• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.21-33
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• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• Journal of Institute of Control, Robotics and Systems
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• v.19 no.4
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• pp.364-371
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• 2013

Emotion Recognition is one of the important part to develop in human-human and human computer interaction. In this paper, we have focused on the performance of multi-class SVM (Support Vector Machine) with Gaussian RFB (Radial Basis function) kernel, which has been used to solve the problem of emotion recognition from physiological signals and to improve the accuracy of emotion recognition. The experimental paradigm for data acquisition, visual-stimuli of IAPS (International Affective Picture System) are used to induce emotional states, such as fear, disgust, joy, and neutral for each subject. The raw signals of acquisited data are splitted in the trial from each session to pre-process the data. The mean value and standard deviation are employed to extract the data for feature extraction and preparing in the next step of classification. The experimental results are proving that the proposed approach of multi-class SVM with Gaussian RBF kernel with OVO (One-Versus-One) method provided the successful performance, accuracies of classification, which has been performed over these four emotions.

• Journal of KIISE:Databases
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• v.30 no.2
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• pp.168-175
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• 2003

Until now, substring selectivities have been estimated by two steps. First step is to build up a count-suffix tree, which has statistical information about substrings, and second step is to estimate substring selectivity using it. However, it's actually impossible to build up a count-suffix tree from biological sequences because their lengths are too long. So, this paper proposes a novel data structure, count q-gram tree, consisting of fixed length substrings. The Count q-gram tree retains the exact counts of all substrings whose lengths are equal to or less than q and this tree is generated in 0(N) time and in site not subject to total length of all sequences, N. This paper also presents an estimation technique, k-MO. k-MO can choose overlapping length of splitted substrings from a query string, and this choice will affect accuracy of selectivity and query processing time. Experiments show k-MO can estimate very accurately.

• Journal of the Institute of Electronics Engineers of Korea TC
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• v.46 no.10
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• pp.14-27
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• 2009

Polar Code was proposed by Turkish professor Erdal Arikan in 2006 as an idea that splitted input channel is increasing the cutoff rate. The channel polarization consisted of code sequences with symmetric high rate capacity in a given B-DMC(Binary-input Discrete Memoryless Channel) W. The symmetric capacity is the highest rate achievable subject to using the input letters of the channel with equal probability. The channel polarization is said to a set of given N independent outputs of B-DMC W. In other word, N increases when N is a set of binary-input channels {$W^{(i)}_N\;:\;1{\leq}\;i\;{\leq}\;N$}, in I{WN(i)} as the fraction of indices is near to 1, which is approaching to I(W), and it is near to 0, then to 1-I(W), where I(W) presents high rates in reliable wireless communication channel as inputs of W with equal frequences. After all, {WN(i)} is shown to be a state of channel coding. On the based on this Polar codes, this paper analyzes Polar coding and decoding of Arikan and propose Radix4 Polar coding newly.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.3 no.2
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• pp.77-92
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• 1970

Ueda, in the course of his systematic work on the lavers, Porphyra, in Japan and Korea in 1932, mentioned that most of the cultivated Porphyra belong to Porphyra tenera Kjellman. Then he, dividing the species into two forms, f. typica and f. kjellmani, put Korean cultivated Porphyra under the latter. From the 1930s to the early 1940s, Fujikawa, Kaneko and others worked on Physiological experiments or cultivational experiments of Porphyra in the culture-bed, but there was no mention about the cultivated Porphyra species. However, many fishermen generally recognize that the characteristics of cultivated Porphyra vary depending on their habitat or the picking season, and it is considered that these differences are due to the varieties of the species which are well adaptable to various environments. Recently, I have become aware of the predominant occurrence of P. yezoensis Ueda in most culture-beds of Korea as in the Tokyo Bay or other places in Japan. At present, since artificial seeding for the cultivation of Porphyra with Conchocelis has been carried out and peculiar species can be cultured, a study of the species of cultivated Porphyra has become an important subject. I collected the specimens from a number of culture-beds which are located in the legions shown in fig. 1 from January, 1968 to May, 1970 and found that there are five species, P. tenera Kjellman, P. yezoensis Ueda, P. kuniedai Kurogi, P. seriata Kjellman and P. suborbiculata Kjellman. Among them, P. kuniedai was treated as a round-type, a form of P. tenera, by Kunieda (1939) and Tanaka (1952) and the occurrence of this form is generally recognized by most fishermen. At present, as mentioned above, the most dominant species of cultivated Porphyra is P. yezoensis but the cultivation of P. tenera is restricted to certain culture-beds or the early half of the cultivation period. P. kunieda appears as a mixed species throughout most of the culture-beds, particulary in the later half of the period, while when it was picked in January it appeared dominantly in a place such as Gum-Dang where the 'Bal', splitted bamboo piece mat, was settled during the last of September. This is the first seeding process. The latter two species, P. suborbiculata and P. seriata appear frequently but in small amounts in the later half of the period particulary in the western region of the southern coast. However, it can not be ascertained when P. yezoensis becomes predominant, because specimens have not been available up until recent years but the process can be described as follows: We commonly recognize the ecological characteristics of P. tenera as follows; First, the conchospores of the species develop earlier and the period of its discharge is shorter than those of P. yezoensis; second, the microscopical buds discharge neutral spores which develop into new buds directly and buds develop repeatedly through a short period. Consequently, according to such above ecological characteristics, the species can grow thick on the 'Bal' exclusively. However, buds may disappear when they are harmed by disease such a 'infection by certain parasites or by other unusual environmental conditions. Thus P. yezoensis are enabled to grow on the 'Bal' instead of the former species since they not only develop later than the former but also macroscopical fronds discharge the neutral spore throughout the period from October to May. Likewise, if any disease appears in the culture-bed ill the later half of the period, the former is more severely damaged than the latter because the former have less resistance to the disease than the latter. Thus fewer frond survive and fewer carpospores which are the origin of the next generation can be discharged. However the latter by their nature can continue growing until early summer. In the case of the culture-bed where the above phenomenon occurs repeatedly P. yezoensis gradually may become the dominant species among cultivated Porphyra. In support of the validity of this process we find that according to the description and the plate of Wada (1941), P. tenera, P. yezoensis and P. kuniedai grow together in the culture-bed at the mouth of the Nakdong River where P. yezoensis occurs predominantly and mixed with P. kuniedai.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.