• Journal of Intelligence and Information Systems
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• v.28 no.2
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• pp.127-146
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• 2022

Recently, as word embedding has shown excellent performance in various tasks of deep learning-based natural language processing, researches on the advancement and application of word, sentence, and document embedding are being actively conducted. Among them, cross-language transfer, which enables semantic exchange between different languages, is growing simultaneously with the development of embedding models. Academia's interests in vector alignment are growing with the expectation that it can be applied to various embedding-based analysis. In particular, vector alignment is expected to be applied to mapping between specialized domains and generalized domains. In other words, it is expected that it will be possible to map the vocabulary of specialized fields such as R&D, medicine, and law into the space of the pre-trained language model learned with huge volume of general-purpose documents, or provide a clue for mapping vocabulary between mutually different specialized fields. However, since linear-based vector alignment which has been mainly studied in academia basically assumes statistical linearity, it tends to simplify the vector space. This essentially assumes that different types of vector spaces are geometrically similar, which yields a limitation that it causes inevitable distortion in the alignment process. To overcome this limitation, we propose a deep learning-based vector alignment methodology that effectively learns the nonlinearity of data. The proposed methodology consists of sequential learning of a skip-connected autoencoder and a regression model to align the specialized word embedding expressed in each space to the general embedding space. Finally, through the inference of the two trained models, the specialized vocabulary can be aligned in the general space. To verify the performance of the proposed methodology, an experiment was performed on a total of 77,578 documents in the field of 'health care' among national R&D tasks performed from 2011 to 2020. As a result, it was confirmed that the proposed methodology showed superior performance in terms of cosine similarity compared to the existing linear vector alignment.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.26-36
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• 2018

This study aims to examine the characteristics of landscape through the analysis of location and the landscape of Gugok while also conducting the empirical study through the literature review, field study, and digital analysis of the Okgung Gugok. Oksan Gugok is a set of songs set in Ogsan Creek(玉山川)or Jagyese Creek(紫溪川, 紫玉山), which flows in front of the Oksan Memorial Hall(李彦迪), which is dedicated to the Lee Eong-jeok (李彦迪). We first ascertained the location and configuration of Oksan Gogok. Second, we confirmed the accurate location of Oksan Gogok by utilizing the digital topographic map of Oksan Gogok which was submitted by Google Earth Pro and Geographic Information Center as well as the length of the longitude of the gravel measured by the Trimble Juno SB GPS. Through the study of the literature and the field investigation, The results of the study are as follows. First, Yi Eonjeok was not a direct composer of Oksan Gugok, nor did he produce "Oksan Gugokha(Music)". Lee Ia-sung(李野淳), the ninth Youngest Son of Tweo-Kye, Hwang Lee, visited the "Oksan Gugokha" in the spring of 1823(Sunjo 23), which was the 270th years after the reign of Yi Eonjeok. At this time, receiving the proposal of Ian Sung, Lee Jung-eom(李鼎儼), Lee Jung-gi(李鼎基), and Lee Jung-byeong(李鼎秉), the descendants of Ian Sung set up a song and created Oksan Gugok Music. And the Essay of Oksan Travel Companions writted by Lee Jung-gi turns out being a crucial data to describe the situation when setting up the Ok-San Gugok. Second, In the majority of cases, Gogok Forest is a forest managed by a Confucian Scholar, not run by ordinary people. The creation of "Oksan Bugok Music" can be regarded as an expression of pride that the descendants of Yi Eonjeok and Lee Hwang, and next generation of several Confucian scholars had inherited traditional Neo-Confucian. Third, Lee Jung-eom's "Oksan Donghaengki" contains a detailed description of the "Oksan Gugokha" process and the process of creating a song. Fourth, We examined the location of one to nine Oksan songs again. In particular, eight songs and nine songs were located at irregular intervals, and eight songs were identified as $36^{\circ}01^{\prime}08.60^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}31.20^{{\prime}{\prime}}E$. Referring to the ancient kingdom of Taojam, the nine-stringed Sainam was unbiased as a lower rock where the two valleys of the East West congregate. The location was estimated at $36^{\circ}01^{\prime}19.79^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}30.26^{{\prime}{\prime}}E$. Fifth, The landscape elements and landscapes presented in Lee Jung-eom's "Oksan Gugokha" were divided into form, semantic and climatic elements. As a result, Lee Jung-eom's Cho Young-gwan was able to see the ideal of mountain water and the feeling of being idle in nature as well as the sense of freedom. Sixth, After examining the appearance of the elements and the frequency of the appearance of the landscape, 'water' and 'mountain' were the absolute factors that emphasized the original curved environment at the mouth of Lee Jung-eom. Therefore, there was gugokga can gauge the fresh ideas(神仙思想)and retreat ever(隱居思想). This inherent harmony between the landscape as well as through the mulah any ideas that one with nature and meditation, Confucian tube.