• Journal of Broadcast Engineering
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• v.8 no.4
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• pp.325-338
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• 2003

Video adaptation in response to dynamic resource conditions and user preferences is required as a key technology to enable universal multimedia access (UMA) through heterogeneous networks by a multitude of devices In a seamless way. Although many adaptation techniques exist, selections of appropriate adaptations among multiple choices that would satisfy given constraints are often ad hoc. To provide a systematic solution, we present a general conceptual framework to model video entity, adaptation, resource, utility, and relations among them. It allows for formulation of various adaptation problems as resource-constrained utility maximization. We apply the framework to a practical case of dynamic bit rate adaptation of MPEG-4 video streams by employing combination of frame dropping and DCT coefficient dropping. Furthermore, we present a descriptor, which has been accepted as a part of MPEG-21 Digital Item Adaptation (DIA), for supporting terminal and network quality of service (QoS) in an interoperable manner. Experiments are presented to demonstrate the feasibility of the presented framework using the descriptor.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.15 no.2
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• pp.169-182
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• 2002

Background: Allergic rhinitis(AR) is a heterogeneous disorder that despite its high prevalence is often undiagnosed. It is characterized by one or more symptoms including sneezing, itching, nasal congestion, and rhinorrhea. And it is frequently accompanied by symptoms involving the eyes, ears, and throat, including postnasal drainage. There are many different causes of rhinitis in children and adults. Approximately 50$\%$ of all cases of rhinitis are caused by allergy. In the case of rhinitis caused by allergens, symptoms arise as a result of inflammation induced by a gamma globulin E-mediated immune response to specific allergens such as pollens, molds, animal dander, and dust mites. The immune response involves the release of inflammatory mediators and the activation and recruitment of cells to the nasal mucosa. AR is similar to 鼻？, hypersensitive rhinitis in Oriental Medicine. I think hypersensitive rhinitis is including of AR, vasomotor rhinitis and non-allergic rhinitis related with eosinophil increased and so on. Purpose: To perform a clinical analysis of hypersensitive rhinitis including allergic rhinitis and estimate the efficacy of Oriental Medical treatment. Objective: We studied 96 patients who had visited our hospital with complaints of nasal symptoms from March 2000 to February 2002; they had the signs more than 2 - nasal obstruction, watery discharge, sneezing and eye or nasal itching. Parameters Observed & Methods: We treated them with acupuncture & herb-medication. Sometime they used aroma oil or external medicine. 1) the distribution of sex & age groups 2) the clinical type based on duration & the severity of symptom 3) the breakdown of complication & pasl history of Otolaryngologic or allergic disease 4) the clinical assessment and classification of rhinitis(sneezers and runners & blockers) 5) the associated symptoms and signs 6) the classification of Byeonjeung 7) the classification of prescriptions and 8) the efficacy of treatment. Result: 1. In the clinical type of based on duration, the intermittent type was 42.7$\%$ and the persistent was 57.3$\%$. 2. We observed the severity of symptoms based on the quality of life. The mild type was 24.0$\%$ and the moderate-severe was 76.0$\%$. 3. In the clinical assessment and classification of rhinitis, the sneezers and runners type was 69.8$\%$ and the blockers was 30.2$\%$. 4. The most common family history with otolaryngologic or allergic disease were allergic rhinitis(17.7$\%$), urticaria, paranasal sinusitis and T.B.(3.1$\%$). 5. The most common past history with otolaryngologic or allergic disease were paranasal sinusitis(14.6$\%$), atopic dermatitis and asthma(8.3$\%$). It was 31.3$\%$ they had a family history and 44.8$\%$, past history. 6. The most common complication was paranasal sinusitis(15.6$\%$). In decreasing order the others were otitis media with effusion(9.4$\%$), GERD and headache(6.3$\%$), asthma, bronchitis, nasal bleeding and allergic dermatitis(5.2$\%$). 7. Classification through Byeonjeung : ⅰ) 39 cases(34.9$\%$) were classified as showing Deficiency syndrome. The insuffficiency of Qi was 17.7$\%$, deficiency of Kidney-Yang, 12.5$\%$ and Lung-Cold, 10.4$\%$. ⅱ) 57 cases(59.4$\%$) were classified as showing Excess syndrome. The Fever of YangMing-meridian was 35.4$\%$, Lung-Fever, 24.0$\%$. 8. The efficacy of treatments showed: an improvement in 22cases(22.9$\%$); an improvement partly in 24 cases(25.0$\%$); no real improvement or changes in 16 cases(16.7$\%$); and couldn't check the results 18cases(18.6$\%$). Conclusion: We suggest that this study could be utilized as a standard of clinical Oriental Medical treatment when we treat hypersensitive rhinitis including allergic rhinitis.

• Journal of Broadcast Engineering
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• v.24 no.1
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• pp.118-131
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• 2019

In order to provide 8K UHD contents of terrestrial broadcasting with a large capacity, the terrestrial broadcasting system has various problems such as limited bandwidth and so on. To solve these problems, UHD contents transmission technology has been actively studied, and an 8K UHD broadcasting system using terrestrial broadcasting network and communication network has been proposed. The proposed technique is to solve the limited bandwidth problem of terrestrial broadcasting network by segmenting 8K UHD contents and transmitting them to heterogeneous networks through hierarchical separation. Through the terrestrial broadcasting network, the base layer corresponding to FHD and the additional enhancement layer data for 4K UHD are transmitted, and the additional enhancement layer data corresponding to 8K UHD is transmitted through the communication network. When 8K UHD contents are provided in such a way, user can receive up to 4K UHD broadcasting by terrestrial channels, and also can receive up to 8K UHD additional communication networks. However, in order to transmit the 4K UHD contents within the allocated bit rate of the domestic terrestrial UHD broadcasting, the compression rate is increased, so a certain level of image deterioration occurs inevitably. Due to the nature of UHD contents, video quality should be considered as a top priority over other factors, so that video quality should be guaranteed even within a limited bit rate. This requires packet scheduling of content generators in the broadcasting system. Since the multiplexer sends out the packets received from the content generator in order, it is very important to make the transmission time and the transmission rate of the process from the content generator to the multiplexer constant and accurate. Therefore, we propose a variable transmission scheduler between the content generator and the multiplexer to guarantee the image quality of a certain level of UHD contents in this paper.

• (The) Research of the performance art and culture
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• no.22
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• pp.223-252
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• 2011

If we remember that modern world history has built systems of meaning through the concepts "difference," "different," and "other-ness" and has constructed new identity based on opposing hierarchy, music anthropology which tried to build "difference" between the west and the non-west was thoroughly west -centered, in the sense that it has perceived the heterogeneous symbolic systems among nations, as well as the barrier between the two cultures. On the other hand, world music, which has emerged as the most attractive field in culture industry and concert-art-market by crossing over global capitals, markets, and barriers, can be considered the most post-modernist and glocal. However, it is interesting to note that world music, which has been described as post-modern and glocal, has "difference" and "different" in its basis, just like the precepts for modern music anthropology (Meintjes 1990; Guilbault 1993; Taylor 1997; Frith 2000; Feld 1988). Furthermore, one can understand that the "different" and "difference," generally termed as being "non-western," are fundamentally based on ethnic or national imagination. In this sense it is interesting and important to examine such ethnic imagination in the "non-western ethnic musics" in music anthropology and in world music. Notwithstanding the attention paid and research made by music anthropologists, they have failed to elevate the "non-western ethnic musics" to become universally communicative, and these ethnic musics were reborn as "global" and "world music," through the process of "acculturation," "derivation," and "hybridization," with the west as major site for production and consumption. Meanwhile, the audience for world music, which did not exist before the birth of world music as a term, was now born as world music emerged. They are global populace who consume the musical "difference" and "imagined ethnicity," who through their consumption are constructing new social meanings including ethnicity, race, nation, and class identity. This study, by examining current discourse, performance, and process for the world music through media and field studies and scholarly debates, attempts to understand the production and consumption of "imagined ethnicity." This will also shed light on how "ethnicity" is created and consumed, and how this is involved in the process of world music.