• Kyungpook Mathematical Journal
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• v.50 no.2
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• pp.255-266
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• 2010

We consider a delayed predator-prey system with Holling II functional response. Firstly, the paper considers the stability and local Hopf bifurcation for a delayed prey-predator model using the basic theorem on zeros of general transcendental function, which was established by Cook etc.. Secondly, special attention is paid to the global existence of periodic solutions bifurcating from Hopf bifurcations. By using a global Hopf bifurcation result due to Wu, we show that the local Hopf bifurcation implies the global Hopf bifurcation after the second critical value of delay. Finally, several numerical simulations supporting the theoretical analysis are given.

• Journal of East-Asian Urban History
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• v.2 no.1
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• pp.163-190
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• 2020

This paper aims to introduce and understand critically the work of Edward Soja, mainly the First part of the which develops his own concepts, such as 'synekism', 'trialectics of space', 'regionality' and 'geohistory'. Most of all, in explaining Geohistory, he emphasizes three 'Urban revolutions': First Urban revolutions in Jericho and ÇatalHüyük, which shows first synekism as proto urban society, Second in Ur and other Sumerian cities where appeared a concentrated power of central government and its transcendental ideologies, and Third in Manchester and in Chicago, typical capitalist cities. These three urban revolutions don't correspond to the established historical periodization. In order to understand these revolutions, it is necessary to comprehend the concept of 'machine' of G. Deleuze and F. Guattari, inspired, in fact, by Lewis Mumford - Primitive Territorial machine, Barbaric Despotic machine, and Civilized Capitalist machine. However, these periodization and concepts of E. Soja have to be applied very cautiously in accordance with concrete historical sources, avoiding theoretical distortion on positivity of historical facts.

• Journal of the Korea Society of Computer and Information
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• v.15 no.2
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• pp.9-18
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• 2010

High performance is required with small size and low power in the mobile embedded system. A CORDIC algorithm can compute transcendental functions effectively with only small adders and shifters and is suitable one for the mobile embedded system. However CORDIC unit has performance degradation according due to iterative inter-rotations. Adder design is an important design unit to be optimized for a high performance and low power CORDIC unit. It is necessary to explore the design space of a CORDIC unit considering trade-offs of an adder unit while satisfying delay, area and power constraints. In this paper, we suggest a CORDIC architecture employing a heterogeneous adder and an optimization methodology for producing better optimal tradeoff points of CORDIC designs.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2013.10a
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• pp.719-721
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• 2013

A thinning stage of fingerprint algorithm occupies 39% cycle of microprocessor system for identification processing of image from fingerprint sensor. Hardware block processing is more effective than software one in speed and power consumption, because a thinning algorithm is iteration of simple instructions without a transcendental function. This paper describes an effective hardware scheme for thinning stage processing using Verilog-HDL in $64{\times}64$ Pixel Array. The hardware scheme is designed and simulated in RTL. The logic is also synthesized by XST in FPGA environment and tested. Experimental results show the performance of the proposed scheme and possibility of application for a soft microprocessor and thinning processor embedded fingerprint SoC.

• (The)Study of the Eastern Classic
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• no.34
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• pp.339-362
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• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Journal of the Daesoon Academy of Sciences
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• v.36
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• pp.79-116
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• 2020

This paper examines the nature of the transcendent, absolute, and personal host of ancient philosophical notions of the Higher Power (天觀 cheongwan, literally 'view of heaven'), which flows through Toegye's Principle of Reality (Li), Dasan's Supreme God (Sangje), Suwun's Lord of Heaven (Cheonju), and Jeungsan's Supreme God (Sangje). This confirms the sentiment that despite the conceptual differences relating to appearance, as represented by the Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God, the contents of these notions do not substantially differ from one another. Moreover, the nature of the ancient philosophical notions of the Higher Power lead to Toegye's Principle of Reality, the Dasanian Supreme God, the Suwunian Lord of Heaven, and the Jeungsanian Supreme God. Toegye emphasized the nature of the Principle of Reality as transcendental and absolute, and also as a personal host. This led to Dasan's Supreme God, and furthermore, it also inspired the Suwunian Lord of Heaven and the Jeungsanian Supreme God. In other words, although Dasan criticizes the Principle of Reality and presupposes a Supreme God, a personal host, this is not especially different from the character or role of Toegye's Principle of Reality. It likewise does not especially differ from the Suwunian Lord of Heaven or the Jeungsanian Supreme God. On the contrary, without the foundation of the religious tradition behind Toegye's Principle of Reality, it would have been difficult to establish a theoretical system leading to the upper system of the Dasanian Supreme God, the Suwunian Lord of Heaven, or the Jeungsanian Supreme God. Of course, the construction of heaven and earth, which in Daesoon Thought is actually performed by the Jeungsanian Supreme God, is, in fact, fundamentally different from Toegye, Dasan, and Suwun's previous notions of the Higher Power. In this sense, it is necessary to present more clearly the religious character of Toegye's Principle of Reality.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.812-825
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• 2008

This article analyzed fashion representations in France posters, especially the late 19th century France when mass consumption cultures arose. That was analyzed by consumers' sexuality supposed in advertisement contents. Female models mainly figured in posters of the late 19th century France made a role to promote consumption, in which female models were emphasized on fashion, for example, erotic robe, unusual hair style and etc. Posters' type in this period were categorized in three types by presenting style of female body and fashion style. The first were targeting female consumers, and that posters represented bourgeois fashion styles and life styles to clear consumers' social status and to present women's consuming power. The second case was targeting male consumers, and that posters figured female models such as available products. In this case, poster artists emphasized female models' sexualities and used fantasies against eroticism of the legs and feet. And third case was targeting female consumers and males', in this case, two different aspects were required to appealing to consumers. One was to use a female sexuality to appeal for male consumers, the other was to modify female models as transcendental being such like a muse admirable and mysterious, through fashion styles for female consumers. In the late 19th century, female body and fashion were spectacular elements in visual arts specifically. This study clarified representations of female body and fashion in the late 19th century posters according to poster's contents and target consumer's sexuality. This was one of the aspects characterizing early advertisement media.

• The Journal of the Korea Contents Association
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• v.9 no.7
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• pp.171-183
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• 2009

The spiritual world of the ancient times has precious values which forms the origin of human thought. This study aims to reevaluate ancient people's particular views on man in their spiritual world reflected through gods' ornaments by studying the human race's fundamental spiritual world gradually disappearing due to science development from Egyptian gods' ornaments expressed symbolically in Ancient mythical components. Although evidently ornaments in Egypt served for decoration, the basic purpose was exorcism as amulets, a shamanistic purpose to be protected from mystical and hostile powers by carrying them on the vulnerable spots of the body. As this aspect indicates, the human race tried to solve their self-insoluble transcendental issues through the help of supernatural power, pursuing to lead their lives there within. As a result, Egyptian ornaments; First, the deity raised their value by deifying human-beings. Second, the nobility enhanced their dignity by having goddesses wear the same skirts as theirs. Thirds, all deities maintained their class society by wearing fpassiums, bracelets, and anklets. Fourth, the resurrection was symbolized through gods and goddesses in charge of the afterlife.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.13 no.4
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• pp.727-736
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• 2009

In this paper, the $arccos(cos^{-1})$ arithmetic unit for mobile graphics accelerator is designed. The mobile vector graphics applications need tight area, execution time, power dissipation, and accuracy constraints compared to desktop PC applications. The designed processor adopts 2nd-order polynomial approximation scheme based on IEEE floating point data format to satisfy speed and accuracy conditions and reduces area via hardware sharing structure. The arccosine processor consists of 15,280 gates and its estimated operating frequency is about 125Mhz at operating condition of $0.35{\mu}m$ CMOS technology. Because the processor can execute arccosine function within 7 clock cycles, it has about 17 MOPS(million arccos operations per second) execution rate and can be applicable to mobile OpenVG processor. And because of its flexible architecture, it can be applicable to the various transcendental functions such as exponential, trigonometric and logarithmic functions via replacement of ROM and minor hardware modification.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.681-706
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• 2000

This study is intended to understand an implication system and significance in the current community which a body image symbolizes by correlating it with fashion that is on the rise as a principal issue in various fields. For this study, the symbolism of the body image was contemplated in terms of philosophy and art, and then on the basis of it, the symbolism of the body image shown in modern fashion design was analyzed through fashion works. The research results are as follows, 1. The manifestation of sex can be taken as the symbolism of the body image which is expressed in modern fashion design. Recently sexual chaos and vagueness such as homosexuality and bisexuality are expressed through a dress and its ornaments. Though displaying sexual characteristics of male and female as they are exposing a sign or a diagram, decorating a part of body or representing sex in garments, uncertain sex identity in modern society is manifested in dress and its ornaments. It is to deny absoluteness regarding sex and emphasize diversity indwelt in human beings, and after all it shows to pursue the human essence. 2. Another symbolism of the body image is body expression as the human race and an ethnic group. The discriminating situations and the restoration of their status appeared in modern fashion too. Moreover, their cultures and issues came to alter the aesthetic standard of body made from a view of the Western white supremacist. Hereupon, fashion trends like ethnic fashion, Orientalism and African look etc. appear according to this tendency, which represents race and national identity and in addition, which signifies to present transcendental human conception embracing alienated human conception. 3. The symbolism of the body image expressed in a body, and a dress and its ornaments as nature can be considered in terms of the concern on environmental contamination and the respect of echo system. Getting away from reigning over, developing and stamping down nature at their will, the human beings pursue unity with nature, which is described in fashion. They are stressing that natural materials and objects such as animal, plant and soil etc. should activily be introduced into fashion and humans are a communal fate group and should reframe their status in nature at last. 4. The body image shown in a body, a dress and its ornaments as technology is transformed and recreated by modern scientific techniques and medical science to show post human conception namely, forthcoming future human conception as a cyborg which loses individual identity. This presents a perfect future human conception with high level of preternatural power but after all, leaves us a task to seek the meaning of human existence in alienation caused by the loss of human identity and existence. In this manner, the moderns crave for perceiving the identity of a natural human being in the current thoughts tendency of the modern times such as postmodernism, post structuralism, deconstructionism, feminism and so on, which build discussions affecting the art and fashion worlds. The categories, like sexual characteristics indwelt in a human body, racial classifications, the natural environment surrounding human beings and development of science, bring out the importance of the internal and external meaning in today's fashion which a human body contains, and present sew human conception in the coming future society.