• (The) Research of the performance art and culture
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• no.25
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• pp.5-30
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• 2012

I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.117-125
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• 2013

Early 1920s, Joseon film production began with Japanese colonial rule organization and expanded into civilian. These films were influenced by the documentary film what recorded the scenery and the custom also influenced by kino drama that displayed the place of a dramatic incident. So these films developed into the form emphasize on place. At that time, hollywood serial films were popular. So the first Joseon films shooted a picturesque place and a landmark of the city in the background where heros took a risk. In the style stakes, Joseon films looked very similar to Japanese films. shooted long-take and long-shot, it had rhythm with narration of benshi and emphasized on visual excitation by using color. Early 1920s Joseon films which were similar to Japanese films changed from Japanese style to Hollywood style caused by Na woon-kyu's .

• The Journal of the Korea Contents Association
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• v.5 no.6
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• pp.193-208
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• 2005

The purpose of this study was to look into Korean film criticism that started during Japanese occupation. It's specifically attempted to shed light on the development and significance of Joseon film criticism and on film movement theory as part of the history of Korean early modern film criticism. When kino-drama that could be called the start of Joseon movies was popular, enlightenment-based view of movie was rampant due to the inflow of western civilization and modernistic consciousness. Afterwards, the nature of movie itself drew a lot of attention from contemporary people in the silent picture days, and there appeared a critical trend in pursuit of artistry. Diverse criteria of criticism about reality and representation were presented, and a lot of disputes were eventually stirred up. Thus, criticism started to make a progress. A proletarian film movement theory, the so-called KAPF film campaign that was prevalent from the mid-1920s to the mid-1930s, was one of leading contemporary movie theories and took the lead in critic community. That had a great impact on the entire Joseon film circles. That took a proletarian view of movie, which was based on Bolshevik theory of Popularization and dialectic historical materialism. their criticism made a contribution to providing information on foreign movies and theories and to presenting main principles and multiple alternatives toward film organization and playing.

• Information and Communications Magazine
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• v.28 no.9
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• pp.84-95
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• 2011

2011년 IEEE 국제 정보 이론(ISIT) 심포지엄 (Symposium) 이 7월 31일부터 8월 5일까지 러시아 상트페테르부르크(St. Petersburg)에서 열렸다. 본 심포지엄에는 총 1,562편의 논문이 수락되어, 논문 수락율이 약 60%로 높지만, 최고 수준의 심포지엄으로, 1,500여명의 학자들이 참여했으며, 학문적으로 정보 이론의 핵심인 체비쇼프 다항식, 마코프 확률 연쇄, 콜모고로프 엔트로피, 페렐만의 푸앵카레 추측 증명 등, 학문의 원천 아이디어 발상에 대해 고찰하고, 최근 뜨거운 감자로 떠오른 극 부호(Po1ar code)를 간단히 소개했다. 또한, 우리 전통 문화 유산인 제주 정낭을 채널 부호의 관점에서 해석, 이에 따른 채널 용량을 구했고, 제주 정낭이 오늘날 중계망(Relay network)의 모태임을 증명했다.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.56-65
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• 2014

Most of experimental films have different visual techniques and aesthetic values compared to those of narrative films. This difference makes it difficult to understand experimental films. In order to understand in what ways the experimental film has broken with the convention of narrative film, it is important to examine certain structure of experimental film. The important aspect of many experimental films is the way that they have altered the nature of narrative by changing the way that we perceive the succession of image. In particular, The tradition of American Sturcture film has been the contribution of the experimental film to expand the limits of this rule system and evolve a more personal and organic approach to the continuum of film. This approach has been a method of understanding experimental films and still a useful aesthetic tools both reading personal films and making innovative works.

• Proceedings of the Korea Institutes of Information Security and Cryptology Conference
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• 1991.11a
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• pp.105-133
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• 1991

본 논문에서는 임의의 이진 난수발생기의 source가 $BMS_{p}$ 이거나 M-memory를 갖는 마르코프연쇄로 모델화 되었을 경우에 비트당 entropy와 관련이 있는 새로운 randomness에 관한 통계적 검정법을 제안한다. 기존에 알려진 이진 난수발생기의 randomness검정법이 0또는 1의 분포의 편향성(bias)이나 연속된 비트간의 상관성(correlation)중의 한 종류만의 non-randomness를 추적해낼 수 있는 반면에 새로운 검정법은 위의 두가지 검정을 통과하였을 때 암호학적으로 중요한 측도인 비트당 entropy 를 측정하여 암호학적인 약점을 검정할 수 있다. 또한 대칭(비밀키) 암호시스템의 통계적 결점을 바탕으로 하여 키를 찾는 공격자의 최적 전략( optimal strategy)문제를 분석하여 이 최적 전략이 이진 수열의 비트당 entropy와 밀접한 관계가 있음을 보이고 이 비트당 entropy와 관련이 있는 새로운 통계량을 도입하여 이진 난수 발생기의 source의 이진수열이 다음 3가지 경우, 즉, i.i.d. symmetric인 경우, $BMS_{p}$ 인 경우, M-memory를 갖는 마르코프연쇄인 경우의 각각에 대하여 특성을 조사하고 새로운 통계량의 평균과 분산을 구한다. 이때 구한 새로운 통계량은 잘 알려진 중심 극한 정리에 의하여 근사적으로 정규분포를 따르므로 위의 평균과 분산을 이용하여 스트림 암호시스템에서 구성요소로 많이 사용되는 몇 몇 간단한 이진 난수 발생기에 적용하여 통계적 검정을 실시함으로써 entropy 관점의 검정법이 새로운 randomness 검정법으로 타당함을 보인다.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.24 no.6
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• pp.637-643
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• 2011

The bond-based peridynamic model is able to capture many of the essential characteristics of dynamic brittle fracture observed in experiments: crack branching, crack-path instability, asymmetries of crack paths, successive branching, secondary cracking at right angles from existing crack surfaces, etc. In this paper we investigate the influence of the stress waves on the crack branching angle and the velocity profile. We observe that crack branching in peridynamics evolves as the phenomenology proposed by the experimental evidence: when a crack reaches a critical stage(macroscopically identified by its stress intensity factor) it splits into two or more branches, each propagating with the same speed as the parent crack, but with a much reduced process zone.