L-자형 선배열을 이용한 지음향학적 인자 역산 및 음원 위치 추정

김경섭,이근화,김성일,김영규,성우제,Kim, Kyung-Seop,Lee, Keun-Hwa,Kim, Seong-Il,Kim, Young-Gyu,Seong, Woo-Jae 한국음향학회 2006 韓國音響學會誌 Vol.25 No.7

Acoustic data from a shallow water experiment in the East Sea of Korea (MAPLE IV) is Processed to investigate the Performance of matched-field geo-acoustic inversion and source localization. The receiver array consists of two legs as in an L-shape. one vertical and the other horizontal lying on the seabed. Narrowband multi-tone CW source was towed along a slightly inclined bathymetry track. The matched-field geo-acoustic inversion includes comparisons between three processing techniques. all based on the Bartlett processor as; (1) the coherent processing of the data from the full array, (2) the incoherent Product of each output from both the horizontal and vertical arrays, and (3) the cross correlation between the horizontal and vertical arrays. as well as processing each array leg separately. To verify the inversion results. matched-field source localization for low level source signal components were performed using the same Processors used at the inversion stage. 본 논문에서는 동해 천해 영역에서 예인 음원과 L-자형 수신 선배열을 이용한 해상 실험(MAPLE IV)을 통해 수집된 신호 자료에 대해 정합장처리를 이용한 지음향 역산 및 음원 위치 추정을 수행하였다. L-자 형태의 수신 선배열은 수직 선배열과 해저면에 수평으로 놓여진 수평 선배열로 구성되어 있으며, 음원은 협대역 다중 주파수 성분을 가지는 저주파 연속 음원이 예인되었다. 역산 목적함수는 선배열 수신 신호벡터 처리 방식에 따라 다음과 같이 Bartlett 프로세서를 기반으로 한 세 가지 형태 - (1) 수직 및 수평선배열 자료 전체를 하나의 신호 벡터로 상관 처리할 경우, (2) 수직 및 수평선배열 각각에 대한 결과를 비상관 평균할 경우, (3) 수직 및 수평선배열 상호간의 상관 관계만을 이용할 경우- 를 사용하고 그 결과들을 수직 및 수평 선배열 신호를 단독으로 사용할 경우의 결과들과 함께 비교하였다. 역산 결과의 타당성을 확인하기 위해 역산 과정에서 사용한 각 프로세서와 역산된 지음향 인자를 이용하여 낮은 신호 대 잡음비를 갖는 주파수 성분에 대해 음원 위치 추정을 수행하고 성능을 비교하였다.

한국 속신의 형성과정에 대한 기호학적 고찰

김경섭,김은주,Kim, Kyung-Seop,Kim, Eun-Joo 국제문화기술진흥원 2018 The Journal of the Convergence on Culture Technolo Vol.4 No.3

인간은 인간의 힘으로는 알 수 없는 많은 현상들과 대면하며 살고 있다. 그런 과정에서 인간은 시간의 경과에 따른 엄청난 경험의 축적과 사고의 발달을 근거로 수많은 해석을 낳았다. 인간의 인식이 자연 현상에 대해 적절한 해답을 내릴 수 없을 때 의존하는 것은 경험의 축적에 의한 심리 문화적 해석이었다. 이런 단계에서 자연에 대한 인간의 해석의 하나가 바로 속신일 수 있다. 특정 현상에 대한 인간의 인식론이 단문 형식으로 표현된 것이 속신인 것다. 이를 기호학적으로 표현한다면 '하나의 또는 몇몇의 기호나 조건이 하나 또는 몇몇의 결과를 드러낸다고 믿는 전통적인 표현'이라 하겠다. 속신은 세계에 대한 해석 행위로서 '민속적인 해석학'인 것이다. 속신에 대한 연구를 통해 본고에서 밝히고자 하는 것은 속신이 형성되는 과정을 기호학적으로 설명하는 것이다. 이를 위해 본고에서는 속신을 하나의 '해석소'로 파악한다. 이것은 퍼스의 기호이론에 의한 것이다. 그는 기호가 기호를 낳는 끊임없는 기호작용을 '기호-대상-해석소'간의 삼항관계를 통해 설명한다. 퍼스의 기호작용 개념은 속신의 형성과 더불어 그 특징을 설명하는데 도움이 된다. 속신을 하나의 해석소로서 간주할 때, 퍼스 기호학에서 해석소가 지니는 일반적인 특징으로 속신을 설명하는 것이 가능해 진다. 퍼스의 기호학에서는 자연 현상이나 사건, 행동 등의 범주가 기호학의 범위내에 포함될 수 있으며, 이런 점이 속신을 기호학적으로 고찰할 수 있게 하는 근거가 된다. Man is confronted with a lot of unknowable phenomena in his life. With the passage of time, man has interpreted the world by the accumulation of experience and development of thought. In the early days of the civilization when all the phenomena was not explained in a scientific way, man was dependent of the psycho-cultural interpretation by the accumulation of experience. Folk-Belief is one of the psycho-cultural interpretation about the nature. If Folk-Belief is paraphrased in a semiotic way, it is as follows : 'the traditional expression which believes that one or several sign and condition show one or several effects.' In this respect, Folk-Belief is the interpretation about the nature, man and society, as it were, the world. Folk-Belief is folkloristic semiotics. This article intends to clarify the process of Folk-Belief formation process. To investigate the Folk-Belief formation process, this article regards Folk-Belief as an interpretant which is the term from the semiotic theory of C. S. Peirce. Peirce explains the incessant semiosis that sign brings forth sign through the trichotomy relation among sign - object - interpretant. Folk-Belief is explained by the general characteristics of interpretant of Peirce when we regard Folk-Belief as an interpretant. By Peirce, Folk-Belief is 'something which believes that human mind represents something about some phenomena' The category of 'some phenomena' is included in a range of semiotics, we can look into Folk-Belief in a semiotic way.

정합장 기반 표적 위치추정 시 모드공간 분석을 통한 간섭 신호 제거 기법

김경섭,성우제,표상우,Kim, Kyung-Seop,Seong, Woo-Jae,Pyo, Sang-Woo 한국음향학회 2008 韓國音響學會誌 Vol.27 No.1

천해 영역에서 선박과 같은 수상 소음원의 간섭 신호는 정합장처리를 이용한 수중 표적 탐지 및 위치추정 기법 적용에 있어 문제점으로 남아있다. 정지 음원의 경우 수신기공간의 음장에 대한 고유벡터분해를 통해 각 음원 성분을 분리하고 간섭 신호 성분을 제거할 수 있다. 하지만 일반적인 이동 음원 환경에서는 각 신호 성분의 에너지가 수신 음장의 부분공간에 퍼지게 되므로, 고유값 분포 비교만으로 각 신호 성분을 구별하기 어렵게 되거나 하나의 고유벡터에 각 신호성분이 섞이는 경우도 발생한다. 본 논문에서는 수상 음원과 수중 음원 신호의 물리적 특성 차이를 이용한 모드공간 간섭 신호 제거 기법을 제안하였다. 이 기법은 모드-공분산행렬에 대한 고유벡터분해를 통해 간섭 신호 성분을 판별하며, 이 성분들을 부분공간에서 제거함으로써 차폐되었던 표적 신호를 복원하고 위치추정을 가능하게 한다. 이를 모의실험을 통해 확인하고 결과에 대해 논의하였다. Weak target detection and localization in the presence of loud surface ship noise is a critical problem for matched field processing (MFP) in shallow water. For stationary sources, each signal component of received signal can be separated and interference can be suppressed using eigen space analysis schemes. However, source motion, in realistic cases, causes spreading of signal energies in their subspace. In this case, eigenvalues of target and interfere signal components are mixed and hard to be separated with usual phone space eigenvector decomposition (EVD) approaches. Our technique is based on mode space and utilizes the difference in their physical characteristics of surface and submerged sources. Performing EVD for modal cross spectral density matrix, interference components in the mode amplitude subspace can be classified and eliminated. This technique is demonstrated with synthetic data, and results are discussed.

세상으로 나아가기의 문화적 의미 - 『삼국유사』 <피은>편을 중심으로

김경섭,김정래,Kim, Kyung-Seop,Kim, Jeong-Lae 국제문화기술진흥원 2022 The Journal of the Convergence on Culture Technolo Vol.8 No.6

Finding traces of the numerous contexts that exist in our culture surrounding an old-narrative and leading to it's textualization provides a chance to read the story anew. The 'Pieun(避隱)' section of 'Samgukyusa' contains the stories of people who hide from the world and avoid it, as well as the different types of stories by the compiler, the Buddihist monk, Ilyeon. In other words, the compiler has textualized the story. This study aims to attentively analyze the specific story in the 'Pieun' section and read the insights of the compiler on whether to move into the world or hide from the world. Through this analysis, it is apparent that the episode of 'Pieun' does not only illustrate the characters who wish to escape or hide from the world, but it also enables readers to grasp the intention of Ilyeon who deliberately includes the banquet story which is contrary to the meaning of the title. In the 'Pieun', he emphasizes that the behavior of revealing and hiding oneself to and from the world has significant religious and cultural meanings for an individual. The writer, without distinguishing people who move into the world or hide from it, used the Buddhist Dialectictics method to present a different interpretation.

설화 읽기에 대한 반성적 고찰

김경섭(Kyung-Seop Kim) 어문연구학회 2008 어문연구 Vol.56 No.-

  It has been commonly thought that tales passed down to us by verbal and literal means have sublime lessons by which we should be guided and thus have been translated such as. Since they have survived so long ages, certain tales, we definitely guess. contain innocent lessons and moral values in themselves. However, it is true that many tales delivered in an story-telling auditorium or theater have not so much exquisite and refined forms as distorted and deteriorated ones. Furthermore, when false interpretations of tale-performers added into the category of the texts of tales. the problems can be made worse.<BR>  This thesis is directly aimed at pointing out the problems concerned with the reading and interpretation of tales through investigating the missing parts of a text in reading tales.<BR>  In case of oral folk tales, there can be discrepancy between the standpoint of a tale-performer and the contents of a tale. That"s because in his delivery tale-performer can sometimes reveal some biased points of view toward the title-role character of a tale. In 〈"wise woman" folk-tales〉, for instance, the tale-performer"s personal sexual context can have an effect on its entextualization, therefore, treatments toward a woman are heavily accidental and momentary compared with the problem-solving woman. As he or she is not a creator but a herald of a text. any Tale-performer can deliver the text in an irrelevant way or in a just opposite way to the original meaning.<BR>  In case of a written folk tale, the deliverer, who is not a creator, either, can have a strong possibility of doing "tale-edit" according to his or her own purpose, thanks to the fact he or she is totally free from the perform-event. Accordingly, contrary to oral folk tales, written folk tales never undertake the process regarded "mistakes."<BR>  Seemingly, written folk tales contain highly devised, different meanings, intentionally revealing the problematic editions. SamKuk YouSa(三國遺事), which is made up of a group of tales well organized according to individual parts, can be called the best model. The chapter PiEun(避隱) in SamKukYouSa(三國遺事), a tale unsuitable to its chapter, is awkwardly arranged in its chapter and thus allows the intention of the editor to be highlighted and shown to readers.

‘전쟁의 기억’과 ‘기억의 전쟁’

김경섭(Kim, Kyung Seop) 건국대학교 인문학연구원 2014 통일인문학 Vol.57 No.-

War change most of human beings, destroying existence of human beings, devastating dignity of human beings. Ironically, war is the result of the conflict among political ideologies that these sets of things lead human beings to the better world. Considering that war is politics which lasts by other means, The Korean War represents Cold War, and people in south and north korea experienced the most extreme and violent scene. While “memory of war” only belongs to the people who experienced war, “war of memory” can be shared by the generations who had not experienced war. “War of memory” is a structured discourse which descended or related to war. Both “memory of war” and “war of memory” affect each other, forming a set of discourse. While “memory of war” is based on the storytelling of war veterans, the storytelling forms “war of memory”, which, as time goes by, makes itself more ardent war discourse than “memory of war”. Furthermore, even people who experienced war seems to structurize his experience as “War of memory” in his brain. In other words, his experience of war slides into the common discourse, “War of memory”. Because memory is not an identification device, which, regardless of social context, interprets or cognizes facts of the past by itself. It is always problematic that how positive and reasonable this common ownership of war is. Thereby problem is that “War of memory” is a consensus decision ; common memory which are socially stalled memory. So experience of an individual is memorized not by himself but by the tendency. The storytelling of war experiencing, not “War of memory” but “memory of war”, is on the core of a problem posing.

전통 스토리텔링의 콘텐츠적 가능성

김경섭 ( Kyung Seop Kim ) 온지학회 2010 溫知論叢 Vol.0 No.25

여성생애담으로서 시집살이담의 의의와 구연 양상

김경섭 ( Kyung Seop Kim ) 겨레어문학회 2012 겨레어문학 Vol.48 No.-

구비문학 연구는 그 동안 ``허구적으로 꾸며진 이야기``를 주요 연구대상으로 삼아 온 것이 사실이다. 그러나 구비문학의 영역을 허구적 서사체로 한정하는 것은 필요이상으로 구비문학의 범주를 축소하는 위험성을 내포하고 있다. 자신의 삶을 훌륭하게 구연하는 구술연행은 그것만으로도 하나의 훌륭한 언어예술이다. 시집살이담은 여성 생애담 중 결혼을 매개로 가족관계나 사회·문화적 문제로부터 벌어지는 일련의 일들을 구술한 서사체이다. 그러므로 시집살이담은 여성 생애담의 하위 장르이다. 시집살이담은 크게 두 가지로 나눌 수 있다. 첫째는 며느리와 가족 구성원 사이의 관계로부터 비롯되는 이야기로 ``가족관계 층위의 시집살이담``이다. 여기서 가장 일반적인 것은 물론 시어머니 시집살이이며, 그 밖에 시아버지 시집살이, 남편 시집살이, 자식 시집살이를 들 수 있다. 둘째는 인간관계에서 비롯된 것이 아닌 며느리로서 갈등을 겪게 되는 제반 사항들에 관련된 이야기들로 ``사회·문화 층위의 시집살이 담``이다. 가장 일반적인 것은 가난과 역사적 사건에서 비롯된 시집살이이며, 며느리의 가문이나 용모, 태도 등 때문에 심한 시집살이를 한 경우도 있다. 실제의 시집살이는 이 두 가지 양상이 뚜렷하게 구별되기보다는 서로 혼합되어 나타난다. 가족관계에서 비롯된 시집살이는 항상 가난이나 사건과 관련될 수 있으며, 반대로 가난이나 사건은 가족관계로 확대되어 여성들을 괴롭혔던 것이다. 본 연구는 다양한 시집살이 담의 유형별 구연양상을 종합적으로 검토하고자 하였다. 이야기는 화자가 홀로 구연하게 되지만 그것은 청중을 통해 전파되어 ``우리``의 이야기가 된다. 인간은 이야기를 공유함으로써 서로의 삶을 이해하게 되고, 상대방의 삶에 자신이 개입할 근거를 마련하게 되는 것이다. 이러한 이야기의 집단적이고 사회적인 특성을 집약적으로 드러내는 것이 바로 시집살이 담과 같은 생애 담이다. So far, oral literature studies have mainly focused on ``the fictitiously made up story`` as their themes of studies. However, the practice of limiting the scope of Oral-Literature to fictitious Narratives inevitably or overly entails minimizing its scope of study too narrow. Oral-Performance in itself, which successfully narrates one`s life, constitutes a kind of decent Verbal arts. The term ``Sijipsali-Narrative`` refers to oral narratives portraying a series of events in the course of Women`s Life-Story which arise from family life and socio-cultural issues through marriage. As a result, Sijipsali-Narrative belongs to a subcategory of Women`s Life-Story. Sijipsali-Narrative can be divided into two categories as follow. One type of Sijipsali-Narrative is the ``Family-Connection sijipsali-narrative,`` which results from the relationship between a daughter-in-law and the rest members of the family. Among the ``Family-Connection sijipsali-narratives,`` including several forms of Sijipsali such as that of father-in-law and that of husband and that of children, Sijipsali of the mother-in-law is most distinctive. The other type of Sijipsali-Narrative is ``Sociocultural-Connection Sijipsali-narrative``, which comes not from human relationship but from general issues a narrator is suffering from as a daughter-in-law in a family. The most universal narrative comes from Sijipsali connected with poverty and historical events, and family history, appearance, attitude of the daughter-in-law and so on can be materials for the narratives. Actually, the two types of Sijipsali narrative is not so much distinguished from each other as intermingled with each other. Sijipsali arising from family relationship can inevitably be related with poverty and some events, which result in conflicts among family members and so harass daughter-in-laws. This thesis has a clear-cut orientation to overview the comprehensive aspects of Sijipsali-Narratives according to types of transmission. Though narratives are done by an orator, they are turned into ``our narratives`` by widely spreading via audiences. We human beings understand the lives of others through sharing narratives (tales), thus we can gain the ground for interfering with others`` lives. In conclusion, life-story such as sijipsali-narrative can intensively reveal the collective and social characteristics.

우리에게 담화(discourse)란 무엇인가 이야기에 대한 이야기의 담화적 의미

김경섭 ( Kyung Seop Kim ) 시학과 언어학회 2006 시학과 언어학 Vol.11 No.-

한국 수수께끼의 장르 정체성 및 소통 상황의 특징

김경섭(Kim kyung-seop) 한국민속학회 2002 韓國民俗學 Vol.36 No.1

Usually the riddles are identified with the proverbs and folk belief, for all of them should consist of short oral sentences and be performed by words in practice. Respectively, it is said that they are “the linguistic folklore to describe various behaviors in common life”, “apt to be rather short sentence than long one” and “performed in context as well as by itself”, and that they are “not immutable and fixed, but changable and variable in context”. But these three oral forms are distinguished from one another, in that each of them would be performed in different context. The proverbs are performed for ‘the convenience of communication in reality’, the folk belief for ‘an interpretation and response to certain event’, the riddles for ‘just its amusement’. Thus we can say that they belong to their own genre. As the riddles, especially, are performed for its amusement, the space-time of its performing is divided with the reality than the others do. For such quality the riddles are able to disapprove the authority and break the rule ; it is the very distortion of reality. The riddles are basically communicated by fabricating the linguistic dimension. There are three cases ; the fabrication of message, of code and of context. The fist case is related with ‘the paradoxical use of words’, the second ‘the ambiguity of language’ and the third ‘the use of message that fabricates the context’.