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서덕영,장승기,경문현,박섭형 경희대학교 산학협력기술연구원 1996 산학협력기술연구논문집 Vol.2 No.-
This paper describes two traffic shaping methods for VBR(variable bit rate) video bit streams encoded in the MPEG-2 syntax. Difficulties in control of VBR video traffic are lessened by traffic shaping. Burstness of single layer MPEG-2 can be reduced by performing intra-refresh in more than one consecutive frames. In two layer encoding of spatial scalability, burstness can be reduced by setting the temporal locations of GOP starting frame of a layVBR 트래픽을 허용한다는 것이다. 모든 AAL er, differently from the other. Queueing analysis shows that these two methods outperform conventional encoding schemes in terms of temporal and semantic QoS requirements.
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중국 일대일로(一帶一路) 금융자금조달 모델에 관한 연구23)
徐逢敎 ( Seo,Bong-kyo38 ),崔洛燮 ( Choi,Nak-seop39 ),李賢泰 ( Lee,Hyun-tai40 ) 한중사회과학학회 2016 한중사회과학연구 Vol.14 No.2
This paper focuses on the financing problems of "One Belt and Road" initiatives of China. Chinese government plans several financing channels of "One Belt and Road" initiatives. First model is the using ``International Development Financial Institution`` such as AIIB(Asian Infrastructure Investment Bank). Second model is the PPP(Public-Private Partnership) model, which is received attentions these days. Chinese government declared the project financing principle in the "One Belt and Road" financing aspects, so PPP financing model will be more popular afterward. Third model is the using RMB(Runminbi) Internationalization. Chinese government want to finance RMB investment capital for "One Belt and Road" initiative. RMB Internationalization and "One Belt and Road" will expedite the oversea expansion of Chinese financial institutions. Korean financial companies must use the opportunity from "One Belt and Road" initiative. Most important area will be ASEAN countries and the cooperation with China will enhance competitions of the Korean manufacture companies.
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이정섭(Jung-Seop Lee) 한국엔터테인먼트산업학회 2009 한국엔터테인먼트산업학회논문지 Vol.3 No.1
미술을 그린다는 것으로부터 출발했다고 볼 때, 그린다는 것은 선으로부터 시작되었다는 것이 고대 벽화에 그려진 외곽선의 형태들에서 찿아 볼 수 있다. 우리가 흔히 알고 있는 선이란 무수히 많은 점들의 집합이다. 선은 그 차체만으로도 충분히 운동방향을 나타낼 수 있을 뿐 아니라, 인간의 내면세계를 표현하는데 중요한 요소라 할 수 있으며, 선을 긋는다는 그 자체만으로도 창조적 동기를 갖추는 시작점이 될 수 있는 것이다. 일반적으로 작품의 인상이 강렬한 이미지를 갖게 되는 것은 독특한 소재와 차별화된 구도 등 여러 요인도 있겠지만 동일한 대상의 표현방법도 작가마다 동기부여와 심상세계가 다름에 따라 작품에 표현되는 이미지도 각기 달라진다는 것을, 인상주의 이후로 현재까지 회화의 무한 가능성이 내포된 “선”의 성격을 작가 개인의 뚜렷한 감성을 그대로 표현하여 창조된 작품으로 지금까지 세계인들의 무한한 사랑을 받고 있는 고흐와, 자연형태에서 모티브를 빌려 새로운 표현을 얻고자, 덩굴풀이나 담쟁이 등 식물의 형태가 연상되는 파상곡선 아르누보 양식의 선구자인 클림트의 작품 사례를 살펴보고 “선묘화법”을 이용하고 있는 이정섭의 작품 변화과정과 비교하여 봄으로써 구상회화의 표현방식으로 선의 성격이 어떻게 이용되고, “선묘화법”이 현대 회화 표현기법에서 적응할 수 있는 가능성을 검증 해 본다. Line-drawing technique that is illustrated in the works of Gogh in the latter part of his life expresses his sensibilities from the nature with rough lines. Wasn’t his expressive format of composing the canvas vehemently at times while gentle at other times not his unique means of coping with his uncertain life environment? This could have been the volition of the artist attempting to pursue new changes. Expressive behavior of Gogh of mixing the paint on the canvas and making long lines would have been the expression of uncontrollable changes of his emotions that can only be felt on the site. As an artist confronts the Mother Nature, changes in cogitation are induced ceaselessly, because the emotions arising within due to blowing of wind, warm twinkle of sunlight and changes in the length of the shadow could be felt sufficiently differently. However, the lines illustrated in the self-portraits and figure paintings of Gogh, unlike the lines in his landscape paintings, are much shorter and expressed with uniform directionality. This is perhaps because he was able to maintain composure of his emotion when working indoors. Klimt used lines most in expressing the costumes or backgrounds of characters. This can be considered as usage as symbolic significance rather than to accurately express certain form. Semiotic forms, rectangles, triangle, circles and lines using the stems of plants are quietly flowing in alignment. Although these are thin and fragile lines, they induce gentle flow with elongation of collection of several lines while forming surfaces. These are straight lines at times and curved lines at others, thereby changing the ambience of the painting in accordance with the flow of such lines. Ultimately, flow of such lines in the works of Klimt is used as one of determinant expressive method of illustrating his intended ambience. Lines of Klimt form surfaces and become the element that determines the features of the surface. Lines illustrated in the works of Lee, Jung Seop, are defined as ‘lines of wind’. Even within the seemingly still space, the artist is carrying out conversation on the canvas with the gazes of viewers through the flow of wind with diverse range of length, thickness and colors as well as the directionality of the line that is ceaselessly moving. Such expressive technique of line was first introduced in 2001. Initially, it was only a flow of small lines, which at first may be recognized as pointillism. However, while the pointillism of the post-impressionists was expressed with points in primary colors, little lines in the works of Lee, Jung Seop are moving busily on the canvas. As though used as expressive method of sincerely conveying the momentary emotions in accordance with the flows of light and wind in the outdoor works, expressions include wide range of types of lines, while self-restraint and intended tranquil lines are flowing in the works done indoors. As illustrated above, it can be seen that each of the artists uses characteristics of lines with different significance in their expressive format of painting using line-drawing technique. As completely different significances can be endowed in accordance with how the lines are used, the line-drawing painting technique has been continuing to undergo progress, transcending space and time, until now.
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Woo-Seop Rhee,김상하,Jun-Hwa Lee,Jea-Hoon Yu 한국전자통신연구원 2004 ETRI Journal Vol.26 No.1
The architecture in a differentiated services (DiffServ) network is based on a simple model that applies a per-class service in the core node of the network. However, because the network behavior is simple, the network structure and provisioning is complicated. If a service provider wants dynamic provisioning or a better bandwidth guarantee, the differentiated services network must use a signaling protocol with QoS parameters or an admission control method. Unfortunately, these methods increase the complexity. To overcome the problems with complexity, we investigated scalable dynamic provisioning for admission control in DiffServ networks. We propose a new scalable qDPM2 mechanism based on a centralized bandwidth broker and distributed measurement-based admission control and movable boundary bandwidth management to support heterogeneous QoS requirements in DiffServ networks.
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Collapse of Charge Ordering in Ru - doped Mono - layered Manganites
Chang Seop Hong,Wan Seop Kim,Nam Hwi Hur 한국자기학회 2003 Journal of Magnetics Vol.8 No.2
The magnetic and transport properties for single crystals of Ru-doped mono-layered manganites La_(0.5)Sr_(1.5)Mn_(1-x)Ru_xO₄ (0 ≤ x ≤ 0.1) have been studied using neutron diffraction and magnetization measurements. Temperature dependent magnetization data reveal that with an increase in the Ru concentration the parent charge ordered antiferromagnetic state is gradually destroyed and new ferromagnetic phase evolves. In the low Rudoped system spin glass behavior is apparent in low temperature region, which is confirmed by ac and dc magnetization measurements. The competing magnetic interaction between Mn/Mn and Mn/Ru couples is the most likely cause of the spin glass transition.
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