• 호남수학학술지
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• 제41권3호
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• pp.609-617
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• 2019

We characterize two-point homogeneous spaces M by means of the structural operator $h={\frac{1}{2}}{\mathcal{L}}_{\xi}{\phi}$ or the characteristic Jacobi operator ${\ell}=R({\cdot},{\xi}){\xi}$ on the unit tangent sphere bundles $T_1M$.

• 전자공학회논문지SC
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• 제49권4호
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• pp.23-35
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• 2012

본 논문은 3차원 공간상에 존재하는 타원형 물체의 위치 및 자세 추정 기법을 다룬다. 영상에 투영된 타원특징을 해석하여 원래의 타원에 대한 3차원 자세정보를 구하는 것은 어려운 문제이다. 본 논문은 타원특징의 3차원 정보를 추출하기 위하여, 두개의 공면점을 도입한 위치 및 자세 추정 알고리즘을 제안한다. 제안된 방법은 모델과 영상좌표계에서 각각 정의되는 타원-공면점에 대한 대응쌍이 주어질 때 두 좌표계에 대한 동차변환행렬의 유일해를 결정한다. 타원-공면점은 폴라리티를 기반으로 원근변환에 불변하는 한 쌍의 삼각특징으로 변환되며, 삼각특징들로부터 평면 호모그래피가 추정된다. 카메라 좌표계에 대한 물체 좌표계의 3차원 위치 및 자세 파라미터들은 호모그래피 분해를 통해 계산된다. 제안된 방법은 3차원 자세 및 위치 추정 오차의 분석과 공면점의 위치에 따른 민감도의 분석을 통해 평가된다.

• 지구물리와물리탐사
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• 제21권1호
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• pp.1-7
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• 2018

전기탐사 2차원 모델링에서는 다수의 파수영역 전위를 계산하고 이를 푸리에 역변환하여 공간영역 전위를 계산한다. 푸리에 역변환은 여러 개의 서로 다른 파수에서의 파수영역 전위를 사용하여 수치적으로 얻어진다. 적분의 정확도를 향상시키기 위하여 파수의 크기에 따라 적분 구간을 지수 근사와 대수 근사 구간으로 분할하는 방법이 널리 사용되고 있다. 푸리에 역변환에는 크게 구간 적분법과 가우스 적분법이 사용되고 있다. 그러나 이들 방법은 송수신 간격을 고려하지 못하므로 송수신 간격에 따른 오차를 피할 수 없다. 특히 송수신 간격이 매우 작거나 클 경우 오차가 급격하게 증가하는 문제점을 가지고 있다. 이 연구에서는 송수신 간격을 고려하여 가우스 좌표값 및 가중값을 적용하는 새로운 수치 적분법을 개발하였다. 반무한 공간에 대한 수치 실험 결과, 개발된 수치 적분법은 송수신 간격에 관계없이 0.4% 이하의 정밀도를 나타내었다.

• 한국지구과학회지
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• 제40권4호
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• pp.353-381
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• 2019

The general world model for homogeneous and isotropic universe has been proposed. For this purpose, we introduce a global and fiducial system of reference (world reference frame) constructed on a (4+1)-dimensional space-time, and assume that the universe is spatially a 3-dimensional hypersurface embedded in the 4-dimensional space. The simultaneity for the entire universe has been specified by the global time coordinate. We define the line element as the separation between two neighboring events on the expanding universe that are distinct in space and time, as viewed in the world reference frame. The information that determines the kinematics of the geometry of the universe such as size and expansion rate has been included in the new metric. The Einstein's field equations with the new metric imply that closed, flat, and open universes are filled with positive, zero, and negative energy, respectively. The curvature of the universe is determined by the sign of mean energy density. We have demonstrated that the flat universe is empty and stationary, equivalent to the Minkowski space-time, and that the universe with positive energy density is always spatially closed and finite. In the closed universe, the proper time of a comoving observer does not elapse uniformly as judged in the world reference frame, in which both cosmic expansion and time-varying light speeds cannot exceed the limiting speed of the special relativity. We have also reconstructed cosmic evolution histories of the closed world models that are consistent with recent astronomical observations, and derived useful formulas such as energy-momentum relation of particles, redshift, total energy in the universe, cosmic distance and time scales, and so forth. The notable feature of the spatially closed universe is that the universe started from a non-singular point in the sense that physical quantities have finite values at the initial time as judged in the world reference frame. It has also been shown that the inflation with positive acceleration at the earliest epoch is improbable.

• 복식문화연구
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• 제18권2호
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• pp.261-276
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• 2010

The analysis of an art trend in the principle dimension starts by observing the object of work in the perspective of formative composition and recognizing it as a universal system. It can be said that it is consistent with an interpretation method for a form theory of formal history by Heinrich W$\ddot{o}$lfflin, a leading form critic in art criticism. Hence, the purpose of this study was to find out what are the formative principles in Renaissance Classicism as a design principle to be applicable to modern fashion by reviewing the formative characteristics of Renaissance Classicism Architecture with which W$\ddot{o}$lfflin directly dealt. As for the theoretical literature review, I used W$\ddot{o}$lfflin's theoretical framework and looked at the Renaissance Classicism Architecture that he studied and examined the possibility of utilizing his theory as a layout principle and the characteristics. As for analysis of design cases, I applied the aforementioned architecture layout principle to modern fashion and conducted case study analysis to delve into distinctive layout principles found in fashion. The study showed that the Renaissance Classicism Architectural Style is marked by linearity, planarity, closing and multiple unity: linearity was expressed in the observation form in fixed frontal view and an emphasis on a tangible silhouette homeogenous and definite line structures; planarity was achieved in the form of paralleled layers of frontal view element, planarity style, and identical and proportional repetition of various sizes.; closing signified the pursuit of complete and clear regularity, and architecture developed in a constructive phase through organizational inevitability and absolute invariability.; multiple unity was expressed in self-completedness and independent parallel of discrete forms and harmony of emphasized individual elements in a totality. Applying these layout characteristics of the Renaissance Classicism Architectural style and to see their individual expressive features, I found out that in adopting layout principles of the Renaissance Classicism Architecture to modern fashion, it turned out to be an emphasis of individual silhouettes, a flattened space, completed objects, organic harmony among independent parts: the emphasis of individual silhouettes was expressed in individual definitiveness of formative lines of clothes in accordance with body joints and an emphasis on formative lines of clothes; the flattened space was marked by single layer structure, planarity of elements of clothes, and listing arrangement by appropriate proportion.; the completedness of the objects was expressed by the stationary state where overall image is fixed, the construction of homogeneous and complete space, and absolute inevitability of internal layout in proportion; lastly, organic harmony of independent parts was stressed in independent completedness of each detail, and organic harmony of the whole. The expressive features would lead to a unique expression style of linear emphasis, proportion, constructive forms, and two-dimensional arrangement. The meaning of this study is follows: The characteristics of art school of thought are given shape by appling & analysing the architectural layout principles of historical art school of thought to modern fashion in the view point of formal construction dimension. The applied possibility of historical art school of thought as the source of inspiration about the fashion design is extended.