• 전자공학회논문지
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• 제49권9호
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• pp.155-163
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• 2012

기하학적 오차와 전기적 오차는 배열센서 시스템의 성능을 심각하게 저하할 수 있다. 이러한 문제를 완화시키기 위해 다양한 보정 기술이 개발되었다. 본 논문에서는 배열센서의 위치오차, 이득오차, 위상오차를 보상하는 두 가지 기술을 비교하였다. 그 중 하나의 방법은 1차 테일러급수 전개를 통해 배열센서의 명목상 값으로부터 실제 조향 벡터를 예측한 후 MUSIC 알고리즘의 null 특성을 이용하여 형성되는 몇 가지 식을 이용하여 센서의 실제 위치, 이득, 위상을 추정한다. 또 다른 하나의 방법은 기준신호원의 공분산 행렬을 이용하여 이러한 오차들을 예측한다. 시뮬레이션을 통해 두 가지 보정기술 모두 성공적으로 오차를 보정하였고, 10dB~50dB SNR 범위에서 Fistas and Manikas의 알고리즘이 Ng and Lie의 알고리즘 보다 노이즈에 더 강건하다는 것을 증명하였다.

• 한국통신학회논문지
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• 제40권7호
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• pp.1413-1419
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• 2015

모노 펄스 레이더는 단일 송신 신호를 이용해 목표물의 위치를 예측해 내는 레이더이다. 본 논문은 9.41GHz의 X밴드 대역 주파수를 이용하여 해양 환경에서 선박용 레이더에 사용 될 각도 추정 기술로써 위상 비교 모노펄스 알고리즘에 대한 연구를 수행하였다. 또한, 위상 비교 모노펄스 알고리즘을 이용하여 안테나 간격과 타겟의 위치에 따른 평균 제곱근 오차를 계산해 보았다. 이를 이용하여 선형 배열 안테나를 사용할 때와 비선형 배열 안테나를 사용할 때의 위상 비교 모노펄스 알고리즘 성능을 비교 하였다. 마지막으로 본 논문에서 제안한 위상 비교 모노펄스 알고리즘과 MUSIC, BARTLETT 알고리즘의 성능 차이를 분석해 보았다.

• 한국지능시스템학회논문지
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• 제19권2호
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• pp.242-247
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• 2009

지능형 추천 시스템은 사용자의 요청에 응답하는 수동적인 시스템이 아닌 사용자가 원하는 서비스를 제안하는 시스템으로서 최근 콘텐츠 서비스 분야에 많이 개발되고 있다. 이러한 지능형 추천 시스템은 콘텐츠 개인화 서비스에 응용되고 있으며 대표적인 추천기법으로 내용기반과 협업적 필터링 기법이 있다. 본 연구에서는 협업적 필터링 및 퍼지 시스템을 이용하여 추천 시스템의 기반 기술인 예측 시스템을 제안하였다. 제안한 예측 시스템은 사용자의 과거 영화평가 정보를 바탕으로 영화에 대한 평가점수를 예측한다. 영화평가 예측시스템의 성능은 영화 평가점수의 실제값과 예측값의 오차를 RMSE(root mean square error) 방법으로 계산한 후 기존의 영화평가 시스템 RMSE 값과 비교하여 평가하였다. 본 연구를 통해 제안한 영화평가 예측시스템이 추천 시스템의 기반 기술로서 활용이 가능하고 다른 멀티미디어 컨텐츠 서비스 추천에도 응용이 가능할 것으로 기대한다.

• KSII Transactions on Internet and Information Systems (TIIS)
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• 제12권12호
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• pp.5860-5876
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• 2018

A single snapshot data can only provide limited amount of information so that the rank of covariance matrix is not full, which is not adopted to complete the parameter estimation directly using the traditional super-resolution method. Aiming at solving the problem, a joint time delay and angle estimation using matrix pencil method based on information reconstruction vector for orthogonal frequency division multiplexing (OFDM) signal is proposed. Firstly, according to the channel frequency response vector of each array element, the algorithm reconstructs the vector data with delay and angle parameter information from both frequency and space dimensions. Then the enhanced data matrix for the extended array element is constructed, and the parameter vector of time delay and angle is estimated by the two-dimensional matrix pencil (2D MP) algorithm. Finally, the joint estimation of two-dimensional parameters is accomplished by the parameter pairing. The algorithm does not need a pseudo-spectral peak search, and the location of the target can be determined only by a single receiver, which can reduce the overhead of the positioning system. The theoretical analysis and simulation results show that the estimation accuracy of the proposed method in a single snapshot and low signal-to-noise ratio environment is much higher than that of Root Multiple Signal Classification algorithm (Root-MUSIC), and this method also achieves the higher estimation performance and efficiency with lower complexity cost compared to the one-dimensional matrix pencil algorithm.

• 한국전자파학회:학술대회논문집
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• 한국전자파학회 2003년도 종합학술발표회 논문집 Vol.13 No.1
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• pp.193-197
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• 2003

Radar target identification can be achieved by using various radar signatures, such as one-dimensional(1-D) range profile, 2-D radar images, and 1-D or 2-D scattering centers on a target. In this letter, five 1-D scattering center extraction methods are discussed - TLS(Total Least Square)-Prony, Fast Root-MUSIC (Multiple Signal Classification), Matrix-Pencil, GEESE(GEneralized Eigenvalues utilizing Signal-subspace Eigenvalues), TLS-ESPRIT(Total Least Squares - Estimation of Signal Parameters via Rotational Invariance Technique), These methods are compared in the context of estimation accuracy as well as a computational efficiency using a noisy data. Finally these methods are applied to the target classification experiment with the measured data in the POSTECH compact range facility.

• 한국산학기술학회논문지
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• 제19권7호
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• pp.362-374
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• 2018

본 연구는 제주지역의 대표적인 축제인 제주국제관악제의 시민들이 만족도를 알아보고 이를 개선하는데 목적이 있다. 제주국제관악제는 음악을 통해 시민과 소통하는 하나의 축제로 자리를 잡고 있다. 관악인의 축제로 시작하여 음악이란 언어로 소통하고 있는 제주 국제관악의 만족도와 이를 통한 개선방안을 알아보고자 하였다. 시민들의 행사에 대한 만족도는 75.8%(만족+매우만족)로 높게 나타나고 있다. 또한 제주국제관악제의 프로그램 수준 및 행사공간의 적절성의 평균은 각각 86.9%(만족+매우만족), 85.2%(만족+매우만족)으로 높게 나타나고 있다. 그리고 단점으로 교통의 편리성의 증대되어 된다는 의견이 높다. 또한 인터뷰 조사에서는 장소와 나이를 불문하고 기획한 우리 동네 관악제와 밖거리 음악회는 선율로 관객과 소통하는 시민 모두의 축제를 만들어 주었다고 하였다. 제주국제관악제가 시민의 축제로 자리 잡기 위해서는 교통의 편리성 증대와 사무국 전담인력 확보, 제주국제관악제 홈페이지 활성화, 각 지역 문화예술 시설에 대한 인프라 투자 확대, 각 공연장 및 경연장에서 활동하고 있는 스텝 및 자원봉사자들의 처우 개선 등의 시사점을 제시하였다. 또한 이를 바탕으로 향후 연구과제를 제시하였다.

• 전자공학회논문지
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• 제51권5호
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• pp.177-187
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• 2014

본 논문에서는 고속 부공간 추적 기법인 FAPI (Fast Approsimated Power Iteration)에 GVFF RLS (Gradient-based Variable Forgetting Factor Recursive Least Square Error)를 적용한 GVFF FAPI 를 제안한다. 기존의 FAPI는 신호의 공분산 행렬을 추정하기 위해 고정 망각 인자를 사용하기에, 부공간이 지속적으로 변하는 비정재 환경에 적용하기 여려운 단점이 있다. 이러한 문제점을 해결하기 위해, GVFF FAPI는 개선된 MSE (Mean Square Error)의 분석으로부터 유도된 MSE의 기울기 기반의 시변 망각 인자를 사용한다. 또한 GVFF RLS의 망각 인자 업데이트 식을 개선하여 부공간이 지속적으로 변하는 비정재 환경에서 부공간 에러를 줄인다. 개선된 망각 인자 업데이트 식은 MSE의 기울기가 양수이면 망각 인자를 빠르게 감소하게 하고 MSE의 기울기가 음수이면 망각 인자를 천천히 증가시킨다. 모의실험을 통해서 도래각이 지속적으로 변하는 환경에서 GVFF FAPI 알고리즘이 기존의 FAPI 알고리즘보다 작은 부공간 에러를 가지는 것을 보이고, 추적된 부공간을 도래각 추정기법에 적용하였을 때 추적된 도래각의 RMSE (Root Mean Square Error)가 더 작은 것을 확인한다.

• 패션비즈니스
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• 제11권4호
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• pp.183-203
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• 2007

This study aims at providing useful fundamental information to re-establish the theories of modern fashion by examining the origination and genealogy of street style. The street styles focusing on caucasoid have a variety of genealogies such as western type, beat, teddy boy, hippie, skinhead, punk, neuron-mantic, indie kid, riot grrrl, grunge and techno cyber punk. In the same period, on the contrary, the streets styles focusing on negroid are zootie, hipster, modernist, rude boy, two-tone, rastafarian, funky, B-boy, fly girl, raggamuffine, bhangra, and acid jazz, which are seen as the culture of the large cities formed along Atlantic Ocean and Caribbean sea like England, America and Jamaica. These have root as the main fashion in western society. Ironically, most of the subculture concentrated on the whites were racists. Because of such a reason, the street styles have been formed as resistance culture that was unable to sympathize with their society and characteristics by distinguishing the whites and the colored people. Zootie or hipster that is one of the street fashion styles was formed in the 1940-50s, while the colored people who lived in the west Indies migrated to England or America. As a minimal modernist style called Ivy look in US, in that time, anti-culture formed by teenagers in whitey, teddy boy and mods fashion can be strictly different from the zootie and hipster. The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, The colored people's street styles of the 1960s developed into aggressive and hard forms from the rude boy and two-tone while their resistance toward the whites was stronger. The rastafarian style researched the peak as the colored people's traditional ethnic characteristics or resistance intention for their freedom in the 1970s. In that time, the street styles of the whites were mostly the skinhead or hippie. Most of them were racists toward the colored people. The punk type on shown on the whites focused on luxury and exaggerative costume. On the contrary, the funky style of the colored people focused on aggressive nihilism and form. With B-boy, fly girl, reggae, rap music, and break dancing in the 1980s, the subculture gradually told on the high fashion as well as the culture between the whites and the colored people. From such aspects, the colored people tried to maintain their unique traditional characteristics. However, their individual values surged by the coming young generation excluded the colored people's characteristic street styles. Focusing on gender, violence and private success among their major concerns, the raga muffin style that represents multi-races and multi-cultures was formed. The jazz style in the 1990s showed cold post-modernistic eclecticism different from that of the 1940s-50s. Simultaneously, the various classes appeared their street styles by emphasizing on each personality. Now that we are living in multi-cultural society, a human race or nationalism concept is getting obscurer. There is no obvious boundary line in the differences between human race and its fashion.

• 복식문화연구
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• 제8권3호
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• pp.387-410
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• 2000

The purpose of this study was to approach to the internal meanings included in the Happening and the culture of hippies, by analysing the basic mental conditions in the process of the Happening. And this study was composed of the concept and the development of Happening, the characteristics of the hippies that related in the midst of the happening's background, and the formativeness between these factors and hippies'fashion. Since the happening a genre of fine arts expression attended the New School for social research in New York in 1954, Allan Kaprow direct-influenced by John Cage used the word 'Hapening'first, practicing '18 Happenings in 6 parts'at the Rueben gallery in 1959. Kaprow's 18 Happenings was one of the earliest opportunities for a wider public to attend the live events that several artists had performed more privately for various friends. Despite the very different sensibilities and structures of artist's works, artists were all thrown together by the press under the general heading of 'Happening', following Kaprow's 18 Happenings. Being considered as the root of the Happening 'Expression of Sound'of John Cage was the discovery of the exisiting thing- the Happening. Most artists were to be deeply influenced by Cage's theories and attitudes-that is, his sympathy for Zen Buddihism and oriental philosophy-and by reports of the Black Mountain events. These events would directly reflect contemporary painting and stemmed from the Futurists, Dadaists and Surrealists. And Happening's development background was based on the culture of hippies. Swinging London had been under the sway of psychedelic drugs and utopian visions of 'hippie'wave sweeping in from Califonia. This wave, which affected solid middle-class youth first and formost, began in Haight Ashbury in San Francisco. Without dwelling on the hippie movement here, it is worth nothing that it resulted from the convergence of several undercurrents : consciousness-expending drugs, the anti-Vietnam war developments, the impact of English pop groups on American music and the rise of protest songs, and finally the beatnik tradition of non-conformism. Hippie culture and its pursuit of love, peace and psychedelia was the antitheses of 1960s main street fashion. The media gave everyone with long hair the label of 'hippie', but it was always a very loose collage of attitudes and styles. The rejection of sexual taboos was conveyed by the hippie's refusal to wear. Although the bold exposure of body raised controversies because it went against the existing moral values, it has a significant implications. Psychedelics brought mind-expansion and the possibillity that modern technology (light show, synthesized electronic sounds), new fabrics or colors, and LSD could be utilized to provide an escape route from the dreariness of modern life. During the 1960s, traditional costumes, many of which had never been seen outside their native regions, became sought after and adopted in the West, initially by the young, who wanted to demonstrate their solidarity with cultures uncontaminated by mass industry. The most ardent proponents of such folk costumes were the hippies. Hippies dress was sometimes decribed as 'anti-fashion', produced by a patchwork of ragged cast-offs and flamboyant accessories, of outmoded Western dress and time-honored ethnic garments all combined, modified and permutated into variety of personal statements. 'Flower Power'became a reality. From the results of this study, we can see the expanding trend of the influence and the concept of the sew art genre 'Happening'in the formativeness as well as the fine arts field.

• 한국의상디자인학회지
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• 제4권1호
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• pp.61-72
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• 2002

This paper is the second part of a series of the research about the Teddy boy style which is to examine various fashion changes in subcultural styles in 1900s. The main concern of this research is to investigate the creation and meaning of the Teddy boy style, how it interacted with the elements of class and generation and how the materials needed by the group constructed and appropriated into the visible systematic cultural form of correspondence. The Teddy Boys are the first recognized members of the British youth culture, which is known as the new Edwardian because of their dress. They had created the concept of the "teenagers," which forms the basis of the sense of a "generation" in the 20th century. The Teds set the style that would be used and modified in the following generations. They adopted the Edwardian style of the upper class, and changed it into their own style by modifying it and adding to it some other elements. The Teddy boys style is a special version of the sartorial appropriation encountered in the sphere of the fashion history. It actually began immediately after the war by the upper class youth far from the working class neighborhood. In the late 1953, the elitist aura surrounding the Edwardian suit was suddenly shattered. Within just a few months, the Edwardian suit became a source of social anxiety and the focus of a symbolic battle. Although the Edwardian look had initially went back to the upper class root, it became a symbol of rootlessness. In appropriation of this image, The Teddy boys were also rejecting the sartorial conformism of the English working class with its modest tradition. In this respect, the Teds effected the ascent or fall of the working class in the area of fashion. The Teds dress was not a merely borrowed fashion, but was a bastard fashion in the form of American trends, the Zoot suit. At this time members of the working class possessed only work dress for the week and waist suits for the Sunday outings. Teds broke this pattern, and developed the working class dandyism of wearing clothes simply to show off. The results were that they succeeded in opening the teen market, and popularizing a working class style for the first time in British history. The Teds became the first British street style with ties music, and remain as an symbol of the rising of a new age of values and styles.f values and styles.