current Nongak should not be evaluated according to the ' pure genealogy of village descent, ' which was possible only in villages with small population movements long ago. If can get rid of the stereotypes, can greatly expand the view that we read the values of a certain Nongak. Looking away from a few of these traditional fixed perceptions can significantly broaden the view of reading the winning values of some farmers ' songs. In this regard, this report determined the performing style and nature of Changwon's Toichon-noangak through a structural analysis of the Toichon-noangak in contemporary, and discussed the significance of the transmittion of Toichon-noangak. Changwon Toichon Nongak started out as an even-present ritual performance based on the religious nature of the village community and actively exchanged with the economic, social and cultural foundations of the Republic of Korea, which began to accumulate in the modern changes. Generally, the performance style of village Nongak has a combination of characteristics according to the ritual, Dure(collective labor), entertainment, and these three functions. Toichon Nongak is also a village Nongak style and in which of ritual nongak and village entertainment nongak are connected in parallel as one in the big total structure. The origin, background, purpose, and style of towing of Toichon noangak demonstrates that the Toichon noangak is originally ceremonial noangak derived from a prayer style of Dongje. Then, various factors influences are interacting with Toichon noangak within the orbit of modern society, such a style of playing, popular nongak, is believed to have undergone an extended change. Overall, Toichon nongak performance style can be called nongak, which maintains traditional customs and it also has the changed characteristics according to the times of village society.

• Korean Journal of Heritage: History & Science
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• v.42 no.2
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• pp.154-169
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• 2009

Korea is famous for a number of stone pagodas. In particular, it is noticeable that the stone pagodas came after wooden pagodas in all the Kingdoms of Goguryeo, Baekje, and Silla. Since the advent of wooden pagodas, it was during the latter half period of Three Kingdoms(especially, in the early Seventh century) that the first stone pagoda appeared at Mireuksa Temple site in imitation of the wooden ones. Now that no one can deny that Korean stone pagodas have developed, imitating the wooden pagodas. It is also obvious that the Stone Pagoda at Mireuksa site is the prototype of Korean stone pagodas. However, this study casts doubt on the theory that the stone pagodas in the Silla Kingdom originated not from the wooden pagodas, but from the brick pagodas, whereas the stone pagodas in Baekje Kingdom which has been said to come from the wooden ones. The fact that the temples and pagodas in both Baekje and Silla were erected by the same builders and technicians is one of the evidences supporting the assertion of the study. This study, accordingly, examines on the origin of the Silla pagodas by supposing the two genealogies. The first one can be summarized in chronological order as follows: starting from wooden pagodas, Stone Pagoda at Mireuksa site, Stone Pagoda at Jungrimsa site, Stone Pagoda at Gameunsa site, and Stone Pagoda at Goseonsa site. The second one, on the other hand, runs as follows: starting from bick pagodas, Stone Pagoda at Bunhwangsa, Uiseong Tapri five-storied Stone Pagoda, Seonsan Jukjang-ri five-storied Stone Pagoda, and Seonsan Naksan-ri three-storied Stone Pagoda in order. As the above genealogies show, the origin of the stone pagodas has been an controversy, especially because of the two different points of view: the one is that the roof-supporting strata(Okgaesuk-Bachim) originated from the brick structure and the ancient tomb ceiling of Goguryeo Kingdom, and the other is that the strata is a sort of the simplified design of the wooden roof structure. This study, however, takes note of the difference in length of the strata between the brick pagodas and the stone pagodas; the former stretches out its strata longer than the latter. Consequently, the study points out that the roof-supporting strata of the stone pagodas is originally a sort of modification of the wooden roof structure.

• Korean Journal of Heritage: History & Science
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• v.46 no.3
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• pp.172-193
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• 2013

This study examines the production techniques and raw materials shown in the Korean dried-lacquer statues of Buddha through a careful observation of the Seated Dried-lacquer Bodhisattva Statue from the late Goryeo Dynasty which is currently possessed by Okura Museum of Art in Tokyo. As a method of study, the X-ray data and the results from a field survey were combined to analyze the production techniques and the characteristics of raw materials. Based on this analysis, a hypothesis was established on the production process and verified through a reenactment of the actual production process. Then, the characteristics of the techniques applied to each process and the raw materials were recorded in detail. Specifically, the dried lacquer techniques and the raw materials were estimated based on the results of naked-eye observation in comparison with the literature, especially the records of "Xiu Shi Lu" written by Huang Cheng of the Ming Dynasty which is considered as 'the textbook of lacquer techniques.' The raw materials used in the production of the traditional Korean lacquerware inlaid with mother-of-pearl were also referenced. As a result, it was found that the features of production techniques and the raw materials found in the Statue at Okura Museum of Art have many similarities with those of the Seated Dried-lacquer Statue of Lohan (Arhat) from Yuanfu 2 Nian Ming (1098) of the Song Dynasty which is currently at the Honolulu Museum of Art. In particular, the similarities include that the interior of the statue being vacant because the clay and the wood core were not replaced after being removed from the prototype, that the complete form was made in the clay forming stage to apply the lacquer with baste fiber fabric, that the clay and the wood core were removed through the bottom of the statue, and that the modeling stage was omitted and the final coat over the statue is very thin. Additionally, decorating with ornaments like Bobal and Youngrak made of plastic material was a technique widely popular in the Song Dynasty, suggesting that the Seated Dried-lacquer Bodhisattva Statue in Okura Museum of Art was greatly affected by the production techniques of the Dried-lacquer Buddha Statue from the Song Dynasty. There is no precise record on the origin and history of the Korean Dried-lacquer Buddha Statues and the number of existing works is also very limited. Even the records in "Xuanhe Fengshi Gaoli Tujing" that tells us about the origin of the Dried-lacquer Buddha Statue from the Yuan Feng Period (1078~1085) do not indicate the time of transmission. It is also difficult to trace the clear route of transmission of production techniques through existing Dried-lacquer Buddha Statues. Fortunately, this study could at least reveal that the existing Dried-lacquer Buddha Statues of Korea, including the one at Okura Museum of Art, have applied the production techniques rather differently from those used in the production of Japanese Datsukatsu Dried-lacquer Buddha Statues that have been known as the standard rule in making dried-lacquer statues of Buddha for a long time.

• Journal of Intelligence and Information Systems
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• v.25 no.3
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• pp.221-238
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• 2019

Recently, companies and public institutions have been actively introducing chatbot services in the field of customer counseling and response. The introduction of the chatbot service not only brings labor cost savings to companies and organizations, but also enables rapid communication with customers. Advances in data analytics and artificial intelligence are driving the growth of these chatbot services. The current chatbot can understand users' questions and offer the most appropriate answers to questions through machine learning and deep learning. The advancement of chatbot core technologies such as NLP, NLU, and NLG has made it possible to understand words, understand paragraphs, understand meanings, and understand emotions. For this reason, the value of chatbots continues to rise. However, technology-oriented chatbots can be inconsistent with what users want inherently, so chatbots need to be addressed in the area of the user experience, not just in the area of technology. The Fourth Industrial Revolution represents the importance of the User Experience as well as the advancement of artificial intelligence, big data, cloud, and IoT technologies. The development of IT technology and the importance of user experience have provided people with a variety of environments and changed lifestyles. This means that experiences in interactions with people, services(products) and the environment become very important. Therefore, it is time to develop a user needs-based services(products) that can provide new experiences and values to people. This study proposes a chatbot development process based on user needs by applying the design thinking approach, a representative methodology in the field of user experience, to chatbot development. The process proposed in this study consists of four steps. The first step is 'setting up knowledge domain' to set up the chatbot's expertise. Accumulating the information corresponding to the configured domain and deriving the insight is the second step, 'Knowledge accumulation and Insight identification'. The third step is 'Opportunity Development and Prototyping'. It is going to start full-scale development at this stage. Finally, the 'User Feedback' step is to receive feedback from users on the developed prototype. This creates a "user needs-based service (product)" that meets the process's objectives. Beginning with the fact gathering through user observation, Perform the process of abstraction to derive insights and explore opportunities. Next, it is expected to develop a chatbot that meets the user's needs through the process of materializing to structure the desired information and providing the function that fits the user's mental model. In this study, we present the actual construction examples for the domestic cosmetics market to confirm the effectiveness of the proposed process. The reason why it chose the domestic cosmetics market as its case is because it shows strong characteristics of users' experiences, so it can quickly understand responses from users. This study has a theoretical implication in that it proposed a new chatbot development process by incorporating the design thinking methodology into the chatbot development process. This research is different from the existing chatbot development research in that it focuses on user experience, not technology. It also has practical implications in that companies or institutions propose realistic methods that can be applied immediately. In particular, the process proposed in this study can be accessed and utilized by anyone, since 'user needs-based chatbots' can be developed even if they are not experts. This study suggests that further studies are needed because only one field of study was conducted. In addition to the cosmetics market, additional research should be conducted in various fields in which the user experience appears, such as the smart phone and the automotive market. Through this, it will be able to be reborn as a general process necessary for 'development of chatbots centered on user experience, not technology centered'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.58-69
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• 2018

The purpose of this study was to present specific standards for landscape planning and construction applicable to landscaping areas in various historical sites. The results are as follows: First, the types of historical sites are classified according to their preservation status and processing techniques, and the classification according to their status is divided into those that have been buried underground, such as those that have been exposed to the ground, such as buildings and structures, and those that have a reputation or a record of the sites. The classification according to the wartime processing technique was classified by such techniques as closures that isolate the site, penetration that can be seen on the site, and overlays where a separate protection facility is installed on the site. Second, the principles of landscape planning for display of historical sites are divided into the items that make up the historical site, surface treatment of the sites, tree planting, and installation of facilities. If the site is not a circular space, the area separating the space by different materials between the components is required. In the event that preservation of the historical site is required, it is deemed desirable to use the soil, and to do so, the use of grasses and shrubs is effectively considered to be effective. The introduction of plants and plants should be considered according to the nature of the space. Depending on the area and nature of the monument, the facility is required to take a cautious approach by reviewing its influence on the landscape and the additional excavation of the monument. Third, the readjustment method derived as a result of looking at the landscaping principle in the historical site space was classified as conservation of status, installation of protection facilities, burial, restoration, relocation, and reproduction. Preservation of the status quo is essential for limited landscape planning and should not affect the prototype of existing relics. The protection facility shall be installed where necessary to protect the relics, and when the soil is formed, the surface treatment shall be required to remove trees that could damage the site and prevent soil and soil oil from being lost after the site. The restoration shall establish a landscaping plan according to the circular preservation based on the clues to the circle. The transfer requires a landscaping plan to create an environment similar to the outer space of an existing site and should be able to highlight the value or location of the original site. The reenactment should have a landscaping plan to revive the landscape and atmosphere of the past for the now-defunct remains. Fourth, landscaping can simultaneously satisfy the preservation of excavation sites and the increase in exhibition effects. In order to protect the traces of the past and vitalize the site of the ruins today, specific measures are required, the creation of a park for historical sites that preserve the functions and value of the relics, and the formation of a shape of linked contents can be suggested as alternatives.