• Archives of design research
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• v.16 no.3
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• pp.411-420
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• 2003

In 1990, the City of Bucheon, Geonggi Province, became the first local government to create its own C.I Soon afterwards, this idea of having one's own C.I spread to the rest of the localities in Korea. Now, in 2003, 218 local governments have created their on Corporate Identities. It was an effort on the part or each local government to give a sense of belonging to the local community by creating a C.I which embodies, symbolizes and represents what is most unique about the locality and its community. It is something that each member of that community can identify himself or herself with. It is also something with which people from other localities can readily recognize that local community as this or that, thus increasing the brand-name-value of the locality. A friendly and easily recognizable C.I has an indirect effect of making the local government more accessible to the ordinary people, at least psychologically, overcoming the traditional image of overbearing officialdom of the bureaucracy. In this article, we propose to investigate whether the 218 local government C.Is, which have been created since 1990, have actually effected the above kinds of possible changes in the local governance or not. To that end, we will examine all 218 local government C.Is if they are successfully symbolizations of the local characters and identities. We will also try to point out sly problems, if there are any, and propose some alternative approaches to the designing of Local Government C.Is, by analyzing the mutual similarities in the very shapes and colors among all the 218 local government C.Is. It is our hope that this analyses will be of some use in the future formulations of the local policies for a more responsive local governance.

• Archives of design research
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• v.17 no.2
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• pp.15-22
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• 2004

Recent complex visual culture is the visual world widely magnified according to the images like image, graphics, photograph, movie, and television, etc. by the development of digital technology. Because it conveys meanings and contents inserting sound and letters, it may have multimedia character conveying and communicating information beyond general language and letters. The vision for various images at that time is inseparably connected with language. And imaginative order of image and vision are composed of special way in culture and history. Language is different in society, culture, and history. Accordingly, if visual experience is communicated with language partially, it is difficult to have university. So, role of linguistic order plays an important role in forming and defining the social and cultural differences among the visual systems. Historically various visual and optical devices with this visual language have influenced a lot. These visual technologies are concrete and physical practice determining a way to get together with the subject and the visible object in the visible world. The visual language is connected with dimension like these symbols of images and the dimension like visual technologies to series of historical physical and institutional practices. It determines social visual mode toward object world in one of visual system. Accordingly, this study is to understand visual language with social and historical character according to the changed concept and characters as development of media technology. And it is to explain it in view of visual language as a dimension of symbol and visual technology of institutional and physical practice. After all, it cannot explain the effect on the function and visual mode of visual technology as its technical element only. It also cannot separate with the practice with coherent discourse and the physical and institutional practice. The possibility, technical element of technology contains, does not realize as it is but the effect is always communicated in the social veins and realized with a restriction.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.10
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• pp.2149-2156
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• 2011

In this paper, design of a new 3-dimensional (3-D) 16-ary signal constellation with constant envelope is presented and analyzed. Unlike the conventional 16-ary constellations, all signal points of the new constellation are uniformly located on the surface of a sphere so that they have a unique amplitude level and a symmetrical structure. When average power of the constellations is normalized, the presented 16-ary constellation has around 11.4% increased minimum Euclidean distance (MED) as compared to the conventional ones that have non-constant envelope. As a result, a digital communication system which exploits the presented constellation has 1.2dB improved symbol error rate (SER). While signal points of the conventional constant-envelope constellation are not distributed uniformly on the surface of a sphere, those of the proposed constellation has a completely symmetric distribution. In addition, the new signal constellation has much lower computational complexity for practical implementation than the conventional one. Hence, the proposed 3-D 16-ary signal constellation is appropriate for the application to a communication system which strongly requires a constant-envelope characteristic.

• Sleep Medicine and Psychophysiology
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• v.6 no.2
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• pp.143-148
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• 1999

Objectives: We studied correlations between neuropsychological tests and perceptual disorder in patients with head trauma and psychiatric patients in order to explore the functional localization of brain in perceptual disorders. Methods: Halstead Reitan Neuropsychological Test Battery, Korean Wechsler Intelligent Scale, and Minnesota Multiphasic Peronality Inventory(MMPI) were administered to one hundred ninteen patients consisting of sixty nine psychiatric patients and fifty patients with brain damage. We tested the correlation between results of neuropsychological tests and peceptual disorder scale PDS) made from nine items related with perceptual disorder in MMPI. T-tests between twenty one higher scorers and seventeen lower scorers of PDS were also performed in the psychiatric group. Results: In brain damage group, significant correlations were found in tests related with function of frontal lobe such as category tests, trail making tests, tactual performance test, and fingertip number writing test, and significant correlations were also noted in the tests related with function of right hemisphere such as tactual performance test, performance, picture completion, picture arrangement and block design. Tests related with subcortical function such as digit symbol test, arithmetic and digit span were signigicantly correlated, too. In psychiatric group, there were significant differences of PDS in the tests related with function of right hemisphere such as picture completion, block design, and right laterality index, and in the tests related with function of left hemisphere such as comprehension, vocabulary, and similarities. Conclusion: Perceptual disorder seems to be related with functions of frontal lobe, right hemisphere, and subcortex in both groups. In a psychiatric group, left hemisphere may be also partially related with perceptual disorder.

• Archives of design research
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• v.17 no.1
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• pp.319-328
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• 2004

The communication environment made by digital technologies has made it possible to exchange information and deliver messages fast and easily among people of various classes in virtual space beyond time and space. Net-generation, who is accustomed to this virtual space, couldn't be satisfied with the linear text-oriented language any more, and began to make signs by use of computers in order to differentiate itself from others and to express its desires. Among the signs, emoticon created by joint of popular culture and digital communication centering around young generation is a new visual sign and emotional sign that can deliver a sender's feelings contained in a message. This paper has studied social phenomena, their relationships with emoticon and background of its creation through documentary review of media development, changes in the communication environment and popular culture. Furthermore, it has analyzed the meaningful action and roles of emoticon as a sign in terms of semiotics and also, studied a possibility of using emoticon as a new emotional sign. The study results say that emoticon can play the roles of a non-linguistic sign just like general signs that make mutual exchange through meaningful action, and also that it can be used to effectively deliver messages not only in virtual space, but also in advertising, posters, magazines and CI. However, emoticon is better at emotional expressions yet than other textual signs or visual signs, but in order to position itself as a universal and popular sign, emotional expressions should be clear, any difference in understanding messages should be removed, and message delivery should be more efficient.

• Archives of design research
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• v.17 no.3
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• pp.209-220
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• 2004

Folk painting was prevalent among working classes in the cultural territory of chinese characters including Korea, Japan, and Vietnam. Other than Gilsangmunja-do(lucky and vulgar illustrated Chinese Character), the most popular of its kind, there are various types of different Munja-do(illustrated Chinese Character) which is more shaped/modeled. Chinese Nianhua style was popular in various parts of China from late Ming Dynasty to early Qing Dynasty, and they were conveyed to neighboring countries after the 17th century, where they adopted unique tradition of each country. Acquiring theme from Chinese characters, these Chinese Nianhua or Munja-do are designed by making images into characters or characters into images. They express the invisible 'Cosmological Taoism' as a visible shape and line. This kind of symbol system, using character as a subject matter, can only be witnessed in the cultural territory of chinese characters by the use of ideograms. It is worth of paying attention today because the uniqueness of each country's style reflects diverse life styles of the contemporary civilization. Specifically, values of Munja-do as a traditional culture may not be underestimated in today's society where culture has become the center of concern. Munja-do in Korea should be carefully examined since Korea has had a very unique Munja-do culture that cannot be found from other countries. Therefore, by comparing Munja-do styles of today's the cultural territory of chinese characters countries, we may enlighten ourselves on our tradition and flourish our cultural contents.

• International Journal of Computer Science & Network Security
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• v.23 no.10
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• pp.1-10
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• 2023

This paper proposes a method to extend Inter-Carrier Interference (ICI) canceling Orthogonal Frequency Division Multiplexing (OFDM) receivers for 5G mobile systems to spatial multiplexing 2×2 MIMO (Multiple Input Multiple Output) systems to support high-speed ground transportation services by linear motor cars traveling at 500 km/h. In Japan, linear-motor high-speed ground transportation service is scheduled to begin in 2027. To expand the coverage area of base stations, 5G mobile systems in high-speed moving trains will have multiple base station antennas transmitting the same downlink (DL) signal, forming an expanded cell size along the train rails. 5G terminals in a fast-moving train can cause the forward and backward antenna signals to be Doppler-shifted in opposite directions, so the receiver in the train may have trouble estimating the exact channel transfer function (CTF) for demodulation. A receiver in such high-speed train sees the transmission channel which is composed of multiple Doppler-shifted propagation paths. Then, a loss of sub-carrier orthogonality due to Doppler-spread channels causes ICI. The ICI Canceller is realized by the following three steps. First, using the Demodulation Reference Symbol (DMRS) pilot signals, it analyzes three parameters such as attenuation, relative delay, and Doppler-shift of each multi-path component. Secondly, based on the sets of three parameters, Channel Transfer Function (CTF) of sender sub-carrier number n to receiver sub-carrier number l is generated. In case of n≠l, the CTF corresponds to ICI factor. Thirdly, since ICI factor is obtained, by applying ICI reverse operation by Multi-Tap Equalizer, ICI canceling can be realized. ICI canceling performance has been simulated assuming severe channel condition such as 500 km/h, 8 path reverse Doppler Shift for QPSK, 16QAM, 64QAM and 256QAM modulations. In particular, 2×2MIMO QPSK and 16QAM modulation schemes, BER (Bit Error Rate) improvement was observed when the number of taps in the multi-tap equalizer was set to 31 or more taps, at a moving speed of 500 km/h and in an 8-pass reverse doppler shift environment.

• The Journal of the Acoustical Society of Korea
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• v.29 no.5
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• pp.303-313
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• 2010

This paper describes an acoustic communication receiver structure, which is designed for QPSK (Quadrature Phase Shift Keying) signal with 25 kHz carrier frequency and 5 kHz symbol rate, and takes samples from received signal at 100 kHz sampling rate. Based on the described receiver structure, optimum design parameters, such as number of taps of FF (Feed-Forward) and FB (Feed-Back) filters and forgetting factor of RLS (Recursive Least-Square) algorithm, of joint equalizer are determined to minimize the BER (Bit Error Rate) performance of the joint equalizer output symbols when the acquisition data in shallow water using implemented acoustic transducers is decimated at a rate of 2:1 and then enforced to the input of receiver. The transmission distances are 1.4 km, 2.9 km, and 4.7 km. Analysis results show that the optimum number of taps of FF and FB filters are different according to the distance between source and destination, but the optimum or near optimum value of forgetting factor is 0.997. Therefore, we can reach a conclusion that the proper receiver structure could change the number of taps of FF and FB filters with the fixed forgetting factor 0.997 according to the transmission distance. Another analysis result is that there are an acceptable performance degradation when the 16-tap-length simple filter is used as a low-pass filter of receiver instead of 161-tap-length matched filter.

• Journal of the Korean Society of Costume
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• v.35
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• pp.45-66
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• 1997

This thesis is a study on the kaftan styles iin Asia. The purpose of he study was to examine the origin o the kaftan concentrating on the history and cultural backgrounds of nomads in he Western Central and North Eastern Asia. Secondly for more thorough study and expla-nation on how these kaftans contributed to East-West trade along the silk road. wall paintings and miniature illuminations along Oasis roads persia and Saracen period were compared, Also real kaftans were compared and analyzed the characteristics of Western (Turkey palestine) Central(Kazakistan Uz-bekistan Tadzhistan Qyrgyztan Turkmenistan) and the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the North Eastern Asian(Mongol) area. Thirdly an attempt has been made to provide the style classifications according to their peculiarities of the various kaftans as well as how kaftan gave important influences on custumes of different religious sects. The kaftan is a long coat-like garment with front openings fastened with long sash having an extra long sleeves which were worn by middle and high class nomadics throughout the West Central and North Eastern Asia This type of kaftans were a basic clothing for nomadics since they were constantly moving fromone to another areas on their horse back riding. They also wore tight trousers with boots. Kaftans seem to be originated from nomads of Steppe around B.C. 800 On B. C 400 west asian areas such as Solokha Kul-oba Kulogan had pictures sculptues on vases showing kaftans of half coat type length with front opening tied with band. Also the materials used were the products of animals such as wool or felt with animal designs showing Scythian nomads. In the North Eastern Asia Hsiung-Nu were active in Kazakha North Altai and Mongol The Clothing and fabrics exfavated near Noin-ula Pazyrik showed many samples of kaftan with trousers with other interment be-longings with a corpse around B.C 300 to A. D 100 when trades along the silk roads were proven by many historians Kaftans excavated in this area wore red front opening silk materials which suggesting settling down of nomads. in he central Asia Dol-gull near Altai mountain area were mainly miners who later had many trades with Persia and Bizantine. After Dol-gull Bezeklik temple Samarkant Kizil cow Budda sculture wall paintings of Astana tomb showed typical kaftan of this re-gion. These were both hip covered length as well as long coat with narrow sleeves. Es-pecially they had different color band fron the main kaftan with grogeously and splendously designed silk. In perusia during A. D 1400 to 1600 minia-ture illumination showed kaftan as a high class symbol more than clothing purpose. They had best quality silk with extra long sleeves draping and had a layers of kaftans one on top of anther as a symbol of wealth These Kaftans with different colors and designs were even more beautiful with their effective combinations and contrast of colors. On the other hand the lower class common people and servants wore simple kaftan with the front part of the kaftan were slipped into the belt in order to be more active and con-venient to work, The real kaftans discovered at Topkapi Saray palace of Turkey from A. D 1300 to 1900 were also compared. These kaftans were very numerous in numbers as well as designs The materials and designs used were also vari-ous such as Chinese to Italian silk. The shaped and pattern itself were not much different from the previous nomad's Kaftans. The Palestian kaftans remained were from the beginning of 19th and 20th century. Since this area is hot and dry desert they used black and navy blue colors mostly in order to exclude the sun lights. The patterns used were similar to Nomads and Bedouin with cross stiches and patch work decorations. In the central Asia they had similar life style and natural environmental cnditions with Turkish tribe which resulted in similar kaftan styles as nomads. Mongols conserved basic patterns of kaftan since Cinggis Khan with deep folding in order to keep warm. At last the kaftans studided in this thesis were classified in to four such as half coat long coat jacket and vest style. A pattern used in the Central Asia were zigzag and ani-mal design whereas in the West Asia were floral plant arabesk and circle pattern. As I discussed previously kaftan styles of nomads in the Asia maintained its basic pat-tern throughout the history except slight changes in color gusset sleeve shapes. These slight changes were made according to the need to adapt the need of environmental natu-ral conditions, The reason for aboriginality of kaftan in Asia was its simplicity and con-venience Most interesting fact is that for all these years Mongols are still wearing kaftan in their life ensuring us that they art the preserves of old kaftan. Since this thesis dealt enormous Asian regions I had a limitation of not being able to cover the Far Esatern asian areas such as Korea China and Japan how these kaftans were influenced in their clothing history as well as Eastern and Western culture. This topic along with the studies on materials and designs of patterns of kaftan will be another research project in the future.