• Journal of Advanced Marine Engineering and Technology
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• 제40권1호
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• pp.45-49
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• 2016

수중에서의 음향 통신의 성능은 신호의 다중경로 전달과정에 의해 발생하는 지역 확산 현상으로 인하여 인접 심볼간 간섭의 영향을 받는다. 이러한 다중경로의 영향으로 신호는 왜곡되고 원활한 수신을 방해하게 된다. 이러한 다중경로 환경에서 본 논문에서는 수신 신호의 성능을 향상시키고자 수중통신에 적합한 반복부호를 설정하였다. 적용 가능한 반복부호로는 터보 부호와 BCJR 기반의 컨볼루션 부호가 있으며, 동일한 부호화율 및 비슷한 부호어 길이에서 터보부호의 성능을 비교 분석하였다. 본 논문에서는 경북 문경시 경천호에서의 실제 수중 실험을 통하여 두 가지 방식의 성능을 분석하였다. 송수신 거리가 400m 그리고 데이터 속도를 1Kbps에서 측정된 실제 데이터를 이용하였다. 실험 결과 컨볼루션 부호 기반의 BCJR 복호기는 81%의 성공률, 터보 부호 기반의 터보 등화기는 93%의 성공률을 나타내는 것으로 보아 터보 부호 기반의 터보 등화기가 성능이 약간 우수함을 알 수 있다.

• 조형예술학연구
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• 제8권
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• pp.129-159
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• 2005

Web sites have become one of most important factor for sales products as well as advertising communications in these days. So numerous web sites have been developed for corporations and brands. It is not easy to getting more attention as a prominent web site expression among various types of numerous web sites. Due to the voluminous expansion of visual communications and the change of the media. new advertising creative must be needed for serving to differentiate the message, inviting audiences to participate more positively in Web site communications. This thesis aims at reviewing images and semiotics for analyzing web sites. And this thesis is about the significations of web sites for some of supreme brands. Chapter I describes the aim of this thesis about the signification of web sites, especially concentrate on the intro-pages of worldwide supreme brands. such as Chanel, Louis Vuitton, Yves Saint Laurent, Prada, and Burberry. And Chapter II introduces the general concept of Image and Semiotics. Chapter III deals with the signification of the web sites with introducing semiotic methods such as the theory of R. Barthes. Chapter IV discusses the signification of Images of web sites as an advertising creative talking into consideration of semiotic theories. And this thesis analyze almost all visual images and verbal message by the theory of R. Barthes. In this matrix, a. particular image of web site can be analyzed into its basic structure of pictorial and word elements , i. e., into the representations the viewer uses and identifies. It's my belief that one of aesthetic engineering approaches such as Semantic Differential Method and semiotic approaches such as the Interpretant Matrix for advertising design images provide basic methods which is about defining the process of constructing and coding the advertising images as well as analyzing and decoding advertising expressions. So I suggest these kinds of studies on the images of web sites as well as advertising design images.

• 디지털융복합연구
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• 제13권3호
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• pp.295-304
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• 2015

지금까지의 읽기장애 연구에서는 문자언어 음독의 정확성과 속도 즉 해독(음독)능력에 어려움을 가진 난독증(dyslexia)을 대상으로 한 연구에 초점이 맞추어져 있었으나 최근의 보고에 따르면 음독능력에는 어려움을 가지지 않음에도 불구하고 특수하게 읽기 이해력만이 저하되는 특정 읽기이해부진아동의 사례가 보고되고 있다. 이에 본 연구에서는 음독능력은 저하되지 않으나 읽기 이해력만이 특수하게 저하되는 읽기이해부진 아동과, 음독능력과 읽기 이해력 모두 저하되는 읽기부진 아동의 특징을 비교검토 하였다. 그 결과 읽기부진아동이 음운인식 과제와 음운 작업기억 과제 모두에서 유의하게 낮은 수행을 보인 반면 특정 읽기이해부진아동 집단의 경우 음운 작업기억의 유의한 저하만이 나타나는 것을 확인할 수 있었다. 본 연구결과를 토대로 읽기 이해력 장애아동의 특성에 대한 시사점을 논하였다.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제27권2호
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• pp.109-118
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• 2016

Objectives: The aim of this study was to develop the computerized Comprehensive Learning Test-Reading (CLT-R) to evaluate the cognitive processes and achievements related to their basic reading ability and identify dyslexia in children and adolescents in South Korea. We also obtained the normative data and evaluated the reliability and validity of the test. Methods: We developed the CLT-R, including the word attack/nonword decoding, paragraph reading, sound blending, nonword repetition, rapid automatized naming, letter-sound matching, visual attention, orthography awareness, and digit span tests, for the purpose of diagnosing dyslexia. We investigated the reliability and validity of the tests and gathered the normative data from 399 subjects (male 48.9%), aged 5-14 years, from the last grade in kindergarten to middle school, dwelling in Seoul and Gyeonggi Province, South Korea. Results: No statistical differences were observed between the means of the tests and retests of the CAT. The mean of the correlation coefficient of the test-retest scores was 0.85. According to the construct validity test calculated by principal constant analysis using the oblique rotation method, 4 factors explained 70.0% of the cumulative variances. In addition, the normative data were obtained for all of the CLT-R subtests. Conclusion: The computerized CLT-R can be used as a reliable and valid tool to evaluate the reading achievement and reading related cognitive process in Korean children and adolescents in schools, clinics, and research institutes.

• 한국통신학회논문지
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• 제15권1호
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• pp.29-42
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• 1990

본 논문에서는 16-비트의 소형명령의 프로세서를 설계할 때 IDL로서의 APL를 사용하고 있다. 그것은 다른 HDL들이 갖지못하는 하드웨어의 구조를 표현하고 기술하는 것이 가능했다. 여기서는 프로세서를 설계할때 전체적인 시스템을 모듈별로 분리하여 설계하였기 때문에, 직접 코딩 방법을 선택하였다. 설계된 각 모듈들은 실험체제를 통하여 입력된 12-비트의 제어워드에 따라 실행되며, 그 실험체제는 기호화된 명령어들로 구성된다. 여기서, 2진코드를 사용하여 SIP의 명령코드를 세팅함으로써, 명령형식과 어셈블러 명령을 구성했고, 실험체제를 통하여 제시된 명령어 세트를 입력함으로써 SIP의 동작을 확인했다. 제시된 SIP에서는 입력하는 프로그램이 기호화된 언어이기 때문에 설계자나 사용자가 시스템의 동작을 쉽게 이해할 수 있을 것이다. 특히, SIP내에서 유니트함수를 임의로 정의할 수 있기 때문에 유니트함수의 사용에 제한을 받지않고 다양하고 쉽게 호출할 수 있을 것이다.

• 미술이론과 현장
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• 제2호
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• pp.27-48
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• 2004

Robert Rauschenberg's artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist's ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg's art to the artist's early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist's 50's and 60's works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the "culturalist" interpretation of Rauschenberg's imagery which emphasizes the artist's "Americanness." Recently, a group of art historians centered around October has applied Charles Sanders Peirce's semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg's work. The semantic inquiry into Rauschenberg's imagery has also been launched by some art historians who seek the clues in the artist's personal context. The first half of this essay will examine the previous criticism on Rauschenberg's art and the other half will discuss the artist's 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg's work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, hut to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation or words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also: a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster's Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg's Rebus has been one of the most intriguing works in the artist's oeuvre. This monumental 'combine' painting($6feet{\times}10feet$ 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as "THAT REPRE," on the far left side of the painting. Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title. Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist's interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a 'image-by-image' collation with a word to a more general commentary on Rauschenberg's work overall, such as a work that "bridges between art and life." Despite the title's allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg's strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.