• Kyungpook Mathematical Journal
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• v.53 no.4
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• pp.625-638
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• 2013

First we present the explicit formula for the norm of a bilinear form on the 2-dimensional real predual of the Lorentz sequence space $d_*(1,w)^2$. Using this formula, we classify the extreme points of the unit ball of $\mathcal{L}(^2d_*(1,w)^2)$.

• Kyungpook Mathematical Journal
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• v.53 no.2
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• pp.295-306
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• 2013

First we present the explicit formula for the norm of a symmetric bilinear form on the 2-dimensional real predual of the Lorentz sequence space $d_*(1,w)^2$. Using this formula, we classify the extreme points of the unit ball of $\mathcal{L}_s(^2d_*(1,w)^2)$.

• Journal of Mechanical Science and Technology
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• v.18 no.7
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• pp.1150-1158
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• 2004

In this paper, we present an adaptive observer for nonlinear systems that include unknown constant parameters and are not necessarily observable. Sufficient conditions are given for a nonlinear system to be transformed by state-space change of coordinates into an adaptive observer canonical form. Once a nonlinear system is transformed into the proposed adaptive observer canonical form, an adaptive observer can be designed under the assumption that a certain system is strictly positive real. An illustrative example is included to show the effectiveness of the proposed method.

• International Journal of Advanced Culture Technology
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• v.10 no.3
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• pp.174-183
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• 2022

The abstract should summarize the contents of the paper and written below the author information. Use the word "Abstract" as the title, in 12-point Times New Roman, boldface type, italicized, centered relative to the column, initially capitalized, fixed-spacing at 13 pt., 12 pt. spacing before the text and 6 pt. after. The abstract content is to be in 11-point, italicized, single spaced type. Leave one blank line after the abstract, and then begin the keywords. All manuscripts must be in English. When it comes to the issue of "virtual and real" in traditional Chinese painting, the first impression is to describe the problems of painting strokes and ink, layout of pictures, etc., but it runs through the initial conception of the work, creation in the middle and aesthetic appreciation of the work. It exists in the whole process of artistic creation and appreciation. In essence, it is a problem of aesthetic thinking and philosophical thinking. Because the traditional Chinese painting theory is influenced by Taoism, when the concept of "virtual and real" is implemented in the specific picture of Chinese painting, it is contained in the specific shape of "physics", that is, the painting theory research of "blank space" in the picture. Based on the traditional Taoist philosophy of China, this paper takes the "virtual and real" view in Lao Zhuang's thought as the research object, deeply analyzes and compares its relationship with the "virtual and real" in Chinese landscape painting, and finds out their artistic spirit, essential characteristics and how to present them. This paper mainly discusses the internal relationship between Taoist philosophy and "virtual and real" in Chinese landscape painting from the following aspects. The introduction expounds the origin, purpose, significance, innovation and research methods of the topic. This paper analyzes the philosophical thoughts about landscape in the philosophical thoughts represented by Lao Tzu and Zhuangzi. The development of Chinese traditional aesthetics theory is closely related to Taoist philosophy, which has laid the foundation and pointed out the direction for the development of Chinese painting theory since ancient times. It also discusses the influence of the Taoist philosophy of "the combination of the virtual and real" on the emergence and development of the artistic conception of landscape painting. Firstly, through the analysis of the artistic conception of landscape painting and its constituent factors, it is pointed out that the artistic conception is affected by the personality and the painting artistic conception. Secondly, through the Taoist thought of "the combination of the virtual and real" in landscape painting, so as to reflect that it is the source of the artistic conception of Chinese landscape painting. It is the unique spiritual concept of "Yin and Yang" and "virtual and real" that creates the unique "blank space" aesthetic realm of Chinese painting in the composition of the picture. Finally, it focuses on the "nothingness" in Taoist philosophy and the "blank space" in Chinese landscape painting. The connotation of the "blank space" in Chinese painting exceeds its own expressive significance, which makes the picture form the aesthetic principle of emotional blending, virtual and real combination and dynamic and static integration. Through the "blank space", it deepens the artistic characteristics of the picture and sublimates the expression of "form" in Chinese painting.

• Informatization Policy
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• v.26 no.1
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• pp.46-61
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• 2019

The Fourth Industrial Revolution has been revolutionizing industry and education. This paper proposes an education platform, Smart Space EduPlatform (SSEP), for the real estate industry, aimed at educating the basic real estate technology (RETech) for workers in the real estate industry so they can achieve the highest and best use of the real estate in the smart environment. The habitat of SSEP is driven by the donation system ensuring sustainability, various technical functions such as tools for content production and learning participation, and learning behavior frameworks each in form of a learner, a teacher, and a helper. Services of SSEP consist of 17 important RETech lectures under 6 categories-planning and design, decision-making, management, economics, construction, and equipment-and project-based learning (PBL) curriculums. The lectures are provided along with video contents, additional learning materials and learning management service, while teachers' workshops, learner invitation and registration management, curriculum operation services are offered for the PBL curriculums.

• Korean Institute of Interior Design Journal
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• no.5
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• pp.24-29
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• 1995

Entering into the modern society, the discussion on the role played by and the social position held by museums are forced to take into account the visitors, that is, the general public being real consumers of culture in accord-ance with the enlargement of the study of the visi-tors. The study of a museum has been developed with priori-ty given to the architectural study and exhibition space, but the study of the form of circulation of visitors using the museum is believed to have put an emphasis on the rough form of circulation on the basis of the general and basic theory and the particulars while the discussions on the more concrete method of study and its application are excluded as a basis of approaching in details to exhi-bition plans or producing plans. Consequently, the purpose of the study is to under-stand the problems in the form of circulation in the exist-ing exhibition rooms, and to infer the planning principles of interior design with priority given to the problems in space composition, details of exhibitions, the points in method, recognitions by visitors and the relation of path line as a way of resolving the problem.

• East Asian mathematical journal
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• v.38 no.5
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• pp.549-581
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• 2022

Let M be a semi-invariant submanifold with almost contact metric structure (𝜙, 𝜉, 𝜂, g) of codimension 3 in a complex space form M_n+1(c), c≠ 0. We denote by S and R_𝜉 be the Ricci tensor of M and the structure Jacobi operator in the direction of the structure vector 𝜉, respectively. Suppose that the third fundamental form t satisfies dt(X, Y) = 2𝜃g(𝜙X, Y) for a certain scalar 𝜃(≠ 2c) and any vector fields X and Y on M. In this paper, we prove that M satisfies R_𝜉S = SR_𝜉 and at the same time R_𝜉𝜙 = 𝜙R_𝜉, then M is a Hopf hypersurface of type (A) provided that the scalar curvature s of M holds s - 2(n - 1)c ≤ 0.

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.66-73
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• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Korean Institute of Interior Design Journal
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• v.23 no.2
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• pp.80-89
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• 2014

0 and 1, two digits are principle and formality of digital media. Those principle and formality dwell in new media paradigm. They are founded on emergence of new types of space. As describing the relationship originating from the concepts of digital media paradigm and space and discussing their characteristics, this paper presents the grounds for a theoretical argument for formation of new space. The concept of virtuality which mimics and represents the real, non-linearity which resembles human system of thinking and sensing, and interactivity connecting the communication theory of human and machine, their properties form the important basis for emergence of a new aspect of space. The concepts of digital media paradigm divide a type of space into two properties. The first is a inner modality. The second is outer modality. Dynamic space implicates inner modality that humans internally recognize the sense of space through their body and sensing organs. Space is not sensed but sensing. Space has an organic nature through object's interaction. Space has an outer nature that is physically variable. Finally, space has properties of modularity that changes structure of space. For empirical basis of an argument, new media art that has architectural form and those spatial characteristics were compared and analyzed. This conceptual discussion for space which the formality of digital media is applied will be an important foundation for create space design.

• Communications of the Korean Mathematical Society
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• v.7 no.1
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• pp.99-110
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• 1992