• 한국공간정보시스템학회:학술대회논문집
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• 2000.06a
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• pp.181-186
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• 2000

국가지리정보체계사업을 시작으로 여러 응용분야에서 지리정보시스템을 구축하고 있으며, 특히 지자체에서는 도시정보화 차원에서 UIS(Urban Information System;도시정보시스템)를 구축하고 있다. 지자체의 업무들은 지자체의 상황에 따라 조금씩 차이를 보이지만 업무 단위로 따져 볼 때 공통적으로 수행되는 업무들이 많으며, 지리정보 관련 업무 또한 예외가 아니다. 지금까지 각 지자체의 도시정보시스템은 공통업무에 대하여 중복개발이 불가피 하였으며, 재사용성을 기대하기 어려웠다. 이런 비효율을 극복하는 방안으로 컴포넌트 기술이 대두되었으며, 컴포넌트 기술을 이용하여 업무변화에 유연하고 재활용을 극대화할 수 있는 업무 컴포넌트 개발이 필요한 시점이다. 본 논문은 지자체의 지리정보 관련 업무의 하나인 하수도 업무 중 하수배출용량 산정을 위한 하수도 관망해석 컴포넌트 설계를 제시하였다. 하수도 관망해석 컴포넌트는 하수배출용량을 산정하고, 하수 배출용량을 토대로 통수능이 부족한 하수관거를 추출하며, 통수능 부족 관거에 대하여 적정한 교체 관경 결정을 지원할 수 있도록 설계하였다 컴포넌트 설계과정은 표준업무를 지원할 수 있도록 업무분석을 수행하였으며, 이의 결과물로 하수도 관망해석 알고리즘을 도출하였으며, 알고리즘을 기반으로 하수도 관망해석 업무를 수행하는 하수도 관망해석 컴포넌트를 설계하고 설계 내용을 UML(Unified Modeling Language)로써 명세화 하였다. 현재 설계에 따라 하수도 관망해석 컴포넌트가 개발되고 있으며, 개발된 컴포넌트를 이용한 하수도 관망해석 시스템을 구축할 예정이다. 추후에는 하수도 관망해석 컴포넌트와 하수도 업무 컴포넌트와의 통합부분에 대한 연구가 진행되어야 할 것이다.7.0로 하고 표준(標準) EDTA 용액(溶液)을 소량(少量)넣고 8N-KOH로 pH $12{\sim}13$으로 하고 N-N 희석분말(稀釋粉末)을 지시약(指示藥) 으로써 표준(標準) EDTA 용액(溶液)으로 적정(滴定)하여 Ca 치(値)를 얻었다. Ca와 Mg의 합계결정치(合計決定値)와 Ca 적정치(滴定値) 차(差)로 Mg 치(値)를 얻었다. 음(陰) ion 구분(區分)으로부터 상법(常法)에 의하여 $MgNH_4PO_4$의 침전(沈澱)을 만들어서 HCl에 녹키고 일정량(一定量)의 표준(標準) EDTA 용액(溶液)을 넣어 pH 7.0로 한다음 완충액(緩衝液)으로 pH 10으로 하고 BT 지시약(指示藥)을 써서 표준(標準) Mg $SO_4$용액(溶液)으로 적정(滴定)하여 P 치(値)를 얻었다. 본법(本法)으로 Na-phytate를 분석(分析)한 결과(結果) Na-phytate의 분자식(分子式)을 $C_6H_6O_{24}P_6Mg_4CaNa_2{\cdot}5H_2O$라고 하였을 때의 이론치(理論値)에 비(比)하여 P가 98.9% Cark 97.1%, Mg가 99.1%이고 통계처리(統計處理)한 결과분석치(結果分析値)와 이론치(理論値)는 잘 일치(一致)된다. 그러나 종래법(從來法)에 의(依)한 분석치(分析値)는 이론치(理論値)에 비(比)하여 P가 92.40%, Cark 86.80%, Mg가 93.80%로서 이론치(理論値)와 일치(一致)하지 않는다. 3) Na-phytate를 전분(澱粉)과 일정(一定)한 비(比)로 혼합(混合)하고 본법(本法)으로 P,Ca 및 Mc를 정량(定量)한 결과(結果) 이들의 회수율(回收率)은 거의 100%이었다. 4) 본분석법

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Korean Journal of Agricultural and Forest Meteorology
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• v.8 no.2
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• pp.116-124
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• 2006

Remarkable winter season warming has been observed in East Asian countries during the last century. Accordingly, significant effects on dormancy and the resulting budburst of deciduous trees are expected. However phenological observations are rare and insufficient compared with the long-time climate records in the same region. A chill-day accumulation, which can be estimated from daily maximum and minimum temperature, is expected to make a reasonable proxy for dormancy depth of temperate zone fruit trees. To simulate dormancy depth during 1921-2004, a chill-day model parameterized for 'Campbell Early' grapevine, which is the major cultivar grown virtually anywhere in South Korea, was applied to daily temperature data at 8 locations in South Korea. The calculations showed that the chilling requirement for breaking endo-dormancy of this grapevine cultivar can be satisfied by mid-January to late February in South Korea, and the date was delayed going either northward or southward from the 'Daegu-Jeonju' line crossing the middle of South Korea in the east-west direction. Maximum length of the cold tolerant period (the number of days between endo-dormancy release and forced dormancy release) showed the same spatial pattern. When we divide the 83 years into 3 periods (I: 1921-1950, II: 1951-1980, and III: 1981-2004) and get the average of each period, dormancy release date of period III was accelerated by as much as 15 days compared with that of period I at all locations except Jeju (located in the southernmost island with subtropical climate) where an average15-day delay was predicted. The cold- tolerant period was also shortened at 6 out of 8 locations. As a result, budburst of 'Campbell Early' in spring was accelerated by 6 to 10 days at most locations, while inter-annual variation in budburst dates was increased at all locations. The earlier budburst after the 1970s was due to (1) warming in winter resulting in earlier dormancy release (Incheon, Mokpo, Gangneung, and Jeonju), (2) warming in early spring accelerating regrowth after breaking dormancy (Busan and Jeju), and (3) both of them (Seoul and Daegu).

• Journal of the Korean Association of Geographic Information Studies
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• v.20 no.3
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• pp.90-103
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• 2017

This study analyzed the surface temperature characteristics of urban green spaces under high summer temperatures to clarify the functions of green spaces in reducing urban temperatures. We obtained accurate surface temperature data using highresolution unmanned aerial vehicle images of the survey site, which was an isolated green space in the city. We analyzed differences in the surface temperature by land cover type, vegetation type, species type, and the relationship between surface temperature and vegetation volume. Based on the results, among the land cover types, wetlands and forests had low temperatures and paving areas had very high temperatures. Regarding vegetation type, broad-leaved trees had lower temperatures than coniferous trees in forests. However, in planted areas, coniferous trees had lower temperatures than broad-leaved trees. The temperature of long grass was higher than that of short grass, which suggested that the volume of grass affected the temperature. Regarding forest species type, the temperature of broad-leaved Robinia pseudoacacia forest and mixed broad-leaved forest was lower than coniferous Pinus densiflora forest. There was a slight difference in temperature between R. pseudoacacia forest and mixed broad-leaved forest. The analysis of the relationship between vegetation volume and temperature by forest species type indicated a negative correlation, where the temperature decreased with increasing vegetation volume, similar to the results of previous studies. However, we found a weak positive correlation in R. pseudoacacia forest; therefore, an increase in volume may not reduce the surface temperature depending on the dominant species.

• Journal of KIISE:Software and Applications
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• v.28 no.3
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• pp.224-238
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• 2001

본 논문은 ATM(Abstract Timed Machine)으로 명세된 실시간 시스템을 검증하기 위한 방법을 기술한다. ATM은 임무 위급 시스템인 실시간 시스템을 명세, 분석, 검증하기 위한 정형기법이다. ATM은 모드와 전이, 포트로 구성되어 있으며 모드는 머신의 압축된 상태를 표현한다. 전이는 하나의 모드에서 다른 모드로의 전환을 나타내며 조건과 이벤트로 구성되어 있다. 포트는 ATM간의 상호작용을 위한 진입을 표현한다. 다른 정형기법과 비교하여 ATM은 소프트웨어의 순환공학 과정에서 사용하기 위해 설계되었다. 역공학 측면에서 볼 때 ATM은 계산 논리뿐만 아니라 실시간 시스템의 실제 소스코드에 있는 설계나 환경정보를 표현할 수 있다. 이러한 목적을 위해 ATM의 모드는 계산모드, 추상화 모드, 주제모드로 구분된다. 계산 모드는 코드 상에서의 논리와 계산을 나타내며 추상화 모드는 모드와 전이의 블록을 하나의 ATM으로써 표현한다. 대개의 경우, 이것은 코드 상에서의 블록을 ATM내 하나의 모드로 나타낼 때 사용한다. 주제 모드는 예외나 주기적 동작 등과 같은 다수의 ATM의 주제를 표현한다. 실시간 시스템을 검증하기 위해 시스템의 소스 코드는 역명세 과정을 통하여 ATM으로 표현된다. 검증은 ATM에 대한 도달성 그래프를 생성하는 것에 의해 수행된다. 도달성 그래프는 상태와 시간을 추상화되고 압축된 형태로 표현할 수 있으며 그 결과 시간 속성을 지닌 상태 공간을 감소시킬 수 있다. 또한 시스템의 교착상태를 쉽게 발견할 수 있다. 본 논문은 ATM과 실행 모델, 도달성 그래프, 검증을 위한 속성 등을 기술하며 이들을 다른 정형 방법들과 예제를 통하여 비교한다.수 있다. 모피우스는 헤더나 광고와 같은 불필요한 정보들을 제거하는 별도의 단계를 거치지 않으므로 wrapper를 빠르게 생성한다. 궁극적으로 모피우스는 새로운 웹 상점을 사용자가 자유롭게 추가, 삭제할 수 있는 환경을 제공한다.X>와 반응시킬 경우에는 반응식 c에 의거 진행됨을 예측할 수 있었다.의거 진행됨을 예측할 수 있었다.이 거의 산화되지 않았고, $700^{\circ}C$에서도 ZnS와 ZnO 상이 공존한 것으로 보아 SnO$_2$코팅이 ZnS의 산화를 억제하는 것으로 나타났다.pplied not only to the strike system in the RSC circle, but also to the logistics system in the SLC circle. Thus, the RSLC model can maximize combat synergy effects by integrating the RSC and the SLC. With a similar logic, this paper develops "A Revised System of Systems with Logistics (RSSL)" which combines "A New system of Systems" and logistics. These tow models proposed here help explain several issues such as logistics environment in future warfare, MOE(Measure of Effectiveness( on logistics performance, and COA(Course of Actions)

• MISULJARYO - National Museum of Korea Art Journal
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• v.97
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• pp.14-54
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• 2020

The overall study of Samsaebulhoedo (painting of the Assembly of Buddhas of Three Ages) at Yongjusa Temple has focused on dating it, analyzing the painting style, identifying its painter, and scrutinizing the related documents. However, its greater coherence could be achieved through additional support from empirical evidence and logical consistency. Recent studies on Samsaebulhoedo at Yongjusa Temple that postulate that the painting could have been produced by a monk-painter in the late nineteenth century and that an original version produced in 1790 could have been retouched by a painter in the 1920s using a Western painting style lack such empirical proof and logic. Although King Jeongjo's son was not yet installed as crown prince, the Samsaebulhoedo at Yongjusa Temple contained a conventional written prayer wishing for a long life for the king, queen, and crown prince: "May his majesty the King live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). Later, this phrase was erased using cinnabar and revised to include unusual content in an exceptional order: "May his majesty the King live long / May his highness the King's Affectionate Mother (Jagung) live long / May her majesty the Queen live long / May his highness the Crown Prince live long" (主上殿下壽萬歲, 慈宮邸下壽萬歲, 王妃殿下壽萬歲, 世子邸下壽萬歲). A comprehensive comparison of the formats and contents in written prayers found on late Joseon Buddhist paintings and a careful analysis of royal liturgy during the reign of King Jeongjo reveal Samsaebulhoedo at Yongjusa Temple to be an original version produced at the time of the founding of Yongjusa Temple in 1790. According to a comparative analysis of formats, iconography, styles, aesthetic sensibilities, and techniques found in Buddhist paintings and paintings by Joseon court painters from the eighteenth and nineteenth centuries, Samsaebulhoedo at Yongjusa Temple bears features characteristic of paintings produced around 1790, which corresponds to the result of analysis on the written prayer. Buddhist paintings created up to the early eighteenth century show deities with their sizes determined by their religious status and a two-dimensional conceptual composition based on the traditional perspective of depicting close objects in the lower section and distant objects above. This Samsaebulhoedo, however, systematically places the Buddhist deities within a threedimensional space constructed by applying a linear perspective. Through the extensive employment of chiaroscuro as found in Western painting, it expresses white highlights and shadows, evoking a feeling that the magnificent world of the Buddhas of the Three Ages actually unfolds in front of viewers. Since the inner order of a linear perspective and the outer illusion of chiaroscuro shading are intimately related to each other, it is difficult to believe that the white highlights were a later addition. Moreover, the creative convergence of highly-developed Western painting style and techniques that is on display in this Samsaebulhoedo could only have been achieved by late-Joseon court painters working during the reign of King Jeongjo, including Kim Hongdo, Yi Myeong-gi, and Kim Deuksin. Deungun, the head monk of Yongjusa Temple, wrote Yongjusa sajeok (History of Yongjusa Temple) by compiling the historical records on the temple that had been transmitted since its founding. In Yongjusa sajeok, Deungun recorded that Kim Hongdo painted Samsaebulhoedo as if it were a historical fact. The Joseon royal court's official records, Ilseongnok (Daily Records of the Royal Court and Important Officials) and Suwonbu jiryeong deungnok (Suwon Construction Records), indicate that Kim Hongdo, Yi Myeong-gi, and Kim Deuksin all served as a supervisor (gamdong) for the production of Buddhist paintings. Since within Joseon's hierarchical administrative system it was considered improper to allow court painters of government position to create Buddhist paintings which had previously been produced by monk-painters, they were appointed as gamdong in name only to avoid a political liability. In reality, court painters were ordered to create Buddhist paintings. During their reigns, King Yeongjo and King Jeongjo summoned the literati painters Jo Yeongseok and Kang Sehwang to serve as gamdong for the production of royal portraits and requested that they paint these portraits as well. Thus, the boundary between the concept of supervision and that of painting occasionally blurred. Supervision did not completely preclude painting, and a gamdong could also serve as a painter. In this light, the historical records in Yongjusa sajeok are not inconsistent with those in Ilseongnok, Suwonbu jiryeong deungnok, and a prayer written by Hwang Deok-sun, which was found inside the canopy in Daeungjeon Hall at Yongjusa Temple. These records provided the same content in different forms as required for their purposes and according to the context. This approach to the Samsaebulhoedo at Yongjusa Temple will lead to a more coherent explanation of dating the painting, analyzing its style, identifying its painter, and interpreting the relevant documents based on empirical grounds and logical consistency.

• KOMUNHWA
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• no.70
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• pp.163-178
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• 2007

Among many functions of the museum, the educational function is being emphasized. Museums should actively expand their scope of action through special exhibits or various educational activities. It is through exhibits that museums prove their reason for existence and raise calls for support. Through such activities, university museums should demonstrate the role and reason of existence of a museum inside a university to the members of the university. They should carry out various activities to raise the presence of the museum in the university. That may be the way for university museums, which face many difficulties in reality, to find their breakthrough. Especially in a situation of a low-budget, holding overseas exhibition may be a good opportunity to display the excellence of the Korean culture and, at the same time, publicize the school and the museum. Also, through such overseas exhibition, benchmarking of facilities and activities of advanced museums can be made and networks can be set up with museums around the world. This paper introduces the planning and progressing procedures of exhibitions abroad through the experiences of the Korea University Museum. I sincerely hope that it will contribute to the hereafter development of university museums. Aside from such overseas exhibition, the Korea Foundation has been supporting prestigious foreign museums to establish a Korean exhibition room in order to form a perpetual space to systematically introduce Korean culture and art to foreign audience. Thus far, the National Museum of Korea has stood in the forefront in lending relics to Korean exhibition rooms abroad. I believe it would be a worthwhile activity for the Korea Association of University Museums, which has approximately 100 institutions as its members, to actively participate in the establishment of Korean exhibitions rooms of foreign museums for the development of university museums. Participating in the establishment of Korean exhibition rooms is attractive as it will lead to a constant exchange with foreign museums instead of a one-time exchange. Localization and globalization, which became a big issue about ten years ago, is reality from which university museums cannot be free. In such reality, it is time for university museums to look back on whether they are ready to make their way forward in this era called the century of culture.