• Journal of the Korea Institute of Information and Communication Engineering
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• v.8 no.1
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• pp.123-136
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• 2004

In this paper, complexity and regularity of polynomial multiplication over $GF({2^n})$ are defined by using Hamming weight of rows and columns of the matrix ever GF(2) which represents polynomial multiplication. It is shown experimentally that in order to construct the block cipher robust against differential cryptanalysis, polynomial multiplication of substitution layer and the permutation layer should have high complexity and high regularity. With result of the experiment, a way of constituting S box and G function is suggested in the block cipher whose structure is similar to SEED, which is KOREA standard of 128-bit block cipher. S box can be formed with a nonlinear function and an affine transform. Nonlinear function must be strong with differential attack and linear attack, and it consists of an inverse number over $GF({2^8})$ which has neither a fixed pout, whose input and output are the same except 0 and 1, nor an opposite fixed number, whose output is one`s complement of the input. Affine transform can be constituted so that the input/output correlation can be the lowest and there can be no fixed point or opposite fixed point. G function undergoes linear transform with 4 S-box outputs using the matrix of 4${\times}$4 over $GF({2^8})$. The components in the matrix of linear transformation have high complexity and high regularity. Furthermore, G function can be constituted so that MDS(Maximum Distance Separable) code can be formed, SAC(Strict Avalanche Criterion) can be met, and there can be no weak input where a fixed point an opposite fixed point, and output can be two`s complement of input. The primitive polynomials of nonlinear function affine transform and linear transformation are different each other. The S box and G function suggested in this paper can be used as a constituent of the block cipher with high security, in that they are strong with differential attack and linear attack with no weak input and they are excellent at diffusion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Trans-
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• v.1
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• pp.21-44
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• 2016

Advertisement is composed with symbol and sign with messages trying to express. Especially, ad with dancer introduces goods or meaning of contents with the motion of dance. In this, contents of dance or motion of dancer contains symbol and sign, understanding how ad and dance are expressed meanings with which symbol and the symbolic meaning of dance or dancer on ad. To that end, this study is for analyzing expressed symbol with dance corresponds with the aim of ad and finding the way or attitude of how normal people accept dance by reevaluating symbolic meaning of dance itself. In this study, advertisement producer and director's related data is secured for understanding direction and intention of producer, and previous study related with the study purpose, image, and effect are analyzed for understanding image of dance as a physical sign on TV advertisement. With data from www.TVCF.co.kr. TV advertisement analysis is conducted only with four ads in 2008(Nam Kwang Eng. & Const Co., Lotte Dept. Store(premium sale/gift card), Hyundai Motor Company Santa Fe -Pilobolus) and one ad in 2011(PNS The zone Sash Italy Arena di Verona when dance was used for advertisement with the highest frequency per year. Also, based on considered important factors from repeatedly watching each advertisement, scenes where movement or motion of dancer and screen word is greatly changed are analyzed as a priority. Image analysis of dance is conducted with structure studies based on physical image(line, costume, expression) and dan image(type motion, qualitative feature, mood of dance). As a result, the symbolic dance image appeared in TV advertisement can be discussed as follows. First, symbol and sign of dance on advertisement corresponds with material objects of advertisement. For instance, on the TV advertisement where Lee Youngwoo appeared, his motion as a signifer means challenge for the future of Nam Kwang Eng. & Const Co., with fast turn, jump, assemble turning jump, and sliding. Second, physical image of dancer depending on intention of sender corresponds in general, but there are somewhat differences in image of dance. This makes people to unconsciously recognize symbolic image of dance on TV ad while they watch it at the same time. Especially, when it comes to advertisement, it exposes frequently with broadcasting of organized programs from a broadcaster, living long-time memory. It can be differ based on idea and character of each of receiver. Advertisement is a medium making people naturally adopt cultural art for ordinary people in their lives. Broadcasting public art from TV advertisement widely exposes pure art to people, which was only avaliable for minority, sublimating it as an art of public culture.

• Korean Journal of Heritage: History & Science
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• v.52 no.4
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• pp.56-77
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• 2019

Bi-Seok is a treasure trove of funeral rites and an important cultural asset that can shed light on the historical and social history of calligraphy, but research of the topic is still insignificant. In particular, research on the production method of Bi-Seok remains an unproven field. The production of Bi-Seok can be roughly divided into ma-jeong (refining stone), sculpture, and the Buk-chil (process of engraving letters) process. This article reveals some facts: First, performing ma-jeong to the Sang-Seok, Honyu-Seok, Bi-seok, which are known to be God's things. This process is needed because of the change in the perception of the Honyu-Seok due to the settlement and propagation of Confucian ceremonial rituals in the times of hardship in 1592 and 1636. As the crafting process of ma-jeong did not remain concrete, it was only possible to examine the manufacturing process of Bi-Seok through its materials and tools. Second, the rapid proliferation of Oh-Seok and Sa-jeo-chwi-yong (purchase of things made by private citizens) in the Yeongjo era has great importance in social and cultural history. When the Gang-Hwa-Seok of the commodity were exhausted, the Oh-Seok that was used by Sadebu (upper civil class) were used in the tomb of Jangneung, which made Oh-Seok popular among people. In particular, the use of Oh-Seok and the Ma-Jeong process could minimize chemical and physical damage. Third, the writing method of the Bi-seok is Buk-chil. After Buk-Chil of Song Si-Yeol was used on King Hyojong's tomb, the Buk-Chil process ( printing the letters on the back of the stone and rubbing them to make letters) became the most popular method in Korea and among other East Asian countries, and the fact that it was institutionalized to this scale was quite impressive. Buk-Chil became more sophisticated by using red ink rather than black ink due to the black color that results from Oh-Seok. Fourth, the writing method changes in the late Joseon Dynasty. Until the time of Yeongjo's regime, when inscribing, the depth of the angle was based on the thickness of the stroke, thus representing the shade. This technique, of course, did not occur at every Pyo-Seok or Shindobi, but was maintained by outstanding artisans belonging to government agencies. Therefore, in order to manufacture Bi-Seok, Suk-seok, YeonJeong, Ma-jeong, Jeong-Gan, ChodoSeoIp, Jung-Cho, Ip-gak, Gyo-Jeong, and Jang-Hwang, a process was needed to make one final product. Although all of these methods serve the same purpose of paying respects and propagandizing the great work of deceased persons, through this analysis, it was possible to see the whole process of Pyo-Seok based upon the division of techniques and the collaboration of the craftsmen.

• The KIPS Transactions:PartB
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• v.8B no.6
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• pp.685-692
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• 2001

This paper describes how to disambiguate the aspectual meaning of Japanese expression "-te iru" in Japanese-Korean machine translation Due to grammatical similarities of both languages, almost all Japanese- Korean MT systems have been developed under the direct MT strategy, in which the lexical disambiguation is essential to high-quality translation. Japanese has a progressive aspectual marker “-te iru" which is difficult to translate into Korean equivalents because in Korean there are two different progressive aspectual markers: "-ko issta" for "action progressive" and "-e issta" for "state progressive". Moreover, the aspectual system of both languages does not quite coincide with each other, so the Korean progressive aspect could not be determined by Japanese meaning of " te iru" alone. The progressive aspectural meaning may be parially determined by the meaning of predicates and also the semantic meaning of predicates may be partially reshicted by adverbials, so all Japanese predicates are classified into five classes : the 1nd verb is used only for "action progrssive",2nd verb generally for "action progressive" but occasionally for "state progressive", the 3rd verb only for "state progressive", the 4th verb generally for "state progressive", but occasIonally for "action progressive", and the 5th verb for the others. Some heuristic rules are defined for disambiguation of the 2nd and 4th verbs on the basis of adverbs and abverbial phrases. In an experimental evaluation using more than 15,000 sentances from "Asahi newspapers", the proposed method improved the translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.translation quality by about 5%, which proves that it is effective in disambiguating "-te iru" for Japanese-Korean machine translation.anslation.

• Restorative Dentistry and Endodontics
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• v.32 no.1
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• pp.19-27
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• 2007

The purpose of this study is to develope new dental color-space system. Twelve kinds of dental composites and one kind of dental porcelain were used in this study. Disk samples (15 mm in diameter, 4 mm in thickness) of used materials were made and sample's CIE $L^*a^*b^*$ value was measured by Spectrocolorimeter (MiniScan XE plus, Model 4000S, diffuse/$8^{\circ}$ viewing mode, 14.3 mm Port diameters, Hunter Lab USA) The range of measured color distribution was analyzed. All the data were applied in the form of T### which is expression unit in CNU Cons Dental Color Chart. The value of $L^*$ lies between 80.40 and 52.70. The value of $a^*$ are between 10.60 and 3.60 and $b^*$ are between 28.40 and 2.21. The average value of $L^*$ is 67.40, and median value is 67.30. The value of $a^*$ are 2.89 and 2.91 respectively. And for the $b^*$, 14.30 and 13.90 were obtained. The data were converted to T### that is the unit count system in CNU-Cons Dental Color Chart. The value of $L^*$ is converted in the first digit of the numbering system. Each unit is 2.0 measured values. The second digit is the value of $a^*$ and is converted new number by 1.0 measured value. For the third digit $b^*$ is replaced and it is 2.0 measured unit apart. T555 was set to the value of $L^*$ ranging from 66.0 to 68.0, value of $a^*$ ranging from 3 to 4 and $b^*$ value ranging from 14 to 16.

• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• Iberoamérica
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• v.22 no.1
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• pp.73-109
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• 2020

In the tourism industry, emotional labor-related problems are highly likely because workers cannot avoid frequent face-to-face contacts with customers. Emotional labor, however, is not always recognized in the same pattern by every worker in similar situations. As can be see in this research, emotional labor appears to vary depending on individual characteristics and sociocultural and economic conditions. In fact, there are so many factors affecting emotional labor, and the level of influence concerning these factors can vary depending on when and where they are. Psychological and mental pains and stress from emotional labor depend on a number of factors. The expression of emotional labor, depending on age, length of employment and gender, shows a clear difference. In particular, for those who are planning to participate in international labor migration to the United States in the future, emotional labor was often not recognized as a serious problem or rather a positive social and cultural experience. In fact, there are various types of tourism workers in Oaxaca, and their experiences vary greatly depending on individual and economic and sociocultural environments. The emotional labor of the workers in the tourism sector of Oaxaca also has various forms depending on various conditions. Positive or negative perceptions and consequences of emotional labor vary depending on the circumstances of the individual and working conditions. In other words, socioeconomic conditions, individual personality or experiences, sociocultural characteristics, and autonomy in the workplace, have a significant impact. As a result, the forms and effects of emotional labor expressed and understood by tourism workers vary considerably and may vary depending on the situations. Considering these problems, the way emotional labor emerges is greatly influenced by sociocultural or personal factors as well as economic factors. In addition, rather than considering the existence and seriousness of emotional labor as given depending on the nature of a particular industry or work, it should also be recognized that the expression of emotional labor differ considerably from individual to individual. Also, the seriousness of problems caused by emotional labor can be diversified. In this sense, it is necessary to clearly understand the meanings of the dynamism, diversity and multidimensionality of emotional labor from a new perspective.

• Journal of Korean Elementary Science Education
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• v.41 no.2
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• pp.283-294
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• 2022

Although the concept of light is important in the elementary school curriculum, substantial research suggests that students and teachers have difficulties in understanding it. Therefore, it is necessary to analyze the reasons for these difficulties-whether it is due to the content or due to the presentation method of contents, structure, and expression. The national curriculum and textbooks of Korea, the US, China, and Japan were comparatively analyzed from the following perspectives: 1) key concepts of light, 2) structure of light units in the textbook, 3) materials, light sources, and optics used in light units. Consequently, there were differences between countries in their inclusion of the concept of light in the curriculum. In particular, the Korean curriculum studies the concept of refraction by a convex lens, whereas the concept of light, light source, and vision is not introduced. Furthermore, countries also differed in their structuring of units. The Korean curriculum was presented segmentally by concept rather than structured according to core ideas or perspectives, and the connection between concepts was unclear. In addition, there were differences between the countries in materials, light sources, and optical instruments to explain key concepts. On using light, the US curriculum provides a purpose and uses light to achieve it, and China and Korea understand the concept. It was divided into the method of using the material to deepen. Based on the results of this analysis, the implications for the elementary science curriculum in Korea were derived as follows. First, it is necessary to introduce concepts sequentially and organize them so that the connection between concepts is well expressed. Second, it is necessary to introduce light and light sources as the predominant concepts. Third, it is necessary to include the principle of seeing objects. Fourth, it is necessary to adjust the material and content level of the refraction concept included in the light and lens unit. Fifth, an integrated approach is required because light has a deep connection with various concepts included in the elementary science curriculum.

• Journal of Intelligence and Information Systems
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• v.29 no.4
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• pp.271-286
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• 2023

The global COVID-19 pandemic has transformed face masks from situational accessories to indispensable items in daily life, prompting a shift in public perception and behavior. While the relaxation of mandatory mask-wearing regulations is underway, a significant number of individuals continue to embrace face masks, turning them into a form of personal expression and identity. This phenomenon has given rise to the Fashion Mask industry, characterized by unique designs and colors, experiencing rapid growth in the market. However, existing research on masks is predominantly focused on their efficacy in preventing infection or exploring attitudes during the pandemic, leaving a gap in understanding consumer preferences for mask design. We address this gap by investigating consumer perceptions and preferences for two prevalent mask designs-horizontal fold flat masks and vertical fold flat masks. Through a comprehensive approach involving surveys and eye-tracking experiments, we aim to unravel the subtle differences in how consumers perceive these designs. Our research questions focus on determining which design is more appealing and exploring the reasons behind any observed differences. The study's findings reveal a clear preference for vertical fold flat masks, which are not only preferred but also perceived as unique, sophisticated, three-dimensional, and lively. The eye-tracking analysis provides insights into the visual attention patterns associated with mask designs, highlighting the pivotal role of the fold line in influencing these patterns. This research contributes to the evolving understanding of masks as a fashion statement and provides valuable insights for manufacturers and marketers in the Fashion Mask industry. The results have implications beyond the pandemic, emphasizing the importance of design elements in sustaining consumer interest in face masks.