• Journal of Broadcast Engineering
• /
• v.24 no.1
• /
• pp.118-131
• /
• 2019

In order to provide 8K UHD contents of terrestrial broadcasting with a large capacity, the terrestrial broadcasting system has various problems such as limited bandwidth and so on. To solve these problems, UHD contents transmission technology has been actively studied, and an 8K UHD broadcasting system using terrestrial broadcasting network and communication network has been proposed. The proposed technique is to solve the limited bandwidth problem of terrestrial broadcasting network by segmenting 8K UHD contents and transmitting them to heterogeneous networks through hierarchical separation. Through the terrestrial broadcasting network, the base layer corresponding to FHD and the additional enhancement layer data for 4K UHD are transmitted, and the additional enhancement layer data corresponding to 8K UHD is transmitted through the communication network. When 8K UHD contents are provided in such a way, user can receive up to 4K UHD broadcasting by terrestrial channels, and also can receive up to 8K UHD additional communication networks. However, in order to transmit the 4K UHD contents within the allocated bit rate of the domestic terrestrial UHD broadcasting, the compression rate is increased, so a certain level of image deterioration occurs inevitably. Due to the nature of UHD contents, video quality should be considered as a top priority over other factors, so that video quality should be guaranteed even within a limited bit rate. This requires packet scheduling of content generators in the broadcasting system. Since the multiplexer sends out the packets received from the content generator in order, it is very important to make the transmission time and the transmission rate of the process from the content generator to the multiplexer constant and accurate. Therefore, we propose a variable transmission scheduler between the content generator and the multiplexer to guarantee the image quality of a certain level of UHD contents in this paper.

• Journal of the Korean Orthopaedic Association
• /
• v.53 no.6
• /
• pp.513-521
• /
• 2018

Purpose: The purpose of this study was to assess the effectiveness and complications of an ultrasound-guided axillary brachial plexus block performed by orthopedic surgeons. Materials and Methods: From March to May 2017, an ultrasound-guided axillary brachial plexus block was performed on a total of 103 cases of surgery. A VF13-5 transducer from Siemens Acuson X300 was used. The surgical site was included in the range of the anatomic sensory distribution of the blocked nerve, except for the case where an operation time of more than 2 hours was expected due to multiple injuries and the operation of the upper arm. The procedure was performed by 2 orthopedic surgeons in the same method using 50 ml of solution (20 ml of lidocaine HCl in 2%, 20 ml of ropivacaine in 0.75%, 10 ml of normal saline in 0.9%). The success rate of anesthesia induction during surgery, anesthetic induction time, anatomical range of operation, duration of postoperative analgesia and complications were investigated. Results: The results from the 2 practices were similar. The anesthesia was successful in 100 out of 103 patients (97.1%). In these patients, the average needling time was 5.5 minutes (2.5-13.2 minutes), the average induction time to complete anesthesia was 18.4 minutes (5-40 minutes), and the average duration of postoperative analgesia was 402.8 minutes (141-540 minutes). The post-anesthesia immediate complications were dizziness in 1 case, nausea and vomiting in 4 cases, and peri-oral numbness in 2 cases, but surgery was performed without problems. All these 7 cases with complications recovered on the same day. A total of 3 cases failed with anesthesia, and they were treated by an injection with local anesthesia in the operation room in 2 cases and switched to general anesthesia in 1 case. Conclusion: An ultrasound-guided axillary brachial plexus block, which was performed by orthopedic surgeons allows anesthesia in a brief period and the high success rates of anesthesia for certain surgeries of the elbow and surgeries on forearm, wrist and hand. Therefore, it can reduce the waiting time to the operating room. This technique is a relatively safe procedure and dose selective anesthesia is possible.

• Journal of the Korean Society of Radiology
• /
• v.15 no.2
• /
• pp.109-115
• /
• 2021

This study is a study on the difference in dose according to the presence or absence of gonadal shielding of scattered rays generated during chest computed tomography examination, and the scattered dose of the examination site was measured by placing the RadEye G-10 device in the center of the phantom. When the gonads are not shielded, the scattering lines of the whole, both sides, posterior and gonads are measured and Xenolite nolead Apron (0.35 mm PB), Xenolite nolead Apron (front 0.35 mm PB Mix back 0.25 mm PB, Skirt overlap), Half Apron After shielding with (0.5 mm PB), each scattered dose was measured. During chest computed tomography, the scattered dose of the test site was measured at 272 μSv, and when not shielded with Apron, the average total was 43 μSv, left 81 μSv, right part 82 μSv, posterior part 38.8 μSv, and Gonad part 16 μSv. Became. Xenolite nolead Apron shielded only the upper part and measured all 11.2 μSv, left part 43.1 μSv, right part 45.3 μSv, posterior part 12 μSv and Gonad part 5.2 μSv. Xenolite nolead Apron (Skirt overlap) covered the Pelvis area 360° and the dose was measured to be 5.6 μSv in the whole, 22.4 μSv in the left, 15.7 μSv in the right side, 6 μSv in the posterior part, and 3.2 μSv in the Gonad part. Xenolite nolead Apron (Skirt overlap) covered the Pelvis area 360° and the dose was measured to be 5.6 μSv in the whole, 22.4 μSv in the left, 15.7 μSv in the right side, 6 μSv in the posterior part, and 3.2 μSv in the Gonad part. When measuring only the upper part with Half Apron, the total measurement was 10.7 μSv, the left part 42.6 μSv, the right part 40.6 μSv, the posterior part 11.3 μSv, and the Gonad part 4.7 μSv. The method of 360° shielding of the pelvic area showed a dose reduction of more than 80%, and a dose reduction effect of more than 70% was shown when all shielding was performed. In all computerized tomography examinations, research to reduce the exposure dose and various shielding devices were used. It is believed that continuous research on the technique is needed.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.3
• /
• pp.33-41
• /
• 2021

This study identified the scale that traditional landscape design has taken up by analyzing a total of 1037 services for design of cultural heritage that had been ordered by the government agencies from 2018 to 2020, and has drawn characteristics of traditional landscape design focusing on major cases. The results are as follows. First, the number of order cases for traditional landscape design has shown differences annually in the services of design of cultural heritage, but the design amount has been found to have the similar average annually, which confirmed that the same level has been maintained each year. It was found that the number of cases of traditional landscape design requiring responsibilities or participations of landscape engineers for 3 years in the entire design had a high proportion of approximately 26%. Second, the traditional landscape design has required professional knowledge and experiences of landscape engineers that could not be replaced by the business operator for design of cultural heritage consisting of architects. The expertise has been shown differently depending on types of construction. First, the topographical design for the work to build a foundation has required understanding of ground shapes and its elevations and professional knowledge on calculation of the amount of the earth work and the remains maintenance technique etc. The plantation design has required basic knowledge on growth characteristics of trees and the environment for growth and understanding of the vegetation landscape of the past. Meanwhile, the design for traditional pavement and traditional landscape structures and facilities has required the expertise on traditional materials that are different from the modern ones and their processing and construction methods. The understanding of changes to water paths and ecosystem, the principles of fluids, and characteristics of each type of fluid was essential for the design for the ecological landscape work including the maintenance of a water system such as rivers etc. As such, the traditional landscape design has a scale accounting for approximately one fourth of the entire cultural heritage design and requires the expertise differentiated from other fields. This improves the provisions of the current law on limiting the actual design, suggesting the need for the establishment of a traditional landscape design company so that all traditional landscape designs can be carried out by landscape engineers.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.509-541
• /
• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.471-508
• /
• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• (The)Study of the Eastern Classic
• /
• no.66
• /
• pp.331-362
• /
• 2017

The paintings of the Eight Drunken Immortals refer to the paintings based on an influential poem called "The Song of the Eight Drunken Immortals" by Du Fu, a Chinese poet from the Tang Dynasty. This poem is about the eccentricity of the Eight Immortals known for their love of drinking. The Eight Drunken Immortals have been widely appreciated among East Asian intellectuals, and their stories have also been translated into paintings. Greatly influenced by Li Gonglin's Painting of the Eight Drunken Immortals, people in China have the tendency to create similar scroll paintings, using contour drawing tools. Meanwhile, in Korea, the paintings of the Eight Drunken Immortals have been widely appreciated both as a type of visual art embodying the Drunken Immortals' taste for the arts and as a meaningful object conveying the people's wish for longevity and eternal friendship. According to historical records, the paintings of the Eight Drunken Immortals from the Ming Dynasty were drawn on eight-fold folding screens using a sophisticated ink wash painting technique. In the meantime, the Painting of the Eight Drunken Immortals appreciated by King Jeongjo from the Joseon Dynasty was a colored landscape painting with small human figures on an eight-fold folding screen. Since the recent discovery of Yi Han-cheol's Painting of the Eight Drunken Immortals on an eight-fold folding screen, it has now become possible to imagine how renowned artists such as Kim Hong-do and Kim Yang-gi would have made the narrative figure paintings. In particular, the story of Li Bai, one of the Eight Immortals, was the most famous one often told in the paintings. After the 19th century, there was even an entire panel of narrative folding screen made about Li Bai. As painting manuals and outline drawings were pervasively used, the narrative paintings on Li Bai were mass-produced among commoners. As you can see from this, the Eight Drunken Immortals have been visually represented as thirsty souls who are not disconnected from the world, as honest men of refined taste for the arts, and as protagonists of an object that conveys the people's wish for longevity and eternal friendship. In other words, the paintings of the Eight Drunken Immortals embody multiple undertones: as paintings based on Du Fu's poems and as narrative paintings on the Eight Immortals.

• Journal of Intelligence and Information Systems
• /
• v.27 no.2
• /
• pp.17-32
• /
• 2021

Speaker recognition is generally divided into speaker identification and speaker verification. Speaker recognition plays an important function in the automatic voice system, and the importance of speaker recognition technology is becoming more prominent as the recent development of portable devices, voice technology, and audio content fields continue to expand. Previous speaker recognition studies have been conducted with the goal of automatically determining who the speaker is based on voice files and improving accuracy. Speech is an important sociolinguistic subject, and it contains very useful information that reveals the speaker's attitude, conversation intention, and personality, and this can be an important clue to speaker recognition. The final ending used in the speaker's speech determines the type of sentence or has functions and information such as the speaker's intention, psychological attitude, or relationship to the listener. The use of the terminating ending has various probabilities depending on the characteristics of the speaker, so the type and distribution of the terminating ending of a specific unidentified speaker will be helpful in recognizing the speaker. However, there have been few studies that considered speech in the existing text-based speaker recognition, and if speech information is added to the speech signal-based speaker recognition technique, the accuracy of speaker recognition can be further improved. Hence, the purpose of this paper is to propose a novel method using speech style expressed as a sentence-final ending to improve the accuracy of Korean speaker recognition. To this end, a method called sentence sequencing that generates vector values by using the type and frequency of the sentence-final ending appearing in the utterance of a specific person is proposed. To evaluate the performance of the proposed method, learning and performance evaluation were conducted with a actual drama script. The method proposed in this study can be used as a means to improve the performance of Korean speech recognition service.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.1
• /
• pp.280-301
• /
• 2021

Chogak has been regarded as originating from the paintings decorating building elements. Various curved shape drawings that were first seen in the paintings of Goguryeo tomb murals evolved into the vine patterned Dancheong of Geuklakjeon in Bongjeongsa. Cheomcha of Geuklakjeon was chiseled with Yeonhwadusik relievo at the bottom on top of Dancheong, and this was the beginning of Cheomcha-Chogak. Also, Cheomcha, which was carved with a preliminary vine patterned Chogak in Daeungjeon in Bongjeongsa, opened the era of engraving Chogak directly on the surface of structural elements. Since then, vine patterned Chogak was a significant decoration technique for the Cheomcha of traditional wooden construction for a long time. Because Jeongjagak is a structure that was continuously built between the end of the Japanese invasion of Korea in 1592 and the late Joseon Dynasty, the transition of Cheomcha-Chogak over time can be seen through Jeongjagak architecture. The early Cheomcha-Chogak presents stems that climb up (Upbound-type) towards the headpiece on a column, while stems of Chogak later reversed direction to descend (Downbound-type) from the headpiece. This study examined the transition process and reasons for the change, with a focus on the findings above, and identified a new type of Chogak that is unrelated to the direction type and was adopted during the transition from Upbound-type to Downbound-type. The new type appeared when the Jeongjagaks for the Royal Tomb of Kyeongjo and those of the Injo were built, and it matches with the transitional period wherein lotus vanishes from Hwaban-Chogak. The study also inferred that the direction change of Cheomcha-Chogak stems was caused by the separation of vine patterned Chogak, carved with a two-stepped inner Ikgon, into both upward and downward from the headpiece, and this led to the changes that manifested as the inside of Choikgong being the Downbound-type Chogak and the variegated vine patterned Chogak of Choikgong affecting the direction of Cheomcha-Chogak. This is the follow-up study of "A Study on the Hwaban-Chogak of the Neungwon-Jeongjagak," a paper published in 2018, and is limited in n that Cheomcha, the focus of the research, is just one of the construction elements of Jeongjagak. The entirety ofChogak cannot be understood only by observing Cheomcha.

• Clean Technology
• /
• v.28 no.1
• /
• pp.63-78
• /
• 2022

Electronics industrial wastewater treatment facilities release organic wastewaters containing high concentrations of organic pollutants and more than 20 toxic non-biodegradable pollutants. One of the major challenges of the fourth industrial revolution era for the electronics industry is how to treat electronics industrial wastewater efficiently. Therefore, it is necessary to develop an electronics industrial wastewater modeling technique that can evaluate the removal efficiency of organic pollutants, such as chemical oxygen demand (COD), total nitrogen (TN), total phosphorous (TP), and tetramethylammonium hydroxide (TMAH), by digital twinning an electronics industrial organic wastewater treatment facility in a cyber physical system (CPS). In this study, an electronics industrial wastewater activated sludge model (e-ASM) was developed based on the theoretical reaction rates for the removal mechanisms of electronics industrial wastewater considering the growth and decay of micro-organisms. The developed e-ASM can model complex biological removal mechanisms, such as the inhibition of nitrification micro-organisms by non-biodegradable organic pollutants including TMAH, as well as the oxidation, nitrification, and denitrification processes. The proposed e-ASM can be implemented as a Water Digital Twin for real electronics industrial wastewater treatment systems and be utilized for process modeling, effluent quality prediction, process selection, and design efficiency across varying influent characteristics on a CPS.