• Journal of Platform Technology
• /
• v.9 no.3
• /
• pp.18-23
• /
• 2021

As it develops into a hyper-connected society, the role of information and communication is greatly increasing. In the event of a communication disaster, it will cause a significant impact on social infrastructure, suspension of the national critical infrastructure services, and the lives of the people. In addition, the information communication sector needs systematic management to create an information communication environment that is safe from disasters because dependence on the information communication sector has increased rapidly as the industrial structure has advanced. In this paper, we analyzed the types and risks of disasters that may occur to the information communication infrastructure that play important roles in national critical infrastructure, such as information communications, finance, health and healthcare, for systematic management. In the event of a disaster in the information communication infrastructure, it is believed that it will have a significant impact on the national critical infrastructure service suspension and people's lives.

• Journal of Digital Contents Society
• /
• v.18 no.3
• /
• pp.567-575
• /
• 2017

Location-based services play an important role in many applications such as disaster warning systems and recommendation systems. These applications often require not only location information (e.g., name, latitude, longitude, etc.) but also the impact of events (e.g., earthquake, typhoon, etc.) on locations. Recently, to provide the impact of an event on a location, how to calculate location trustiness by using multimodal information such as earthquake information and disaster sensor data is researched. In the previous approach, the linear decrement of impact value of an event is applied to obtain the location trustiness of a specific location. In this paper, we propose a new approach to enrich location trustiness, that is, the impact of an event on a location, by using social media information additionally. Firstly, we design a collecting system for earthquake information and social media data. Secondly, we present an approach of location trustiness calculation based on earthquake information. Finally, we propose a new approach to enrich location trustiness by augmenting the trustiness in spatially distributed manner based on social media.

• International Journal of Computer Science & Network Security
• /
• v.22 no.9
• /
• pp.175-182
• /
• 2022

In our daily life, we come across different types of information, for example in the format of multimedia and text. We all need different types of information for our common routines as watching/reading the news, listening to the radio, and watching different types of videos. However, sometimes we could run into problems when a certain type of information is required. For example, someone is listening to the radio and wants to listen to jazz, and unfortunately, all the radio channels play pop music mixed with advertisements. The listener gets stuck with pop music and gives up searching for jazz. So, the above example can be solved with an automatic audio classification system. Deep Learning (DL) models could make human life easy by using audio classifications, but it is expensive and difficult to deploy such models at edge devices like nano BLE sense raspberry pi, because these models require huge computational power like graphics processing unit (G.P.U), to solve the problem, we proposed DL model. In our proposed work, we had gone for a low complexity model for Audio Event Detection (AED), we extracted Mel-spectrograms of dimension 128×431×1 from audio signals and applied normalization. A total of 3 data augmentation methods were applied as follows: frequency masking, time masking, and mixup. In addition, we designed Convolutional Neural Network (CNN) with spatial dropout, batch normalization, and separable 2D inspired by VGGnet [1]. In addition, we reduced the model size by using model quantization of float16 to the trained model. Experiments were conducted on the updated dataset provided by the Detection and Classification of Acoustic Events and Scenes (DCASE) 2020 challenge. We confirm that our model achieved a val_loss of 0.33 and an accuracy of 90.34% within the 132.50KB model size.

• Journal of English Language & Literature
• /
• v.56 no.6
• /
• pp.1091-1103
• /
• 2010

Absalom, Absalom! is not only about family history but also about the nature of reconstructing history. Faulkner shows us what will happen if we give too much credit to the person having the authority; he first makes us listen to Rosa, so we just listen without doubt until we arrive at the question of the objectivity of her narration, when we get to know Sutpen's design. Meanings of "facts" change depending on who perceives the facts. The incremental repetition of the narrative in the novel resembles the process of our thinking mind and the process of history being constructed. Time is a significant element in determining the meaning of an event, not only because the event cannot be understood without its social, cultural context of the contemporary, but also because only the later events make it possible for the perceiver to categorize it in its proper place in history. Furthermore, through his narrative strategy, Faulkner suggests that imagination play a large part in recreating history. He blurs the distinction between facts and imagination, making us regard Shreve's and Quentin's conjectures as facts in several ways. The conversation between father and son, and the two brothers, which is an imagination constructed through the clues Mr Compson has offered, becomes a fact willingly accepted by the readers as well as Shreve and Quentin. The people in the past, present, and future may be very much unlikely to agree on the same event, because the gap in temporality will keep widening our perceptions. Faulkner demonstrates the nature of history in such a way that we can compare our understanding of the Sutpens' history in the earlier and later part of the novel through repetitions.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.8 no.2
• /
• pp.109-123
• /
• 2006

Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

• Journal of the Korean Institute of Intelligent Systems
• /
• v.26 no.5
• /
• pp.390-395
• /
• 2016

In this paper, a sprint race of human and that of humanoid robot are compared. Sprint race is one of the most popular sports games of human. HuroCup organized by FIRA is the most representative sports event of humanoid robots. The rules of the sprint race in HuroCup are explained and the strategy for the sprint race that humanoid robots can play is proposed. A child-sized humanoid robot is designed and developed so that it can play to follow the rules of the sprint race. The algorithm of the game strategy is applied to the robot, and the robot's performance is tested. Eventually, in HuroCup, it is verified that the developed humanoid robot is suitable to perform the sprint race.

• Journal of Korea Game Society
• /
• v.20 no.6
• /
• pp.3-12
• /
• 2020

Player experience study includes the behavior and psychological responses of player to game content. And, it focuses on the player's aesthetic experience for specific game elements rather than comprehensive game experiences. This paper presents the player's aesthetic experience data derived from the gameplay process as a code, and analyzes the aesthetic experience data by player experience level for adventure games. These researching results might complement the limitations of existing game analysis research, and provide practical data which creator could apply at the design stage of game.

• Cross-Cultural Studies
• /
• v.41
• /
• pp.33-56
• /
• 2015

Trauma studies have provided useful models for dealing with the catastrophic and disastrous events that an individual and collective group experience. Most important of all, the perspective of post-structuralist trauma study, including Cathy Caruth, became a paradigmatic model and it has been applied to almost all contexts of life. The perspective of this study model, which is called an "event-based model of trauma," focuses on the literal registration of the traumatic event and the accurate and immediate recall of the past. The person directly involved in the event becomes the passive bearer transmitting the truth of a traumatic event. From this perspective, the traumatic subject only undergoes and endures the event and cannot play an active role in constructing trauma and dealing with it. Eventually, the truth of trauma has to be obtained at the cost of the traumatic subject's autonomy and the possibility of his/her agency. The problem here is that the truth, which is reencountered through the literal return of the past, obtained at the cost of the subject's autonomy, strikes a rather fatal blow to the person, than gives help for resolving many of matters surrounding traumatic experience and curing trauma. This suggests that the active way of dealing with trauma on the part of the traumatic subject, rather than the traumatic event itself, is demanded. Furthermore, because more recently, images of disastrous events were viewed "live" by audiences and an immediacy to the event is replicated in public discourse about them, the event becomes more immediately traumatic and there is a more strong presumption that people regard themselves as traumatic victims than before. This is the reason that we must explore an active way dealing with trauma on more human position at this time. This essay aims to examine the limits of the paradigmatic model of trauma study, an "event-based model of trauma," critically through a literary, theoretical text in which it reveals how the literal return of the traumatic past have a fatal effect on the victim; and hopes to suggest "the narrative memory" as a way to deal with trauma from a more humanistic perspective.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.8
• /
• pp.49-62
• /
• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

• (The)Study of the Eastern Classic
• /
• no.72
• /
• pp.299-327
• /
• 2018

The objective of this study is to examine the regional distribution of Ssireum(Traditional Wrestling) of South and North Korea in the Japanese colonial era. The conclusions of this study are as follows. First, the "Joseon ui hyangto orak(Folk play in Joseon)" showed the record of performing 272 times of Ssireum in 226 regions of the whole nation. Second, the Ssireum of South Korea could be divided into five regions. Seoul/Gyeonggi-do performed Ssireum the most in Dano, Baekjung, and Chuseok while Chungcheong-do performed Ssireum in Baekjung and Chuseok. Jeolla-do and Gyeongsang-do performed Ssireum in Chuseok while Gangwon-do performed Ssireum in Dano and Chuseok. Third, the Ssireum of North Korea could be divided into three regions. All the Hwanghae-do, Pyeongan-do, and Hamgyeong-do performed Ssireum the most in Dano. Fourth, as the period when Ssireum was held the most in the whole nation, Dano, Baekjung, and Chuseok could be pointed out. Ssireum has the characteristics of large-scale play between village communities or regions, instead of individual game. Thus, the Ssireum that was played as a sport event under certain rules for a long time was settled down as a folk play of regional festivals such as Dano, Baekjung, and Chuseok. Fifth, as a folk play and a representative play of seasonal customs, Ssireum was distributed in the whole nation and handed down till today under the regional deviation of South and North Korea. Sixth, the unidentified regions of South Korea that did not perform Ssireum were six places including five dos such as Gapyeong Gyeonggi-do, Boseong Jeollanam-do, Jeju-do, Gunwi and Cheongsong Gyeongsanbuk-do, and Inje Gangwon-do. The regions of North Korea were six places including three dos such as Pyeongyang, Yangdeok, Gangdong, and Gaecheon of Pyeongannam-do, Bakcheon Pyeonganbuk-do, and Dancheon Hamgyeongnam-do. Total 12 places in eight regions were included. Seventh, the number of total items of play names presented in the "Joseon ui hyangto orak(Folk play in Joseon)" was about 6,400 types. Out of them, about 1,300 types were the items including how to play while about 5,100 types were the items presenting the play names only without explanations. Especially, in case of Ssireum, the periods of the lunar calendar were only specified in each region. Unfortunately, it was not possible to check the contents about the actual performance methods and types of Ssireum as they were omitted.