• The Journal of the Petrological Society of Korea
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• v.10 no.1
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• pp.13-26
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• 2001

Songaksan volcano, which occurs as a monogenetic volcano on the southwestern promontory of Hallasan shield volcano, is composed of tuff ring, cinder cone, lava pond and cinder conelet complex on wide basalt plateau. Except for an influx of external quartz xenocrysts in the tuff ring. Totally the volcano ranges from trachyandesite to trachybasalt in petrography and chemical compositions, which confirm the continuum between the evolved and primitive compositions widely occurring in the Jeju volcanic system. Chemical data for the volcano show quantitative compositional variation from the lower to the upper part of the volcanic sequences. The continuous compositional variations generally define a compositionally zoned magma storage. The chemical data suggest that the compositiona1 donations might have resulted from the fractional crystallization of a parental alkali magma. As result, the Songaksan volcano initially tapped the lop of the zoned magma storage and subsequently erupted successively more primitive magma.

• Polymer(Korea)
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• v.27 no.6
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• pp.509-520
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• 2003

The study was made to compare the crystallization behavior of polypropylene (PP) with different stereo-regularity. The unit cell parameters, lamellar structure of PP, and the growth of thieir spherulites were strongly dependent upon the crystallization condition. It was shown that metastable structure appeared with increasing cooling rate. The structural change of isotactic PP (iPP) was larger than that of syndiotactic PP (sPP). The crystal structure of sPP showed body centered cell III when it is cooled down with 1 $^{\circ}C$/min. When sPP was grown to primitive cell II structure, both unit cell and lamellar structure were less affected by a cooling rate. The overall crystallization rate of ipp was faster than that of sPP.

• The Korean Journal of Zoology
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• v.35 no.2
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• pp.149-160
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• 1992

Using the protein A-gold complex, the mvoabrillogenesis and actin localization of cultured myoblast were invastisated. In the superstructural changes of mvogenic cell during differentiation, pectoral myoblasts contained large nucleus and numerous ribosomes but no myofibrils during the first 24 hr of cultures. Mvoblast initiated to differentiate at 3-day of culture contained the primitive myofibrillar structure. At 96 hr of culture, the mvofibrillar structure showed reletively discernable Z band but pools defined A, H and M bands. The feature of sarcomeric structure showed more defined form at cultur 5 day. In the aspect of actin localization, actin wvas diffusely detected throughout the cytoplasm of myogenic cell and nucleus during the proliferating stage. At 72 hr of culture, with the appearantc oi primitive mvofibrils, gold particles were observed in surrounding of myofibrils but still presented in overall of cytoplasm, especially in the surface and lumen of endoplasmic reticulum. With the gradual increase of culture time, local distribution of actin was readily detected within cytoplasm. In the 5-day specimen of cultures, gold particles precisely indicate the sites of actin localifation within the sarcomere. These results indicate the time of onset of myofibrill appearance and the biosynthetic and incorporation pathway of actin molecules into sarcomeric structure during myofibrillogenesis. Thus, in the present study, the first mvoabrillar structure was detected at culture 3 day, and the initiation of assembly into a typical sarcmeric structure was observed at culture 5 day. It seems, however, that the course of events on myofibrillogenesis of cultured myoblasts can be changed with great dependence of culture conditions including the number and groluth rate of mononucleated mvoblasts after seeding although the fundamental process shows identical appearances.

• The KIPS Transactions:PartD
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• v.12D no.3 s.99
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• pp.385-394
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• 2005

In the component-based software development environment, it is important for developers who compose components to provide the information of dependence relationship between components. However it is not provided the information of dependence relationship of components. Therefore, it happens that the developer occasionally composes the components without knowing the dependence relation between the primitive components. In order to complement these disadvantages, In this paper, the design and implementation of dependence manager which provides the component dependence information for the development of integrity and persistence information system are established by defining the information about the dependence and relation between components as XML, managing them and providing a developer with the information about the dependence relationship between primitive components, we can establish. The components being created in the dependence manager show that the figure of reused matrix measurement is indicated from $89\%\;to\;95\%$, being included in confidence limits.

• 한국HCI학회:학술대회논문집
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• 2007.02c
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• pp.306-317
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• 2007

We present an interactive and accurate collision detection algorithm for deformable, polygonal objects based on the streaming computational model. Our algorithm can detect all possible pairwise primitive-level intersections between two severely deforming models at highly interactive rates. In our streaming computational model, we consider a set of axis aligned bounding boxes (AABBs) that bound each of the given deformable objects as an input stream and perform massively-parallel pairwise, overlapping tests onto the incoming streams. As a result, we are able to prevent performance stalls in the streaming pipeline that can be caused by expensive indexing mechanism required by bounding volume hierarchy-based streaming algorithms. At run-time, as the underlying models deform over time, we employ a novel, streaming algorithm to update the geometric changes in the AABB streams. Moreover, in order to get only the computed result (i.e., collision results between AABBs) without reading back the entire output streams, we propose a streaming en/decoding strategy that can be performed in a hierarchical fashion. After determining overlapped AABBs, we perform a primitive-level (e.g., triangle) intersection checking on a serial computational model such as CPUs. We implemented the entire pipeline of our algorithm using off-the-shelf graphics processors (GPUs), such as nVIDIA GeForce 7800 GTX, for streaming computations, and Intel Dual Core 3.4G processors for serial computations. We benchmarked our algorithm with different models of varying complexities, ranging from 15K up to 50K triangles, under various deformation motions, and the timings were obtained as 30~100 FPS depending on the complexity of models and their relative configurations. Finally, we made comparisons with a well-known GPU-based collision detection algorithm, CULLIDE [4] and observed about three times performance improvement over the earlier approach. We also made comparisons with a SW-based AABB culling algorithm [2] and observed about two times improvement.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.3
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• pp.510-520
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• 2011

In this paper, we propose a new multiplication algorithm for primitive polynomial with all 1 of coefficient in case that m is odd and even on finite fields $GF(3^m)$, and compose the multiplier with parallel input-output module structure using the presented multiplication algorithm. The proposed multiplier is designed $(m+1)^2$ same basic cells that have a mod(3) addition gate and a mod(3) multiplication gate. Since the basic cells have no a latch circuit, the multiplicative circuit is very simple and is short the delay time $T_A+T_X$ per cell unit. The proposed multiplier is easy to extend the circuit with large m having regularity and modularity by cell array, and is suitable to the implementation of VLSI circuit.

• Korean Institute of Interior Design Journal
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• v.14 no.3 s.50
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• pp.165-172
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• 2005

Cubism is a style that led the way to proclaim a new era of 20th century's art and contemporarily had an influence on several trends of thoughts. Geographically it formed Czech Cubism exerting an effect upon thoughts and plastic art of the progressive art group which showed activity around Prague, Czech in 1911, later for 10 years, it was developed as an unique form of which origin cannot be traced inside and outside Europe and expressed its own plastic art world in craft, furniture, painting, architecture, etc. The object of this study is to pull out the expressive characteristics showed especially in furniture design among Czech Cubism around interrelationship with painting, craft and architecture. The scope of study is to bring out the characteristics about the examples which 7 designers such as Josef Gocar, Pavel Janak, etc., who were representative designers of furniture design of Czech Cubism for 15 years from 1910 to 1925. The method of study is to investigate the origin of Czech Cubism by means of primitive elements of Africa, traces of Islamic architectures, and Czech traditional architectural motive, and the development process of Czech Cubism was arranged around the artist and exhibitions which led this current. After being synthesized the characteristics showed in painting, craft, architecture of Czech Cubism on the basis of the result of this study, the expressive characteristics of furniture design of Czech Cubism were brought out. As a result, the expressive characteristics of furniture design of Czech cubism are indicated in a large way as follow; 1) symbolic characteristic based on primitive plastic art, 2) dynamic characteristic by dividing form, 3) ethnic decorative characteristic combined with national motive. The significance of furniture design of Czech Cubism is not only to accept positively and digest the progressive trend of modern art, that is to say, Paris Cubism but also to succeed in recreate it in its own national style, to play a role to offer another motive to post modern design development at the end of 20th century and by means of these examples to provide the necessity and the base of more profound study in the future.

• Proceedings of the KIEE Conference
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• 2007.10a
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• pp.315-316
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• 2007

This paper presents a new methodology to improve movement database for a humanoid robot. The database is initially full of human motions so that the kinetics characteristics of human movement are immanent in it. then, the database is updated to the pseudo-optimal motions for the humanoid robot to perform more natural motions, which contain the kinetics characteristics of robot. for this, we use the evolutionary algorithm. the methodology consists of two processes : (1) the offline imitation learning of human movement and (2) the online generation of natural motion. The offline process improve the initial human motion database using the evolutionary algorithm and inverse dynamics-based optimization. The optimization procedure generate new motions using the movement primitive database, minimizing the joint torque. This learning process produces a new database that can endow the humanoid robot with natural motions, which requires minimal torques. In online process, using the linear combination of the motion primitive in this updated database, the humanoid robot can generate the natural motions in real time. The proposed framework gives a systematic methodology for a humanoid robot to learn natural motions from human motions considering dynamics of the robot. The experiment of catching a ball thrown by a man is performed to show the feasibility of the proposed framework.

• Journal of the Korean Society of Costume
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• v.51 no.7
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• pp.63-73
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• 2001

The purpose of this study was to be of use for more successful prediction of possible Prevailing aesthetic characteristics in the future, by reviewing how decadent features have actually been unfolded in fashion and make-up since the end of 20th century, as we are now in the new 21st century. The decadent traits of modern fashion and make-up since the late'90s could be listed as follows : first, the fashion has intentionally been designed to look disgusting, where realistic and imaginary images coexist, by using a half-man, half-machine image or vividly describing detestable animal skin, There have also been disgusting features in the make-up, which are so extremely weird that we can created by adding vinyl or pieces of textiles like Patch of the 17th century. Second, the satanic character of the fashion seems to be meant to keep in harmony with evil image such as Dracula, witch, skeleton or warrior of the evil, in order to charge the unnatural, inhuman and fin-de-siecle Phenomenon and find out what It really means for the inner world of men. And the demonic expressions of the make-up chiefly use white or black color or blue color of low saturation or low lightness, and part of facial features is exaggerated or shortchanged. Third, the decadent characteristics are expressed in the fashion by attaching sensational ornament to the human bode or using sexual exposure. So they give unnatural, unsound and extremely erotic impressions. The decadent features in the make-up are generated by excessively using a gay red color or sensational, exciting colors. Fourth, the exoticism of the fashion is largely affected by China's Chipaoh, Japan's Kimono or primitive motives from Africa, as there are increasing interests in Asia. And that of the make-up leans toward the East, as Kabuki make-up from Japan, Kyongkeuk make-up from China or the primitive features from Africa are employed.

• Fashion & Textile Research Journal
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• v.3 no.4
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• pp.337-343
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• 2001

This study was purposed to see how men's hair styles of Japan had changed throughout history and results of the study was as follows. There are such evidences as topknots in its primitive styles and wooden combs that several hair styles were tried already in the primitive Jomon Period. In the Yayoi period, bare topknot style without crowns and Mizura style in which hair drop down both ears were popular. In the period of ancient burial mounds, Mizura style was dominative style and varied its form and shape according to classes and status. In the Aska and Nara era, topknot-in-the-crown style in which hair bound in one as in continental style and put in crown or hood, which style was influenced by the Sui and the Tang periods of China. Since the Heian period, topknot-in-the-Ebosi style, binding style, and Karawa style as well as topknot-in-the-crown style came in sight and Sakayaki style became popular in the Kamakura and Muromachi periods. In the Momoyama period, Chasenmage style and Ichomage style were spread widely. In the early Edo era, Wakashumage style and Yaromage style as well as Ichomage style were preferred. In the middle of Edo era in which form and shape of topknot was more distinct symbol of class, status and job than in any other period, Tachmach style under the influence of the Punkin and Honda modes. Sonno style was popular in the late Edo era. There was a drastic disappearance of topknot style by the hair-cutting order during the Meiji Restoration period and civilized hair style of the Jankiri style, a kind of dishevelled hair style without making a topknot was in fashion and continued to the present.