Effective Following Patterns Mining Scheme for the Movements of Objects

Li Chen,Lianggui Liu,Bingxian Chen,Huiling Jia,Yu Zhang 보안공학연구지원센터 2016 International Journal of Grid and Distributed Comp Vol.9 No.6

Technological advances of location aware devices allow us to locate and track the moving objects accurately and in more complex environments. In order to derive valuable knowledge embedded in data from databases, many domestic and foreign scholars have done a lot of work. In this paper, we review the progress of patterns mining mainly in frequent pattern, periodic pattern and following pattern. And we provide a general perspective for studies on different patterns mining by reviewing and comparing the methods and algorithms in detail, providing a quick understanding of research to the worker and giving effective following patterns mining scheme for the movements of objects. The study on patterns mining in movements not only has a direct bearing on human life but also play an important part in environment protection, traffic and transportation, privacy and security and so on. So, the rest of this paper will present these specific applications and analyzed it in theory.

암 환자 대상 설문지, 맥진기, 설진기 결과를 활용한 한열허실변증에 대한 예비 연구

최유진(Yujin Choi),김수담(Soo-Dam Kim),권오진(Ojin Kwon),박효주(Hyo-Ju Park),김지혜(JiHye Kim),최우수(Woosu Choi),고명현(Myung-Hyun Ko),하수정(Su-Jeung Ha),송시연(Si-Yeon Song),박소정(So-Jung Park),유화승(Hwa-Seung Yoo),정미경(Mi-Kyung 대한한의학회 2021 대한한의학회지 Vol.42 No.1

초등학생의 경향성 지식 생성 능력에 따른 경향성 지식 생성 과정 분석

김소이,신동훈 한국현장과학교육학회 2017 현장과학교육 Vol.11 No.2

Pattern-Knowledge is generated in the inductive reasoning procedure. And it is associated with relationship cognition ability of objects. Unlike observation and classification in the inductive procedure, pattern-knowledge was not that main subject of the science education researches. But, for the final knowledge of the inductive procedure called ‘hierarchy’, we should generate the ‘pattern-knowledge’. In this research, you can understand elementary students′ pattern-knowledge generating process by their pattern-knowledge generation ability. We modified ‘the classification framework of pattern-knowledge′ s sub-declarative elements’ and ‘the level of patternknowledge’ in the ‘pattern-knowledge generation ability index’. These two were already produced by other researchers. We developed the 4 tasks (2 animal tasks, 2 plant tasks) and compared the differences of students′ pattern knowledge generating procedures. Here are conclusions. First, elementary students generated various sub-declarative knowledge and ‘Oder’ stage should be added to ‘the classification framework of the pattern-knowledge’. Second, ‘the level of pattern-knowledge’ in the ‘pattern-knowledge generation ability index’ should be changed into 5 stage like ‘element - elementary variation - order - pattern - final pattern’. Third, the students having higher index tend to generate more sub-declarative knowledges. Fourth, high achieve students generated ‘element’s and ‘order’s more and low achieve students generated ‘elementary variation’ more. Fifth, there was advancement when we offer the scaffoldings especially in low achievement group. Sixth, there are some differences on kinds of the tasks when the two groups were working on. These conclusions provide implications to developing the enhancement program of pattern knowledge generating ability. 귀납적 지식 생성 과정에서 발생하는 경향성 지식은 여러 관찰 대상의 특징 사이 관계를 인식하는 능력과 밀접한 관련이 있다. 관찰, 분류와 같은 다른 귀납적 과정에 비해 연구가 많이 이루어지지 않았으나, 귀납적 지식 생성과정에서 최종적 지식인 ‘위계’를 생성하기 위해서 반드시 생성해야 하는 지식이다. 이 연구는 초등학생의 경향성 지식 생성 능력에 따라 경향성 지식 생성 과정에서 발생하는 사고과정 상의 차이점을 분석했다. 기존에 개발되어 있는 ‘경향성 지식의 하위 선언적 지식 분석틀’과 ‘경향성 지식 생성 능력 지수’의 ‘지식의 수준’을 수정하여 초등학생의 경향성 지식 생성 과정 분석을 위한 기초를 마련했다. 동물과제와 식물과제를 2개씩 제시하여 총 4개의 과제를 수행하는 동안 초등학생의 경향성 지식 생성 과정을 비교했다. 연구결과는 다음과 같다. 첫째, 초등학생은 경향성 지식 생성 과정에서 최종경향성(FP) 생성에 도달하기까지 다양한 선언적 지식을 생성하며, 순서(Od) 단계가 추가되어야 한다. 둘째, 초등학생의 경향성 지식 생성 능력 지수 산출식(PKQ)의 구성요소 중 ‘지식의 수준’을 ‘요소(E) - 요소변화(EV) - 순서(Od) - 경향성(P) - 최종경향성(FP)’의 5단계로 제시해야 한다. 셋째, 경향성 지식 생성 능력 지수가 높은 학생일수록 생성하는 전체 하위 선언적 지식의 수가 많다. 넷째, 상위집단은 경향성 지식 생성 과정에서 ‘요소(E)’와 ‘순서(Od)’을 높은 비율로 생성하고, 하위집단은 ‘요소변화(EV)’를 높은 비율로 생성한다. 다섯째, 경향성 지식 생성 과정에서 비계를 제공하면 초등학생의 최종경향성(FP) 생성 능력을 향상시킬 수 있다. 여섯째, 경향성 지식 생성 능력에 따라 과제 종류(동물과제, 식물과제)에 대한 수행 특징이 다르게 나타났다. 이러한 연구의 결론은 ‘초등학생의 경향성 지식 생성 능력을 향상시키기 위한 프로그램’ 개발에 시사점을 제공한다.

조선시대 직물의 곡수문(曲水紋) 유래와 전개 양상

강서영,안보연 한국의류학회 2023 한국의류학회지 Vol.47 No.2

Patterns abstractly depicting flowing water with Chinese characters such as gong, wan(man), or wang con- tinued endlessly and curved water patterns began appearing on textiles during the Song Dynasty. Though Song curved water patterns encompassed poetic sentiments such as “falling flowers and flowing water,” the meaning faded with time, and these patterns were depicted in backgrounds with flowers added to brocade (Geum-sang-cheom-hwa). During the Ming and Qing Dynasties, combinations of diverse patterns, including flowers, butterflies, dragons, and auspicious treasures became fashionable, rather than the gong- and wan-shaped curved water patterns. Likewise, during the Joseon Dynasty, curved water patterns were preferred as background rather than as primary patterns. They were overlaid with flowers and clouds. The overlaid flow- er patterns included four-season flower patterns (17th-18th centuries), round flower patterns (19th century), and large flower patterns (20th century), which were identical to flower patterns fashionable at the time and ar- ranged at intervals on complex curved water pattern backgrounds. In contrast, simple Ruyi types were more numerous than the four-Ruyi types fashionable at the time with regard to cloud patterns. Added here were Taiji (great ultimate symbol) or crane patterns, thus seeking to depict diverse auspicious Ruyi such as wish fulfill- ment and longevity.

한의 중풍 변증 표준화 연구에서 어혈증에 관한 고찰

이정섭,김소연,강병갑,고미미,김정철,오달석,김윤식,이인,조기호,전찬용,한창호,방옥선,Lee, Jung-Sup,Kim, So-Yeon,Kang, Byoung-Kab,Ko, Mi-Mi,Kim, Jeong-Cheol,Oh, Dal-Seok,Kim, Yoon-Sik,Lee, In,Cho, Ki-Ho,Chen, Chan-Yong,Han, Chang-Ho,Bang, 대한한방내과학회 2009 大韓韓方內科學會誌 Vol.30 No.4

Background : Static blood is a kind of etiological factor including stagnated blood and blood overflowed out of the vessels. It is one of the causes of stroke in oriental medicine. Objectives : The purpose of this study was to evaluate the static blood pattern and its indicators in stroke pattern diagnosis. Methods : For the standardization of pattern diagnosis in stroke, we set 5 patterns (Fire-heat, Dampness-phlegm, Static blood, Qi deficiency, Yin deficiency) and developed 61 indicators. Patients with a first-ever stroke, within 1 month after the onset of stroke. Two physicians checked the indicators independently. They then performed pattern diagnosis and rechecked the indicators which were referred to pattern diagnosis. If pattern identifications were diagnosed the same, it would confirm pattern identification. We examined the frequency of all indicators and referred indicators in static blood pattern patients. Results : In 859 patients, static blood pattern was shared by 24(2.8%). The indicators which affect static blood pattern were mainly rough pulse and bluish purple tongue, other indicators were not major effectors. Conclusion : This result shows that it is inconsistent to set up static blood pattern as a major pattern in stroke. Nevertheless, static blood is still a valuable concept in the clinical field. Other study methods will be required to establish the pattern diagnostic indicators for static blood pattern.

SFAA 컬렉션에 활용된 서페이스 디자인 연구

김주희(Joo Hee Kim),금기숙(Key Sook Geum) 한국복식학회 2002 服飾 Vol.52 No.1

Patterns are something that comes out of necessity in human life, which is closely associated with it. Thus come the SFAA (Seoul Fashion Artists Association) collection which uses patterns varying in form, color, way of expression and material. For this research. I first categorized the patterns the SFAA designers used into: natural patterns, symmetric patterns, traditional patterns, stripe, plaid, dot and abstract patterns. As a result of the process, the designers most favored the natural patterns and symmetric patterns, and dot patterns were rarely used. The designer who most favored patterns in general was Sul Yun-hyoung, and the designer Kim Chul-ung rarely favored the surface effect. The seven kinds of patterns naturally differ according to the designer, as Park Hang-chi liked to use the plaid patterns along with yarn dyeing material, whereas Jin Teok expressed stripe patterns using the yarn dyeing fabric. Natural patters were presented in a bizarre way with Lie Sang-bong, who took the motives appearing in Eastern ceramic and paintings into the clothes, using the print method. The symmetric patterns, which the SFAA designers most preferred, was used evenly among designers like Chang Kwang-hyo, Gee Choon-hee, Rubina, and Haneza. In contrast, Lie Sang-bong, who used abstract patterns that do not give out meaning of the actual form of the pattern, rarely used symmetric patterns. The dot patterns were most often used by Park Youn-soo, and traditional patterns were overwhelmingly chosen by Sul Yun-hyoung. Secondly, in expressing the colors, SFAA designers were much more likely to choose achromatic colors, not choosing to show off colors. This is especially apparent in works by Haneza and Lie Sang-bong. In the SFAA collections, numerous methods were used to create. For instance, Sul Yun-hyoung used the oriental embroidery method, and Rubina and Lie Sang-bong used many unique dying methods. In terms of materials, Sul Yun-hyoung preferred silk, due to her methods, and Lie Sang-bong was one of the designers that used a number of different materials such as vinyl. Jacques Mueclier of the Paris Clothes Association in France, who was invited to SFAA collection once, remarked, While the choice of material and the actual sewing done were excellent, there lacked much difference among the designers, as most of them choose flowing silhouette in terms of composition, which is all too correct. In addition, there were cases in the collection where the inherent feelings of cultural artifacts was expressed without alteration. Summing up, the research aimed to analyze the surface expression methods, forms and color of SFAA designs, and I hope that it can open up ways for new projects in the future.

신라 토기와 토우에 나타난 문양에 대한 연구

염미란 한국도자학회 2022 한국도자학연구 Vol.19 No.2

Like languages and letters, the patterns have their own unique forms depending on the environment in which the people lived, and show their own unique characteristics. Among our ancient art, the patterns especially on the earthenware and Silla earthenware of the ancient Silla period show the natural and simple expression, abstract beauty, free and unintended formability and humorous humor from the unique beliefs and lifestyles of the period. In this study, along with the meaning of the pattern, the origin and symbol of the pattern as the background of the creation of Silla clay figurines and pottery patterns are examined. In addition, the characteristics of the patterns expressed along with Silla figurines as a formative activity that appeared especially in the ancient Silla period and various patterns carved in Silla pottery were classified according to their shapes and symbols. There were many geometric patterns that were symbolized by conceptualizing objects and images. The patterns are largely divided into the circle point pattern, the gable pattern, the wave pattern, the concentration pattern, the lattice pattern, and an incised Figurine pattern. These patterns contain the symbolism of the patterns themselves, and they play a role in emphasizing the characteristics of the various clay figurines of the clay or pottery on which they are enshrined. Along with the clay figurine and pottery to which each pattern was applied, the morphological characteristics and symbolism were identified, the patterns were expressed in pictures, and the characteristic elements were organized. This pattern, which can be found from prehistoric petroglyphs, contains folk beliefs and shamanistic beliefs wishing for fertility, abundance, and permanence of life, and is well developed as a pattern of clay figurine and pottery in the Silla period, and is still used today. 문양은 언어나 문자와 마찬가지로 그 민족이 살아온 환경에 따라 고유한 형태를 지니며 나름대로 독 특한성격을나타내고있다. 우리고미술중에서특히고신라시대의토우와신라토기에나타나는 문양은 그 시대의 독특한 신앙과 생활양식에서 우러난 자연스럽고 소박한 표현미, 추상미 그리고 자유 롭고도 일부러 꾸미려 하지 않은 조형성과 익살스러운 해학도 볼 수 있다. 본 연구에서는 문양의 의미와 함께 신라 토우와 토기의 문양 생성배경으로서의 문양의 기원과 상징 에대해알아본다. 그리고고신라시대에특별히나타나는조형활동으로서의신라토우와함께표현 된문양과신라토기에새겨진갖가지문양의특성을형태와상징에따라분류를하였다. 그문양에는 사물과 이미지를 개념화시켜 기호화한 기하학적 문양이 많았다. 문양은 크게 원점문, 거치문, 파상문, 집선문, 격자문, 선각화문으로 구분했다. 이 문양들에는 문양 자체가 가지는 상징성이 내재해 있고 이 들이 시문 되어 있는 토기와 항아리 어깨 위의 다양한 토우들의 성격과 같이하며 더욱 강조해 주는 역 할을하고있다. 각 문양이 적용된 토기, 토우와 함께 그 형태적 특성과 상징성을 규명하고 그림으로 문양을 직접 그려주고 표현하며 특징적 요소들을 정리하였다. 선사시대 암각화에서부터 그 기원을 찾 아볼수있는이문양들은다산과풍요, 생의영속성을비는민간신앙과주술적신앙이깃들어있고 신라 시대 토우와 토기의 문양으로 계승 발전되어 오늘날에도 사용되고 있음을 알 수 있다.

설화에 나타난 서사 확장의 두 패턴

심우장 한국구비문학회 2022 口碑文學硏究 Vol.- No.65

When approaching a narrative from an oral culture point of view, one important passageway is patterns. This is because, in an oral culture where texts do not exist, the composition, storage, and transmission of information is done through patterns. Among folktales, there are basic narratives in a single form of disequilibrium-equilibrium, while there are many cases in which the narrative is expanded as the basic type is repeated. There are certain elaborately woven patterns in these narrative expansions. Among them, this paper pays attention to the pattern of disequilibrium-equilibrium-disequilibrium-equilibrium. In order to expand the narrative, it is necessary to newly secure the exhausted narrative drive. According to this securing method, the narrative expansion patterns are divided into two types: a context expansion pattern and a view shift pattern. In the recognition that the narrative equilibrium of the preceding story unit is incomplete, the “context expansion pattern” finds an incomplete point through context expansion to secure additional narrative drive. the “view shift pattern” finds the hidden disequilibrium through another view implied in the preceding story unit to secure a new narrative drive. These narrative expansion patterns have the effect of amplifying the subject, deepening and expanding the world perception, and strengthening the narrative closure. The narrative expansion pattern commonly found in a wide variety of works deserves attention as it reflects the process of dialectical thinking. This process of recognition from negation to unity and reconciliation through deepening and expansion of knowledge is a typical dialectical process of knowledge. In the end, the narrative expansion pattern shown in folktales can be said to be a refined process of oral cultural thinking that is wary of dogmatic recognition and aims for reflective thinking, just like dialectical thinking.

Optimization of Intense Pulsed Light Sintering Considering Dimensions of Printed Cu Nano/Micro-paste Patterns for Printed Electronics

Yong-Rae Jang,Chung-Hyeon Ryu,Yeon-Taek Hwang,김학성 한국정밀공학회 2021 International Journal of Precision Engineering and Vol.8 No.2

An intense pulsed light (IPL) was irradiated for the sintering of screen-printed copper (Cu) nano/micro-paste patterns on a polyimide substrate. The pattern widths and intervals affect the sintering behavior owing to the opto-thermal relationship during IPL irradiation. The temperature histories of the patterns during the IPL sintering process were predicted using a selfdeveloped heat transfer simulation program. By comparing the experimental and simulation results, the tendency according to the size of the Cu pattern was confirmed. At the same IPL irradiation energy, the wider the pattern and the narrower the interval between the patterns, the higher the heat generated. To demonstrate the tendency, in situ resistance monitoring of the Cu patterns was conducted and their microscopic structures were investigated using a scanning electron microscope. Through the tendency of IPL sintering according to the widths and intervals of the Cu pattern, guidelines of IPL sintering process for electrodes with multi-size pattern were suggested: A dummy pattern was added between the existing digitizer patterns to achieve uniform sintering in all regions. When IPL sintering was conducted with the dummy patterns, the uniformly sintered line resistance could be obtained in entire areas of the digitizer pattern.

청대(清代) 도자기에 나타난 수복(壽福) 문양에 관한 연구

쟝잉 한국도자학회 2023 한국도자학연구 Vol.20 No.3

청대는 중국 역사적으로 도자기 발전의 절정기였다. 이 시기의 도자기는 청나라의 문화 연구에 중요한 역사적 증거 자료를 제공하고 있다. 수복 문화는 중국의 지속적인 발전을 위한 전통적 문화이며, 도자기에 나타난 수복 문양은 수복 문화 연구의 중요한 표본으로 볼 수 있다. 청나라의 다양한 역사적시기에 오복봉수, 박쥐 문양, 그리고 인물 문양의 세 가지 범주에 관한 비교 연구를 포함하여 수복 문양의 특징을 연구함과 동시에 그 차이의 역사적 원인을 분석하기도 하였다. 초기 수복 문양은 여전히명나라의 특징을 계승하고 문양의 완정성이 강하며 전체 배치가 촘촘한 특징이 있었다. 중기의 경우, 수복 문양은 초기의 문양을 기초로 세부적 묘사 및 공간적 구조 측면에서 혁신을 진행하였다. 그리고후기의 수복 문양은 초기와 중기의 특징을 흡수하지만, 그 혁신과 품질은 이전 시기보다 현저히 떨어진 것으로 나타났다. 이 수복 문양의 차별화를 초래하는 주요 원인은 정치적 안정과 생산성의 발전이었다. 그래서 도자기를 탑재체로 한 수복 문양은 청나라의 정치·사회 생태가 흥기에서 번성, 그리고쇠락으로 치닫는 과정을 잘 반영한다고 할 수 있다. Chinese ceramics at Qing Dynasty reached the peak of the development of ancient ceramics, which can provide important historical evidence for the study of Qing culture. The happiness and longevity culture is a traditional culture that continues to develop in China, and the study of the happiness and longevity patterns on ceramics is an important sample to study the happiness and longevity culture. This paper makes a comparative study of the lucky and longevity patterns in different historical periods of the Qing Dynasty, through analyzing five bats holding longevity, other bats patterns and human figures patterns. Then the historical reasons for their differences were studied. The early happiness and longevity patterns still inherited the characteristics of the Ming Dynasty. The integrity of the pattern is significant. The layout and coincidence not only had the symmetrical beauty of five bats holding longevity, but also had the messy beauty of matching the figure pattern and bat pattern. On the basis of the early stage, the middle stage of the happiness and longevity patterns were innovated, and its innovation was mainly reflected in the details and spatial structure. The happiness and longevity patterns of the late period learned the characteristics of the early and middle periods, but the innovation and quality of the patterns had obviously declined compared with the previous periods. Political stability and productivity development were the main reasons for the difference in the patterns of happiness and longevity. Therefore, it can be said that the happiness and longevity patterns with ceramics as a payload reflects the process of the Qing Dynasty's political and social ecology from emerging bloom to prosperity til the decline.