애니메이션의 효율적인 동작 제어에 관한 연구

김형균,고석만,오무송 조선대학교 전자정보통신연구소 2003 電子情報通信硏究所論文誌 Vol.6 No.1

본 논문에서는 캐릭터 애니메이션의 효율적인 동작 제어를 위하여 익스프레션을 이용한 애니메이션을 제작하였다. 익스프레션을 이용한 애니메이션은 움직임의 표현에 있어서, 자연스러운 애니메이션을 좀더 쉽고 유용하게 표현하기 위한 방법으로 캐릭터의 동작 제어점들을 분석하여 익스프레션에서 애니메이션을 제어할 수 있는 요소를 찾아 그 식에 사용하였으며, 이것을 토대로 캐릭터의 동작을 자동적으로 제어하는 애니메이션을 구현하였다. 익스프레션에 의한 애니메이션은 간편한 조작으로 자연스럽고 현실적인 움직임을 생성할 수 있다는 익스프레션의 효율성이 장점으로 나타났지만, 애니메이터에 의한 키 프레임 방식에 의한 애니메이션보다는 어색함을 보였다. This paper manufactured animation to use expression for efficient action control of character animation. Animation to use expression is method to express natural animation little more easily and usefully in expression of motion Find urea that could control animation in expression analyzing action control points of character and used in ceremony Embodied animation to control automatically action of character on the basis of this. Efficiency of expression that animation by expression can create natural and realistic action by manufacturing that is simple was expose by advantage, but showed awkwardness than animation by key frame way by animator.

대학생 별명에 나타난 은유와 환유의 유형과 특징

안태형 동남어문학회 2020 동남어문논집 Vol.1 No.49

This study examines the appearance of metaphor and metonymy in the cognitive process used to create nicknames for college students. Metaphor and metonymy act to create nicknames in a variety of combinations. Metaphor and metonymy only occur once, single metaphor, single metonymy compound metaphor where metaphor and metonymy occur twice, compound metaphor, compound metonymy, compound metaphor- metonymy, multi-step metaphor, multi-step metonymy, multi-step metaphor-metonymy, multi-step metonymy-metaphor, metaphor or metonymy more than three times Multilevel metaphor-metonymy. In addition to fun and validity, nicknames have convenience and distinction to maintain long life. In college nicknames, metaphor and metonymy that use names are frequently used, but metaphor that transform names and metonymy that reduce names are often used. 이 연구는 별명이 만들어지는 인지과정에 은유와 환유가 어떤 모습으로 나타나는지 살핀 것이다. 은유와 환유는 단독으로 또는 다양한 결합 방식으로 별명을 만드는 과정에 작용한다. 은유나 환유가 한 번 일어나는 단일은유, 단일환유, 은유나 환유가 두 번 일어나는 복합은유, 복합환유, 복합은환유, 순차은유, 순차환유, 순차은환유, 순차환은유, 은유나 환유가 세 번 이상 일어나는 다단계은환유로 나눌 수 있다. 별명은 재미, 타당성 외에도 편이성과 변별성을 가져야 긴 생명력을 유지할 수 있다. 대학생의 별명에는 이름을 활용하는 은유와 환유가 빈번하게 사용되었는데, 이름을 변형하는 은유와 이름을 줄이는 환유가 많이 사용되었다.

연극에서 신체의 중요성에 대한 연구

김균형 한국연극교육학회 2003 연극교육연구 Vol.9 No.-

En 1964, Antonin Artaud dit que le the´a^te est devenu un divertissement fugitif. Apre`s cette declaration jusqu'a` aujourd'hui, beaucoup de Bens de the´a^tre ont essaye´ de sortir de cette situation lamentable. C'e´tait surtout Jerzy Grotowski, Living Theatre, Peter Brook, Eugenio Barba et quelques d' autres metteurs en sce`ne des anne´es 60-70 qui e´taient uns des premiers qui ont voulu re´forme´ le the´a^tre. Comment ils ont proce´de´ le travail de re´formation the´a^trale? Quel e´le´ment du the´a^tre e´tait la cible principale de re´formation? C'e´tait le corps de l'acteur que tous les metteurs en sce`ne se sont en commun inte´resse´s. Le corps est devenu la sortie de secours par laquelle on peut aboutir de faire renaitre le the´a^tre. C'est surtout Jerzy Grotowski qui a pousse´ jusqu'au bout le travail sur le corps de l'acteur. Et finalement it de´clare que le the´a^tre peut exister s'il n'y a que l'acteur et le public. Taus les autres e´le´ments du the´a^tre comme la de´co, la lumie`re, le costume, etc peuvent e^tre ne´cessaires, mais ne sont pas indispensables. Car le the´a^tre est quelque chose qui se passe entre l'acteur et le public. Enfin le corps de l'acteur a trouve´ chez Grotowski sa valeur justifie´e. Alors que le the´a^tre occidental essaie de trouver les moyens de re`soudre la crise, quelle e´tait la situation du the´a^tre core´en moderne? A vrai dire, le the´a^tre core´en moderne qui s'est lance´ en 1902 avec l'e´tablissment de Hyuplyulsa n'est pas encore enracine´ profonde´ment dans la culture core´enne. Car le the´a^tre ne s'accorde pas exactement a` la fac¸on de communication des Core´ens. La plupart des culture`s traditionnelles core´ennes demande la participation du public, alors que le the´a^tre occidental veut que le public reste comme spectateur. Donc it y a naturellement une confrontation de mode de communication. C'est par cette raison, et parce qu'il manque de recherche pour re´soudre ce proble`me, que le the´a^tre est encore un peu comme e´tranger dans la culture core´enne. Pourtant quelques metteurs en sce`ne core´ens s'inte´ressent aussi au corps de l'acteur. C'est surtout Oh Tae-suk qui exploite tous les domains du the´a^tre. En tant qu'auteur de la pie`ce, se basant sur la tradition, it compose ses spectacles surtout par des actions tre`s libres des acteurs. Dans ses spectacles, les acteurs, en s'assumant le role de "chorus" emploient tous leurs corps comme moyen principal d'expression. Il faut re´former le the´a^tre pour qu'il puisse renai^tre comme l'e´le´ment indispensable de la culture core´enne. C'est par l'investigation sur le corps de l'acteur qu'on peut aboutir a` cette tache.

한국 연극에서 "빈 공간"의 필요에 대하여

김균형 호남대학교 1998 호남대학교 학술논문집 Vol.19 No.2

The theatre space is important to establish the communication between scene and auditorium. For us, the Koreans, we have two traditional theatre : mask dance and Pansori. The first is based on the religious ceremony ; and the later is one kind of ambulante theatre in middle ages. The principles's construction of theatre space in korean traditional theatre are liberty. In another term, the theatre space is established differently according to the number of public. On the contrary, the occidental theatre is "fixed" in all significances in this word. The space is fixed according to the theatre's form, the drama is too according to the development of the play, and the place of public is preliminary fixed in auditorium. The possibility to change this situation is not accepted. This relation scene/auditorium is imported in Korea before 100 years. And out traditional theatre is followed to grand change. The public has no possibility to participate at spectacle, whereas "participate" is the principle of korean traditional theatre. We think that the korean theatre is interrupted form tradition for this reason. The korean theatre have to re-find the reason of existence, and for this, it is indispensable to change this situation. It is necessary to construct theatre space according to our tradition.

기독교 교역자들이 주장하는 귀신들림에 대한 정신의학적 고찰

신형균,손진욱,우성일 大韓神經精神醫學會 1991 신경정신의학 Vol.30 No.6

Opinions and experiences about demon possession and mental disease were collected from clergymen in the western area of Gyeongsangnamdo by the mail questionnaire and direct interview. The results can be summarized as follows. 1) The majority of respondents thought that demons were fallen angels(92.3%) and existing at that time(96.6%). Many of them(63.2%) thought that the incidence of demon possession was increasing. 2) The majority of respondents(94.9%) had seen individuals possessed by demons and they believed in the existence of demon possession firmly. Those who were possessed by demons were mainly females, in their 20th and 30th, with short academic career, in low SES and with shamanistic beliefs. 3) Many respondents thought that mental diseases were different from demon possession(94.0%) and it was possible to distinguish between them(67.5%). Violent behavior, soliloquy, avoidance of eye contacts with clergyman, bizarre voice, social withdrawal and auditory hallucination were regarded as features of demon possession. 4) As the cause of demon possession, many respondents regarded non-religious factors such as psychological conflict or trauma(59.0%) and personality(10.3%), while smaller number of them regarded religious factors such as own sin or unbelief(35.0%) and divine providence(12.8%). Many respondents(76.2%) had treated individuals possessed by demons with religious healing techniques only, but many respondents(61.5%) also thought that medical treatments must be combined. 5) Many respondents(72.6%) never studied mental diseases and their knowledge about mental diseases were mainly from the Bible. 6) Cases of demon possession collected by mail questionnaire can be diagnosed as follows : 37.5%, schizophrenia, 34.4%, atypical psychosis and schizophreniform disorder, and the remainder, dissociative disorder, mood disorder and delirium tremens. 7) Symptomatic features of demon possession were not different from the symptoms of mental illness, and the cases of demon possession were not essentially different from mental diseases. Through mutual understanding and cooperation, both clergymen and psychiatrists can find better ways of treating the individuals possessed by demons and get deeper insights about human psyche.

연극의 교육적 사용방법에 대한 연구

김균형 한국연극교육학회 2002 연극교육연구 Vol.7 No.-

Quelle est la fonction fondamentale du the´a^tre dans notre socie´te´ modernise´e? Elle est, de´s sa naissance, l'e´ducation. A l'e´poque ancienne, le the´a^tre a e´duque´ le membre d'une socie´te´ donne´e par lui e´tablir une relation directe entre l'homme et le sur-homme ou la nature. Apre´s que l'homme devienne plus intelligent, le the´a^tre a assume´ le ro^le de diminuer l'instinct primitif de l'homme par la forme d'une fe^te ou d'un rituel. Par ce genre d'activite´ humaine, le the´a^tre a montre´ aux hommes une possibilite´ d'une renaissance humaine. Pourtant cette fonction d'e´ducation du the´a^tre s'affaiblit avec la notion de l'homme devenu proprie´taire de son e^tre, c'est-a`-dire la de´couverte de soi-me^me, de l'intelligence et le pouvoir de l'homme. C'est en vague a` partir de l'e´poque de Renaissance. Depuis la Renaissance, le the´a^tre a perdu sa fonction essentielle qui est l'e´ducation. Aujourd'hui il est devenu une sorte de divertissement qui a pour but de distraire l'homme. Il est trop proche de l'homme et a perdu ses caracte`res du divin. Le the´a^tre doit renai^tre en tant qu'art indispensable par retrouver sa fonction primordiale, l'e´ducation. Pourtant l'e´ducation que le the´a^tre d'aujourd'hui doit assumer est bine diffe´rente de celle d'hier. Elle conceme pluto^t la re´-e´ducation de l'homme qui s'adapte rnal a` la vie sociale. Donc le the´a^tre a une relation directe avec la vie sociale de l'homme. La fonction e´ducative du the´a^tre peut intervenir aux diverses classes sociales; le the´a^tre pour des enfants, pour des e´coliers, pour des lyce´ens et des e´tudiants, et celui pour des hommes sociaux. Comment peut-on proce´der pour faire le the´a^tre devant un public nettement de´fini, enfants, e´coliers, etc…? Il y aura trois e´tapes. 1. Composition du texte. 1) de´finir un the´me 2) choisir des histoires 3) former une histoire continue 4) mettre en e´vidence des personnages 2. Re´pe´tition 1) comprendre des caracte`res de lieu ou` se passe la performance 2) de´finir nettement qui est le public 3) utiliser divers moyens d'expression, surtout corporelle 3. Pre´sentation Il faut avant tout penser a` la disposition de la sce`ne et de la salle. Comment ces deux lieux peuvent-ils se rencontrer? Quel est le mode de communication a` aboutir? Faut-il une participation directe de la part du public ou un regard plus ou moins me〃fiant? Selon la conception de mode de communication que le metteur en sce`ne de´finit, il peut y avoir plusieures fac¸ons de disposer la sce`ne et la salle. D'autre part, si le spectacle se de`roule a` l'e´xte´rieur, il faut que le metteur en sce`ne doit utiliser d'autres moyens de dommunication que la langue, car en plein air, elle perd la plupart de son pouvoir de communication. C'est surtout le musical qui est le type le plus inte´ressant pour faire le the´a^tre d'e´ducation, car il comprend de divers moyens d'expression. Ici le metteur en sce`ne doit penser a` la proportion de la musique, a` la continuite´ de la musique, et a` toutes les possibilite´s de musique qui peuvent toucher le public.

워터마킹 영상의 비가시성 개선에 관한 연구

고석만,김형균,오무송 조선대학교 전자정보통신연구소 2002 電子情報通信硏究所論文誌 Vol.5 No.2

The use of digital imaging technique and digital contents based on internet has grown rapidly for last several years, and the needs of digital image protection become more important. For the purpose of copyright protection on digital image, the verification of authentication techniques like content authentication, ownership authentication, illegal copy and etc are needed. Digital watermarking, the invisible encryption technique to insert digital watermark into image, the sophisticated perceptual information should be used for providing transparency and robustness of images on watermarking process. In this paper, we implement the algorithm for preventing forged attack, ownership protection and authentication by transforming the wavelet algorithms in frequency domain in terms of human visual system.

염색 단판을 이용한 集成 染色 무늬목 開發

안삼근,강형철,안상열,이균필,변희섭 경상대학교 농업생명과학연구원 2002 농업생명과학연구 Vol.36 No.4

본 연구는 집성 염색 무니목 개발을 위하여 사용 가능한 수종과 3종류의 염료를 사용하여 염색시간, 염색온도, 함수율 및 Flitch 제작에 대하여 연구한 결과는 다음과 같다. 실험에 사용한 4수종 중에서 선삭성이 불량한 은수원 사시나무를 제외한 3수종인 소나무와 이태리 포플러, 마티카가 사용 가능한 수종으로 밝혀졌다. Stain은 번지거나 얼룩이 지는 현상, Dylon은 침투 불균일로 부적당하였으나 Fine은 염색상태가 양호하였다. 염색시간은 5시간 이상 되어야 염색정도가 양호하였고, 염색온도는 90℃에서 가장 적당하였으며 생재와 기건재 및 포수재에 대한 영향은 큰 차이가 없었다. Flitch제작에 적당한 함수율은 9%이었다. This study was carried out to develop laminated dyeing wood, for which usable three sixties of trees and 3 kinds of dye stuffs were used to investigate dyeing time, dyeing temperature, moisture content and manufacture of flitch, the results were as follows: Out of four species of trees used in the experiment, it was found that three species, Pinus densiflora, Populus euramercana and Dyrea costulata were usable excluding Populus tomentiglandulosa whose cutting ability was bad. As to influence according to the kind of dye stuff, the Stain of low price could be used as a coloring agent but it was not proper as a dyeing agent due to spreading or staining phenomenon. As Dylon which was generally used to dye textile penetrated them uneven, dyeing only their surface, it was also found improper to be used. On the other hand, the dyed condition was good with Fine. The dyed condition was good when dyeing time was more than 5 hours and it was the most adequate when the temperature was at 90℃. There was no significant difference between their influence on green, dried and saturated wood.-In the manufacture of Flitch, the most appropriate moisture content was 9%.

새로운 Acetylcholinesterase inhibitors의 합성

최순규,김형민,조승환,최학기,박유미,이용균,정대일,김인식,한정태 동아대학교 부설 기초과학연구소 2004 基礎科學硏究論文集 Vol.21 No.1

노인성 치매의 일종인 alzheimer's disease의 효과적인 억제제를 합성하기 위해 우리는 분자 모델링에 의한 가장 적합한 물질인 m-[(N,N,N-trimethylammonio)phenyl]boronic acid를 합성하였다. 출발물질인 3-aminophenylboronic acid monohydrate의 경우 boronic acid의 작용기인 hydroxyl group을 protecting시킴으로써 반응의 안정성을 기하였다. Quarternary ammonium salt는 과량의 methyliodide와 염기 촉매인 potassium hydrogen carbonate를 사용하여 용매인 methanol에서 반응시켜 상당히 높은 수율을 얻을 수 있었다. 또한 과량의 methyliodide와 염기촉매인 potassium hydrogen carbonate를 사용하여 용매인 methanol에서 반응시킨 결과 boronic acid의 protection없이도 안정하게 반응이 진행되어짐을 확인할 수 있었다. In order to syntheisize a effective inhibotor for alzheimer's disease, we synthesized m-[(N,N,N-trimethylammonio)phenyl]boronic acid 4 which is designed by molecular modeling form. We protected the hydroxyl group of 3-aminophenylboronic acid monohydrate 1 with ethlyne glycol to remove the reactivity if hydroxyl group. To synthesize m-[(N,N,N-trimethylammonio)phenyl]boronic acid 4, we reacted 3-aminophenylboronic acid monohydrate 1 with ezcess methyl iodide and potassium hydrogen carbonate as a base-catalyst in methanol. but On executed reaction without protection on hydroxyl group, we found out the result that the hydroxyl group of boronic acid group at 3-aminophenylboronic acid monohydrate 1 didn't react with excess methyliodide. Synthesized m-[(N,N,N-trimethylammonio)phenyl]boronic acid 4 is in progress about biological tests as a plausible acetylcholinesterase inhibitor.

키 프레임을 이용한 동영상 검색에 관한 연구

김희수,김형균,전병균,이호현 광주보건대학 2004 論文集 Vol.29 No.-

The primary goal of video parsing is to accurately detect fast/gradual scene changes to index the video data so that future retrieval may be performed efficiently. Due to the sheer volume of the video data, however, the goal of accurate detection must be met by some real-time (fast) automatic (or at least semi-automatic) video parsing mechanism. For this purpose, I have developed a fast algorithm to detect gradual scene change and also detect camera motions to reduce false positives (falsely declaring a scene-change). In this dissertation, we propose a new approach that detects the change of scene which contains fast motion, zooming, dissolve in AVI video sequence. The proposed scheme adopts the feature matching technique which ALH(Average of Luminance Histogram) in each frame with those in the previous frame. Experimental results show that the proposed method performs better in detection scene changes than other conventional methods.