• The KIPS Transactions:PartD
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• v.13D no.4 s.107
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• pp.455-462
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• 2006

Recently, the filtering approach using vector approximation such as VA-file[1] or LPC-file[2] have been proposed to support similarity search in high dimensional data space. This approach filters out many irrelevant vectors by calculating the approximate distance from a query vector using the compact approximations of vectors in database. Accordingly, the total elapsed time for similarity search is reduced because the disk I/O time is eliminated by reading the compact approximations instead of original vectors. However, the search time of the VA-file or LPC-file is not much lessened compared to the brute-force search because it requires a lot of computations for calculating the approximate distance. This paper proposes a new bitmap index structure in order to minimize the calculating time. To improve the calculating speed, a specific value of an object is saved in a bit pattern that shows a spatial position of the feature vector on a data space, and the calculation for a distance between objects is performed by the XOR bit calculation that is much faster than the real vector calculation. According to the experiment, the method that this paper suggests has shortened the total searching time to the extent of about one fourth of the sequential searching time, and to the utmost two times of the existing methods by shortening the great deal of calculating time, although this method has a longer data reading time compared to the existing vector approximation based approach. Consequently, it can be confirmed that we can improve even more the searching performance by shortening the calculating time for filtering of the existing vector approximation methods when the database speed is fast enough.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.41 no.3
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• pp.67-77
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• 2004

The recent research has been focused on fusion of audio and visual features for reliable speech recognition in noisy environments. In this paper, we propose a neural network based model of robust speech recognition by integrating audio, visual, and contextual information. Bimodal Neural Network(BMNN) is a multi-layer perception of 4 layers, each of which performs a certain level of abstraction of input features. In BMNN the third layer combines audio md visual features of speech to compensate loss of audio information caused by noise. In order to improve the accuracy of speech recognition in noisy environments, we also propose a post-processing based on contextual information which are sequential patterns of words spoken by a user. Our experimental results show that our model outperforms any single mode models. Particularly, when we use the contextual information, we can obtain over 90% recognition accuracy even in noisy environments, which is a significant improvement compared with the state of art in speech recognition. Our research demonstrates that diverse sources of information need to be integrated to improve the accuracy of speech recognition particularly in noisy environments.

• Journal of Internet Computing and Services
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• v.22 no.2
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• pp.77-87
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• 2021

With the development of the Internet and personal computers, various and complex attacks begin to emerge. As the attacks become more complex, signature-based detection become difficult. It leads to the research on behavior-based log anomaly detection. Recent work utilizes deep learning to learn the order and it shows good performance. Despite its good performance, it does not provide any explanation for prediction. The lack of explanation can occur difficulty of finding contamination of data or the vulnerability of the model itself. As a result, the users lose their reliability of the model. To address this problem, this work proposes an explainable log anomaly detection system. In this study, log parsing is the first to proceed. Afterward, sequential rules are extracted by Bayesian posterior probability. As a result, the "If condition then results, post-probability" type rule set is extracted. If the sample is matched to the ruleset, it is normal, otherwise, it is an anomaly. We utilize HDFS datasets for the experiment, resulting in F1score 92.7% in test dataset.

• Smart Media Journal
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• v.7 no.4
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• pp.17-23
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• 2018

We proposed a LSTM-based RNN model that can effectively perform the automatic spacing characteristics. For those long or noisy sentences which are known to be difficult to handle within Neural Network Learning, we defined a proper input data format and decoding data format, and added dropout, bidirectional multi-layer LSTM, layer normalization, and attention mechanism to improve the performance. Despite of the fact that Sejong corpus contains some spacing errors, a noise-robust learning model developed in this study with no overfitting through a dropout method helped training and returned meaningful results of Korean word spacing and its patterns. The experimental results showed that the performance of LSTM sequence-to-sequence model is 0.94 in F1-measure, which is better than the rule-based deep-learning method of GRU-CRF.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.40 no.4
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• pp.666-677
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• 2015

The importance of application traffic analysis for efficient network management has been emphasized continuously. Snort is a popular traffic analysis system which detects traffic matched to pre-defined signatures and perform various actions based on the rules. However, it is very difficult to get highly accurate signatures to meet various analysis purpose because it is very tedious and time-consuming work to search the entire traffic data manually or semi-automatically. In this paper, we propose a novel method to generate signatures in a fully automatic manner in the form of sort rule from raw packet data captured from network link or end-host. We use a sequence pattern algorithm to generate common substring satisfying the minimum support from traffic flow data. Also, we extract the location and header information of the signature which are the components of snort content rule. When we analyzed the proposed method to several application traffic data, the generated rule could detect more than 97 percentage of the traffic data.

• Korean Journal of Environmental Agriculture
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• v.37 no.4
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• pp.251-259
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• 2018

BACKGROUND: Various culture media have been used for hydroponic cultures of horticultural plants under the smart greenhouses with natural and artificial light types. Management of the culture medium for the control of medium amounts and/or necessary components absorbed by plants during the cultivation period is performed with ICT (Information and Communication Technology) and/or IoT (Internet of Things) in a smart farm system. This study was conducted to develop the cloud-based data analysis system for effective management of culture medium applying to hydroponic culture and plant growth in smart greenhouses. METHODS AND RESULTS: Conventional inorganic Yamazaki and organic media derived from agricultural byproducts such as a immature fruit, leaf, or stem were used for hydroponic culture media. Component changes of the solutions according to the growth stage were monitored and plant growth was observed. Red and green lettuce seedlings (Lactuca sativa L.) which developed 2~3 true leaves were considered as plant materials. The seedlings were hydroponically grown in the smart greenhouse with fluorescent and light-emitting diodes (LEDs) lights of $150{\mu}mol/m^2/s$ light intensity for 35 days. Growth data of the seedlings were classified and stored to develop the relational database in the virtual machine which was generated from an open stack cloud system on the base of growth parameter. Relation of the plant growth and nutrient absorption pattern of 9 inorganic components inside the media during the cultivation period was investigated. The stored data associated with component changes and growth parameters were visualized on the web through the web framework and Node JS. CONCLUSION: Time-series changes of inorganic components in the culture media were observed. The increases of the unfolded leaves or fresh weight of the seedlings were mainly dependent on the macroelements such as a $NO_3-N$, and affected by the different inorganic and organic media. Though the data analysis system was developed, actual measurement data were offered by using the user smart device, and analysis and comparison of the data were visualized graphically in time series based on the cloud database. Agricultural management in data visualization and/or plant growth can be implemented by the data analysis system under whole agricultural sites regardless of various culture environmental changes.

• The Journal of the Petrological Society of Korea
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• v.11 no.2
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• pp.74-89
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• 2002

Rock units, relating with the Guamsan caldera, are composed of Guamsan Tuff and rhyolitic intrusions. The Guamsan Tuff consists almost entirely of ash-flow tuffs with some volcanic breccias and fallout tuffs. The volcanic breccia comprises block and ash-flow breccias of near-vent facies and caldera-collapse breccia near the ring fracture. The lower ash-flow tuffs are of an expanded pyroclastic flow phase from the pyroclastic flow-forming eruption with an ash-cloud fall phase of the fallout tuffs on the flow units, but the upper ones are of a non-expanded ash-flow phase from the boiling-over eruption. The rhyolitic intrusions are divided into intracaldera intrusions and ring dikes that are subdivided into inner, intermediate and outer dikes. We compile the volcanic processes along a single cycle of cadela development from the eruptive phases in the Guamsan area. The explosive eruptions began with block and ash-flow phases from collapse of glowing lava dome caused by Pelean eruption, progressed through expanded pyroclastic flow phases and ash-cloud fallout phases during high column collapse of pyroclastic flow-forming eruption from a single central vent. This was followed by non-expanded ash-flow phases due to boiling-over eruption from multiple ring fissure vents. The caldera collapse induced the translation into ring-fissure vents from a single central vent in the earlier eruption. After the boiling-over eruption, there followed an effusive phase in which rhyolitic magma was injected and erupted to be progressively emplaced as small plugs/dikes and ring dikes with many lava domes on the surface. Finally rhyodacitic magma was on emplaced as a series of dikes along the junction of both outer and intermediate dikes on the southwestern side of the caldela.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.239-260
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• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.