• Journal of Information Technology Applications and Management
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• v.17 no.3
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• pp.83-97
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• 2010

The purpose of this study is to examine the impacts of media symbol variety on group performance in virtual teams. Symbol variety is defined as the number of ways in which information can be communicated and includes Daft and Lengel [1986]'s multiplicity of cues and language variety. According to media richness theory and media synchronicity theory, the use of media with high symbol variety is assumed to facilitate and promote communications among virtual team members. Therefore, it is expected that the media symbol variety is positively associated with group performance in virtual teams. Furthermore, online relationship building is expected to mediate the impacts of symbol variety on the performance. To confirm the suppositions, a controlled lab experiment was conducted with 60 undergraduate students as subjects. In the experimental virtual teams, subjects were allowed to communicate with other members using text-based messenger with emoticons. Subjects in the control virtual teams were allowed to communicate using only text-based messenger. The direct impact of symbol variety on group performance in virtual teams was found insignificant. However, the online relationship was found to completely mediate the positive impact of symbol variety on group performance. The implications and limitations of this study are also discussed for future research.

• Archives of design research
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• v.12 no.2
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• pp.53-62
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• 1999

The modern is image age, and The visually expressed symbols have much influence on individuals or enterprises and have an effect on the variety of individual and the innovation of management. Espacially, the symbols carry on the axis composing total image. According to the reason of positive & negative five elements, this paper analysised and studied the meaning of symbol design which analysis the thoughtful, abstract and formal meaning. This is the most fundmental elements and principals and means the good symbol composed harmoniously the positive & negative five elements give good image. Namely, the symbols of the Eum & Yan which applied the philosophical reason of the Orient thought became good image. The lively elements of design composed the reason of Eum & Yang have effect on auspicious and upgrade one step to the dimension of symbol design. The purpose of this paper analysises and understands the meaning of symbol was composed the positive & negative five elements. In the point of view of modern design. the overlOOking elements of the symbol(line, form, space etc) reminded and established the new model which the new idea approached by the thought of the positive & negative five elements.

• Smart Media Journal
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• v.7 no.2
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• pp.23-33
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• 2018

A musical sheet is read by optical music recognition (OMR) systems that automatically recognize and reconstruct the read data to convert them into a machine-readable format such as XML so that the music can be played. This process, however, is very challenging due to the large variety of musical styles, symbol notation, and other distortions. In this paper, we present a model for the recognition of musical symbols through the use of a mobile application, whereby a camera is used to capture the input image; therefore, additional difficulties arise due to variations of the illumination and distortions. For our proposed model, we first generate a line adjacency graph (LAG) to remove the staff lines and to perform primitive detection. After symbol segmentation using the primitive information, we use a covariance-matching method to estimate the similarity between every symbol and pre-defined templates. This method generates the three hypotheses with the highest scores for likelihood measurement. We also add a global consistency (time measurements) to verify the three hypotheses in accordance with the structure of the musical sheets; one of the three hypotheses is chosen through a final decision. The results of the experiment show that our proposed method leads to promising results.

• The Journal of the Korea Contents Association
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• v.7 no.9
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• pp.18-25
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• 2007

A symbol is one of the images that represents individual elements, and it has the power of metaphoric delivery to its audiences. Symbols, in animation, allows the audience to perceive various descriptions as symbols, leading to variety of interpretation. And by providing psychologically deeper meaning to the audience, it enhances the symbolic value of the images. However, detailed study regarding symbol analysis leaves much to be desired. This paper is an semiological approach to the Czechoslovakia animator, Jiri Barta, and his symbolic images, with particular focus on the darkness symbols that appear in the Czech cultural characteristics.

• Korean Journal of Human Ecology
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• v.9 no.3
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• pp.371-382
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• 2000

Fashion, a means of communication, is the symbol conveying the social information and the individual identity. The opulence of material and the development of civilization make the sign of fashion variable and individual; especially, The importance of hair style among the today's sign of fashion, as a determinant element in judging each person's look is emphasized. Kitsch, based on the variety and the individuality is the manner of art in diverse hobbies. In addition, it enlarges the sphere of modern an, creates new open aesthetic world. Therefore, we need to understand the symbol of Kitsch aestetic represented in hair style, which is meaningful. The method of this study is quality analysis by means of semiology, aesthetics, Fashion artical, magazine, atc. To support this statement, we will study the form, a primary symbol, and the ideology, a secondly one in $\ulcorner$Mythologies$\lrcorner$ of Roland Bartes(1972). Then by means of the form and the ideology, we will try to recognize the myth, an essential symbol. The result of this study is following like these three points. First, the Kitsch patterns of representation in hair style use the accumulation by an excessive ornamentation; the inappropriateness by the lack of form, the disagreement, the unbalance, and the nonfunctional form; and finally, the amusement by the reconstruction, the exotic, and the satire. The above three is true to the Barthes's primary symbol-the form. Second, the anti-traditionality(including the lack of form, the disagreement, and the unbalance), the homesickness(including the reconstruction and the exotic), and the eclecticism(including the parody and the mixed imitation) are created as the ideology of the liberal artistic notion, different from the past outlooks on aesthetic. This is true to the Barthes's secondly symbol-the ideology. Third, the form and the ideology enable us to express our own thoughts and to recover the humanity, which is the primary purpose of Kitsch aesthetic. The Kitsch hair style, as we witness, does lead the varied and liberal aesthetic world, create its accessible value, and place the art of hair style in a higher status.

• IE interfaces
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• v.7 no.1
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• pp.67-74
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• 1994

In this study, we propose an integrated CAD(Computer Aided Design) library database in a heterogeneous commercial ECAD(Electronic CAD) environment. To effectively solve engineering problems focused on BOM data extraction we use a software system called schematic capture and company-wide standard electronic part information loaded on different commercial ECADs. We unify many commercial ECADs into one schematic capture and a variety of PCB(Printed Circuit Board) design tools. For this purpose we develope a model for linking CAD symbol library with company-wide standard part information. We also develope a schematic design data conversion scheme and show how to extract PBA level BOM data using our customized schematic capture. This system is being operated in an X-Window based engineering work station and commercial RDBMS base.

• ETRI Journal
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• v.37 no.5
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• pp.906-916
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• 2015

High-speed I/O channels require adaptive techniques to optimize the settings for filter tap weights at decision feedback equalization (DFE) read channels to compensate for channel inter-symbol interference (ISI) and crosstalk from multiple adjacent channels. Both ISI and crosstalk tend to vary with channel length, process, and temperature variations. Individually optimizing parameters such as those just mentioned leads to suboptimal solutions. We propose a joint optimization technique for crosstalk cancellation (XTC) at DFE to compensate for both ISI and XTC in high-speed I/O channels. The technique is used to compensate for between 15.7 dB and 19.7 dB of channel loss combined with a variety of crosstalk strengths from $60mV_{p-p}$ to $180mV_{p-p}$ adaptively, where the transmit non-return-to-zero signal amplitude is a constant $500mV_{p-p}$.

• Journal of the Korea Institute of Military Science and Technology
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• v.19 no.1
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• pp.50-56
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• 2016

This paper is about the implementation of the OFDM-based border guard/reconnaissance communication terminal systems. We have implemented Real-time Dynamic DL/UL symbol rate control function using the DL-MAP message, and proposed error detection method caused by malfunctioning and timing optimization method. The proposed scheme detects the variable rate symbol decoding timing without increasing additional physical layer logic, and also provides a wide variety of DL/UL data transfer rate. Furthermore, the proposed scheme applies to the current border guard/reconnaissance equipment and confirms a operation performance through field tests and demonstration at home and abroad.

• The Journal of the Acoustical Society of Korea
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• v.24 no.7
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• pp.410-415
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• 2005

Recently, most of the speaker verification systems are based on the pattern recognition approach method. And performance of the pattern-classifier depends on how to classify a variety of speakers' feature parameters. In order to classify feature parameters efficiently and effectively, it is of great importance to enlarge variations between speakers and effectively measure distances between feature parameters. Therefore, this paper would suggest the positively mixed model scheme that can enlarge inter-speaker variation by searching the individual model with world model at the same time. During decision procedure, we can maximize inter-speaker variation by using the proposed mixed model scheme. We also make use of a symbol probability weighting function in this system so as to reduce vector quantization errors by measuring symbol probability derived from the distance rate of between the world codebook and individual codebook. As the result of our experiment using this method, we could halve the Detection Cost Function (DCF) of the system from $2.37\%\;to\;1.16\%$.

• Cross-Cultural Studies
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• v.29
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• pp.233-256
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• 2012

This paper aims to look into various symbolic meanings of the body shown in the film, Avatar (2009, James Cameron), and to ponder over a variety of media strategies carried by the pursuit of the corporality shown in this film. In a nutshell, the body in Avatar is a symbol of primitiveness rather than civilization, and the body language is a fundamental and effective means of communication much better than verbal language. A variety of physical contacts that appeared in many scenes of the movie emphasizes the role of the body as a means of real communication. Also, in the composition of the film dominated by the confrontation of civilization, numerous creatures in the planet Pandora with a variety of colors as well as a number of agencies and large body sizes express primitive richness. The narrative of the film telling the story of a 'moving' body ultimately emphasizes the superiority of the body with respect to consciousness, unlike the narrative of conventional movies dealing with the problems of the body. In addition, the corporality pursued by this film implies several important media strategies. It may reveal a self-reflection of the material civilization and the imperialism, or, on the contrary, an attempt to conceal or dilute them. It may also represent a self-reflection of the overdeveloped media technology, or simply the dilution of it. Finally, it may be an attempt to recover the feeling of "presence", not fully supported by the 3D technology, by the identification of the spectator's body and the character's body.