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자발적 컴퓨팅 환경에서 중복작업 분배를 위한 P2P 기반 지역적 매치메이킹 기법 (pp.831-835)
천은영(Eun-Young Cheon),김미경(Mi-Kyoung Kim),국승학(Seung Hak Kuk),김현수(Hyeon Soo Kim) 한국정보과학회 2009 정보과학회 컴퓨팅의 실제 논문지 Vol.15 No.11
자발적 컴퓨팅은 인터넷을 통해 연결된 컴퓨터의 유휴 자원을 활용해 큰 규모의 애플리케이션의 연산을 처리하는 컴퓨팅 패러다임이다. 자발적 컴퓨팅 환경에서 사용하는 중복 작업 분배기법은 동적인 자원과 작업의 특성에 대해 고려하지 않기 때문에 작업 시간 지연과 지속적인 작업재분배 요청으로 인해 작업 수행의 비효율성의 문제를 일으킨다. 이에 본 논문에서는 이러한 문제를 해결하기 위해 작업과 자원의 특성을 고려하여 작업을 재분배 할 수 있는 P2P 기반 지역적 매치메이킹 기법을 제안한다. 제안하는 매치메이킹은 작업/자원에 대한 명세, 자원가용공간 모니터링 모듈, 매칭 요청/응답을 위한 프로토콜, 매치율 계산 모듈 등의 요소로 구성된다. Volunteer computing is a computing paradigm in which the operations of a large-scale application are processed using idle resources of Internet-connected computers. The redundant-work distribution techniques used in the volunteer computing environment cause some problems like delay of the work completion time or inefficiency of the work execution due to continuous requests of the work redistribution because the techniques do not consider the characteristics of works and dynamic resources. To cope with such problems this paper suggests a P2P based regional matchmaking technique which can redistribute works in consideration of the characteristics of the works and the participant resources. The techniques consist of the profiles for works/resources, the module for monitoring the available resources spaces, the protocols for the matching request/reply, the module for match-ratio calculation, and so on.
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천은영(Cheon Eun-Young) 한국국악교육학회 2004 국악교육 Vol.22 No.-
One of the most prominent features of Korean folk music is the fact that the performance is formed by the audience as well as the players themselves. It means that the music can either become lively or bland depending upon the atmosphere of the venue. This phenomena is occasioned by the improvisatory element that it contains within Chuimsai, (추임새) which is often acknowledged as something that only excites the audience, can come into existence when there is a firm grip on the essence of the music from the standpoint of both parties. Chuimsai works as a bridge between the musicians and the audience, and at the same time, can further the development of our Korean folk music itself. This thesis outline the importance of chuimsai, which creates the common ground between the players and audience. and consequently bring about artistic perfection in the field of Korean folk music. In order to revive the currently waning chuimsai, the present writer made an effort to find the proper place of chuimsai in the world of pansori(판소리). In addition, the characteristics of chuimsai were explained in detail, along with the instructions in regard to its practical applications in school environment. In so doing, its definition, functions, significance was discussed. the actual examples of chuimsai that can be found in pansori, are analyzed in which drummers transcribe chuimsai in action. According to my research, Chuimsai comes at the end of vocal texts.(사설) It can also be placed in spots such as when the vocal texts form a corresponding rhymes. Or when there is a logical relationship of cause and effect in lyrics. in the latter case, chuimsai can be found at the very end of vocal texts. In rare cases, Chuimsai is utilized to produce a smooth transition when performing pansori. and it can be found important texts, or when the situation changed, or when the character changed. When the vocal texts made a paragraph, chuimsai come out the front of climax and accreted the effect of mat-neun-gak(맺는각)(it has climax part). For the practical application of a distinctive feature of chuimsai, in terms of education, it provides a gradual path through selected pansori sections. firstly, The literal meaning of vocal texts is understood. Secondly, The proper position of chuimsai is determened. Thirdly, Become familiarized with changdan(장단) that are used there in. and practice basic changdan, then understand the nature of the mutual relationship between vocal texts and changdan, And finally students try and improvise chuimsai on their own. Through the course of guidance described here, First of all, students would be given good opportunities to become active participants of the artistic form, pansori. As a result, their understanding of the Korean folk music would be deepened. In conclusion, it is my hope that through a program that I suggested here, the students will become more aware of their roles in ensuring the survival of our beloved art form.
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김명자 ( Myeong Ja Kim ),천은영 ( Eun Young Cheon ) 한국스포츠정책과학원(구 한국스포츠개발원) 2010 체육과학연구 Vol.21 No.3
이 연구는 댄스스포츠 참가자의 파트너폭력에 대한 연구를 하는 데 목적이 있다. 이러한 목적을 달성하기 위해 2010년 현재 서울, 대전, 충청도에 소재하고 있는 사설 및 공공 스포츠센터의 댄스스포츠 프로그램을 이용하는 성인 남녀 회원을 모집단으로 설정, 무선표집방법을 이용해 총 500명을 표집하였다. 이 중에서 435명의 자료가 실제 분석 자료로 활용되었다. 조사도구는 설문지며, 설문문항은 손정영(1997), 신효식과 이경주(2003)가 사용한 척도를 토대로 수정ㆍ보완하였으며, 타당도와 신뢰도를 검증한 후 사용하였다. 자료는 빈도분석과 일원변량분석을 이용해 분석하였다. 그 결과 다음과 같은 결론을 얻었다. 첫째, 댄스스포츠 참가자들의 42.8%, 즉 10명 중 4명이 지난 1년 간 파트너폭력을 경험했다. 그 중 심리적 폭력은 42.0%, 성폭력은 31.3% 신체적 폭력은 26.7%를 차지하고 있다. 둘째, 댄스스포츠 참가자들에게 파트너폭력을 가하는 타자는 파트너, 지도자, 동료 등의 순이었다. 1년 간 파트너폭력을 경험한 정도는 5회 이하, 6~15회, 16~25회 등의 순이었다. 셋째. 연령에 따라 댄스스포츠 참가자들이 경험한 파트너폭력은 차이가 있다. 넷째, 댄스스포츠 참가자의 참가유형, 파트너 유형, 대회 경력, 입상경력에 따라 파트너폭력은 차이가 있다. 다섯째, 댄스스포츠 참가자의 참가기간, 참가빈도, 참가시간에 따라 파트너폭력은 차이가 있다. The purpose of this study is to investigate the partner violence among dance sports participants, based on the assumption that partner violence is a result of negative interaction between one and his or her partner. For this purpose, 500 people were randomly selected from the pool of adult male and female members at public and private sports centers located in Seoul, Daejeon, and Chung-cheong area. Of those 500, the data of 435 people were actually used in the analysis. Research method was the questionnaire survey method, and each items were based on previous studies of Kim Seung-yong(2002), Shin Hyo-shick & Lee Kyeong-ju(2003). Data analysis was carried out using frequency analysis, and ANOVA. The results are as follows: First, 42.8% of the dance sports participants, or 4 out of 10 participantshave experienced partner violence over the last 12 months. Psychological violence accounted for 42.0%, sexual violence 31.3% and physical violence 26.7%. Second, the assaulters who inflict violence are mainly partner, instructor, and colleague. When asked about the number of times they experienced the violence, most people answered less than five times a year, followed by 6-15 times and 16 to 25 times. Third, there are differences in terms of type of partner violence, depending on age. Fourth, participation type, partner type, competition and award experience also affect the type of the violence. Finally, partner violence is even influenced by frequency, as well as duration or time of the participation.
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