• Journal of the Institute of Electronics Engineers of Korea TC
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• v.44 no.3 s.357
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• pp.61-67
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• 2007

In Reed Solomon decoder, when there are more than 4 error symbols, we usually use Chien search machine to find those error positions. In this case, classical method requires complex and relatively slow digital circuitry to implement it. In this paper we propose New fast and cost effective Chien search machine design method using Galois Subfield transformation. Example is given to show the method is working well. This new design can be applied to the case where there are more than 5 symbol errors in the Reed-Solomon code word.

• KOMUNHWA
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• no.69
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• pp.41-62
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• 2007

This thesis is focused on the bat symbol, especially prevalent crafts’ pattern in late Joseon period on museum collections. For the use and reperception of them, I am aimed for appropriate analysis of bat symbol by co connotation which reflects the characteristics on number.plastic.color symbol. This point of view, bat idea and bat paintings in Joseon period will be the source of meanings to the denotation of bat patterns. In the museum collections, bat paintings and patterns are calculated 324 objects. By functional classification, the bat patterns on dwelling-crafts for the royal and for the people will be discussed. In result, the bat paintings were only a few, however, usually connoted Taoist hermit with super-natural powers.longevity.protector of Lightning-God.praying for long life, which were based on Taoism. Meanwhile the bat symbol of dwelling-crafts for the royal projected the longevity and prosperity of king and queen. By he Five Blessings and good auspices in Ching dynasty, number of '5.4' implied 'Five Blessings', Through the correct recognition of homo-phone, "a bat(蝠, fu)=happiness(福, fu)$\rArr$five bats(五蝠)$\rArr$Five Blessings(五福 )." In the case of bat symbol on the dwelling-crafts for the people, especially its for women, it expressed on the metal-decoration of furniture and paper-crafts. In the metal-decoration, the signified of bat symbol were expellant-evil('guard') that of characteristic signifier, white-silver color, number '1' and 'flying-type'. The bat symbol on paper-crafts for the people signified 'double happiness'.harmony.sons with number of '2', 'Five Colors' and the transformation of 'flying-type'. Accordingly, the bat symbol on the dwelling-crafts for the people marked 'happiness and guard', because the people had concrete cognition the bat symbol as a denotation of 'happiness and 'guard' by itself

• The Research Journal of the Costume Culture
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• v.25 no.2
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• pp.130-144
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• 2017

The purpose of this study is to apply iconology to discover the symbolic system of imaginary animals focused on four representative auspicious animals in Korean folk paintings. Study methods included literature review of folk paintings, iconological analytics books, and articles. A total of 16 folk paintings of four auspicious animals in the Joseon Dynasty were analyzed using Panofsky's iconology. The four auspicious animals were Yong(dragon), Bonghwang(the eastern version of the phoenix), Shingoo (divine turtle), and Kirin(one-horned combination of a dragon and horse). According to iconological analysis, Yong is a typical symbol of royal authority, a deity of water as an object of respect with a remarkable talent of transformation, and in iconographical interpretation, represents reverence for transcendent power. Bonhwang is the symbol of a king, sun worship, the emblem of nobility and integrity, and in iconographical interpretation, the psychic bing in the sky. Shingoo is fortune prophecy, longevity and immortality, an envoy of deity, and according to iconographical interpretation, the organic view of the world. Kirin is a divine benign creature, a symbol of talent and honor, mediator between sky and earth, and in iconographical interpretation, an expression of Confucian ideology. This study produced three results. First, the four auspicious animals projected the human hope to overcome human limitations through divine creatures with mythical abilities. Second, they reflected everyday common hopes and values of pursuing fortunes and happiness. Third, the four auspicious animals' iconology was not independent of each other; it seemed to be common to and combined with each other.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.2 no.2
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• pp.73-99
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• 2023

The dragon is a special imaginary figure created by the people of East Asia. Its archetypes appeared primarily as totemic symbols of different tribes and groups in the region. The formation of early dynasties probably generated the molding of the dragon symbol. Dragon symbols carried deep imprints of nature. They concealed alternative messages of how ancient people at different locations dealt with or interacted with nature. Under pressure to standardize in the medieval and late imperial periods, the popular dragon had to transform physically and ideologically. It became imposed, unified, and framed, conveying ideas of caste classification and power, and losing itsecological implications. The dragon transitioned from a semi-ecological domain into a total social caste system. However, many people considered the "standardized" dragon as the symbol of the oppressor. Because of continuous orthopraxy and calls for imperial reverence, especially under orthopractic agenda and the surveillance of local elites, the popularized dragon was imbued within local artworks or hidden under the sanctity of Buddhas or popular gods in order to survive. Through disguise, the popular dragon partially maintained its ecological narratives. When the imperial dynasties ended in East Asia (1910 in Korea, 1911 in China, 1945 in Vietnam), the dragon was dramatically decentralized. However, trends of re-standardization and re-centralization have emerged recently in China, as the country rises in the global arena. In this newly-emerging "re-orthopraxy", the dragon has been superimposed with a more externally political discourse ("soft power" in international relations) rather than the old-style standardization for internal centralization in the late imperial period. In the contemporary world, science and technology have advanced humanity's ability to improve the world; however, it seems that people have abused science and technology to control nature, consequently damaging the environment (pollution, global warming, etc.). The dragon symbol needs to be re-defined, "re-molded", re-evaluated and reinterpreted accordingly, especially under the newly-emerging lens-the New Confucian "anthropocosmic" view.

• Journal of Navigation and Port Research
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• v.30 no.2
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• pp.167-172
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• 2006

In this paper, the issue of blind detection of Alamouti-type differential space-time (ST) ${\pi}/2$-shifted BPSK modulation in static Rayleigh fading channels is considered. We introduce a novel transformation to the received signal from each receiver antenna such that this binary ST modulation, which has a second-order transmit-diversity, is equivalent to QPSK modulation with second-order receive-diversity. The pre-detection combining of the result of transformation allows us to apply a low complexity detection technique specifically designed for receive-diversity, namely, scalar multiple-symbol differential detection (MSDD). With receiver complexity proportional to the observation window length, our receiver can achieve the performance 1.5dB better than that of conventional differential detection ST and 0.5dB worse than that qf a coherent maximum ratio combining receiver (with differential decoding) approximately.

• Korean Institute of Interior Design Journal
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• v.25 no.1
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• pp.163-171
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• 2016

The objectives of this study is to analyze the characteristics of Chinese traditionality expression at restaurants in Beijing area. 12 restaurants were selected and visited for the investigation research. The results were as follows. First, traditional reproduction was found mainly manifested through the reproduction of traditional ornaments, in particular, the facade and interior element ornaments. Second, Traditional transformation was mainly manifested in replacement material while changing the shape slightly, or to stretch or shorten prototype shape and other negative deformation methods which did not largely out of the scope of traditional reproduction. Third, Traditional reinterpretation was expressed by abstract, symbol or metaphor on designs, usually people can not directly recognize the traditional archetype. When compare with traditional reproduction or traditional transformation, traditional reinterpretation was relatively fewer, however, in this study the traditional reinterpretation and traditional transformation have same numerical result. Reinterpretation as a positive performance method of traditional modernized, it was encouraging the phenomenon, especially in the ceiling design. Chinese traditional cloud patterns have been three-dimensional and diversification of use. And in the wall design, traditional elements have been extremely simplistic or adopted a wide variety of traditional elements, it may be preferred in diversity. In addition, furniture was tinge traditional elements in modern form, lighting was added symbolize color or picture on the traditional lighting which shape was simplified to emphasize space's traditional. But the facade, sign board, floor, and window element seems the range of variation was not wild, promote more use the positive traditional reinterpretation method.

• Bulletin of the Korean Mathematical Society
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• v.50 no.5
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• pp.1673-1681
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• 2013

The main objective of this paper is to show how one can obtain eleven new and interesting hypergeometric identities in the form of a single result from the old ones by mainly employing the known beta integral method which was recently introduced and used in a systematic manner by Krattenthaler and Rao [6]. The results are derived with the help of a generalization of a well-known hypergeometric transformation formula due to Kummer. Several identities including one obtained earlier by Krattenthaler and Rao [6] follow as special cases of our main results.

• Kyungpook Mathematical Journal
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• v.58 no.1
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• pp.19-35
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• 2018

Motivated mainly by certain interesting recent extensions of the generalized hypergeometric function [30] and the second Appell function [6], we introduce here the incomplete Lauricella functions ${\gamma}^{(n)}_A$ and ${\Gamma}^{(n)}_A$ of n variables. We then systematically investigate several properties of each of these incomplete Lauricella functions including, for example, their various integral representations, finite summation formulas, transformation and derivative formulas, and so on. We provide relevant connections of some of the special cases of the main results presented here with known identities. Several potential areas of application of the incomplete hypergeometric functions in one and more variables are also pointed out.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.129-141
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• 1999

The purpose of this study is to investigate the effect of historical costume style and painting on Vivienne Westwood design. For this purpose, the costume style after 16C and the rococo painting of 18C are researched. And through Westwood's recent designs, the external form and internal symbol are compared. The results of this study were as follows : 1. From Renaissance, Rococo, Crinoline, Bustle, S style were showed on Westwood design. 2. In external method, historical costume styles were expressed by silhouette, detail, costume item, textile and various cuttings. 3. In the case of painting, it focused on Rococo painting of 18C. Costumes in painting were realized or painting itself were used for textile. 4. Most of her design was cut in the round rather than in the flat, bold cutting and slash were employed. 5. These works are symbolizing the harmony of tradition and future, at the same time through the transformation of orthodox style, containing ridicule to the authority and a challenge to society as well as sex. These results let us know that Westwood is versatile to transform the history and harmonize the tradition and 20C Fashion successfully. (Korean J Human Ecology 2(1):129∼141, 1999)

• Journal of Electrical Engineering and information Science
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• v.2 no.4
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• pp.59-65
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• 1997

In this paper, a general fuzzy syntactic method for recognition of flaw patterns and for the measurement of flaw characteristic parameters for a non-destructive inspections signal, called eddy-current, is presented. Solutions are given to the subtasks of primitive pattern selection, signal to symbol transformation, pattern grammar formulation, and event-synchronous flaw pattern extraction based on the grammars. Fuzzy attribute grammars are used as the model for the pattern grammar because of their descriptive power in the face of uncertain constraints caused by nose or distortion in the signal waveform, due to their ability to handle syntactic as well as semantic information. This approach has been implemented and the performance of eh resultant system has been evaluated using a library of law patterns obtained from steam generator tubes in nuclear power plants by an eddy current-based non-destructive inspection method.