강성과 강도저하에 따른 이력모델의 거동 특성

유명화,강병두,김재운 대한건축학회지회연합회 2008 대한건축학회지회연합회 학술발표대회논문집 Vol.2008 No.1

Seismic performance evaluation of structure requires an estimation of the structural performance in terms of displacement demand imposed by earthquakes on the structure. Most structures are expected to deform beyond the limit of linearly elastic behavior when subjected to strong ground motion. In the context of earthquake engineering, nonlinear response history analysis is an important tool to predict with reasonable accuracy the building response for varying levels of ground motion intensity. We can obtain nonlinear response though three hysteretic parameters such as strength degradation, stiffness degradation and pinching behavior respectively. In this study, it is to compare behaviors of hysteretic models through three hysteretic characteristics such as strength degradation, stiffness degradation, pinching behavior and to suggest more reliable hysteretic model for nonlinear analysis of structure.

린다 시거와 시드 필드의 3막구조 연구

윤보협(Yoon Bo Hveop) 한국영화학회 2010 영화연구 Vol.0 No.46

To Syd Field and Linda Seger the structure of every cinema is 3acts. Act Ⅰ is setup, ActⅡ is confrontation, ActⅢ is resolution. To Linda Seger the plot point is the dramatic turning point. the plot point raises the central question again and makes us wonder about the answer. It is often a moment of decision or commitment on the part of the main character. It raises the stakes. The plot point pushs the story into the next act. And It takes us into a new arena and gives us a sense of a different focus for the action. To Syd Field A plot point can be anything : a shot, a scene, a sequence, an action, anything that moves the story forward. Plot point1 is to the end of act Ⅰ and plot point2 is to the end of act Ⅱ. The plot point is an incident, episode, event that hooks into action and spins it around another direction, direction being a line of development. Pinch1 is on the middle of the first half and Pinch2 is on the middle of the second half. The main purpose of pinch to keep the story on track. Mid point is on the middle of act Ⅱ. Act Ⅱ is made of the first half and the second half. Mid point makes the story line become a specific line of action. Also the mid point makes the dramatic context of Act Ⅱ changed. Purpose of this thesis is knowing about the three-act structure of narrative film. And is making a best model of the three-act structure. For the model at first this study needs to rethink and reanalyze the films analyzed by Syd Field and Linda Seger. Witness analyzed by Linda Seger and Thelma & Louise analyzed by Syd Field are selected and rethinked and reanalyzed. Because the films show us the three-act structure of Syd Field and Linda Seger. Through them this thesis do find that the three-act structures of Syd Field and Linda Seger all are not perfect. And this thesis reanalyzes The Fugitive treated by Alex Epstein Who has ignored the three-act structure. And this thesis analyzes OIdboy and this thesis do analyze the three-act structure of Oldboy. So this thesis do prove Oldboy well-made 3 act structure. By rethinking and reanalyzing Witness, Thelma & Louise, The Fugitive and Old boy this thesis do make a best model of the three-act structure

〈8과 2분의 1〉과 〈바톤핑크〉의 3막 구조 연구

윤보협(Yoon Bo Hyeop) 한국영화학회 2008 영화연구 Vol.0 No.37

Syd Field and Linda Seger say that the structure of every cinema is 3acts. Act I is setup, ActⅡ is confrontation, ActⅢ is resolution. To Syd Field A plot point can be anything : a shot, a scene, a sequence, an action, anything that moves the story forward. Plot point1 is to the end of act Ⅰ and plot point2 is to the end of act Ⅱ. The plot point is an incident, episode, event that hooks into action and spins it around another direction, direction being a line of development. Linda Seger insists the plot point raises the central question again and makes us wonder about the answer. ActⅡ is made of the first half and the second half. Pinch1 is on the middle of the first half and Pinch2 is on the middle of the second half. The main purpose of pinch to keep the story on track. Mid point is on the middle of act Ⅱ. Mid point makes the story line become a specific line of action. Also the mid point makes the dramatic context of ActⅡ changed. Syd Field and Linda Seger have analyzed many films. But they haven't analyzed a difficult modernism film or a difficult postmodernism film. It is doubtful whether their insists about the 3 acts structure are right. So this thesis needed to interpret and analyze a difficult modernism film and a difficult postmodernism film to testify their insists. Fellini's 8 and 1/2 and Joel & Ethan Coen brothers' Barton Fink were selected. Purpose of this thesis is to analyze the paradigms, the 3 acts structures of 8 and 1/2 and Barton Fink. At first this thesis do interpret the secret meaning of 8 and 1/2 and Barton Fink. The key ward of the secret meaning is a self-reflexive author. This thesis allows the interpret of the two texts to have many pages. And this thesis do analyze the paradigms, the 3 acts structures of 8 and 1/2 and Barton Fink. This thesis do prove them well-made 3 acts structures.

순응형 파지와 정밀한 집기가 가능한 유연한 그리퍼의 강도 및 강성 분석

이덕원(Deok Won Lee),전형석(Hyeong Seok Jeon),정용준(Young Jun Jeong),김용재(Yong Jae Kim) 제어로봇시스템학회 2016 제어·로봇·시스템학회 논문지 Vol.22 No.10

In this paper, we introduce a flexible gripper that we have engineered to precisely pinch in parallel and compliantly grasp objects. As found in most conventional industrial grippers, the parallel pinching property is essential for precise manipulation. On the other hand, the grippers with a flexible structure are more adept at grasping objects with arbitrary shapes and softness. To achieve these disparate properties, we introduce a flexible gripper mechanism composed of multiple flexible beam structures. Utilizing these beam structures, the proposed gripper is able to grasp arbitrarily shaped objects. Additionally, a unique combination of flexible beams enables the gripper to pinch objects using the parallel fingertips for enhanced precision. A detailed description of the proposed mechanism is provided, and an analysis of the strength and stiffness of the fingertip and finger body is presented. The Results section compares the theoretical and experimental analyses and verifies the properties and performance of the proposed gripper.

내러티브 영화의 3막 내레이션 연구

윤보협(Yoon, Bo Hyeop) 동국대학교 영상미디어센터 2015 씨네포럼 Vol.0 No.22

3막 구조가 내러티브영화의 서사를 쓰고 수정하며 분석하는데 유용한 도구임은 주장된 바 있다. 하지만 3막의 핵심인 5초점, 즉 구성점1(plot point1), 구성점2(plot point2), 밀착점1(pinch1), 밀착점2(pinch2) 그리고 중간점(mid point)의 개념분절과 적용은 쉽지 않다. 본 연구는 바로 그 지점에 연구의 출발점을 두고자 한다. 그 개념의 분절과 통섭을 위해서 폭 넓은 내러티브 영화 속 영화들을 분석하고자 하는 것이다. 특히 구성점과 밀착점 그리고 중간점을 찾고 적용하는데 문제가 되었던 작품들에 주목하고 그들이 어떻게 3막 구조의 틀에 합치되는지 함으로써 3막 5초점의 개념을 재정립해 보이고자 한다. 이에 본 연구는 고전 장르영화, 스크루볼 코미디 <어느 날 밤에 생긴 일It Happened One Nigh>(1934), 뮤지컬 <사랑은 비를 타고Singin" In The Rain>(1952), 멜로드라마 <애수Waterloo Bridge>(1940)의 구성점을 고찰한다. 그리고 인기고전영화 <맨발의 청춘>(1964)의 구성점도 분석한다. 그리고 서부극 <황야의 결투My Darling Clementine>(1946), 갱스터 <스카페이스Scarface>(1932), 탐정물 <말타의 매The Maltese Falcon>(1941)의 구성점을 조명한다. 특히 주목되는 <어느 날 밤에 생긴 일>과 <황야의 결투>는 그 5초점을 분석한다. 그리고 히치콕의 영화, <의혹의 그림자Shadow Of A Doubt>(1943), <이창Rear Window>(1954) 그리고 <싸이코Psycho>(1960)의 5초점을 분석한다. 그리고 시드 필드가 분석의 오류를 보여주고 있는 해외 주요 대중 작가영화, <차이나타운Chinatown>(1974), <이티 E.T. The Extra- Terrestrial>(1982) 그리고 <늑대와 춤을 With Wolves>(1990)에 주목하고 그 5초점을 재분석한다. 그리고 분석의 난이도를 달리하는 국내 주요 대중 작가영화, <7번방의 선물>(2013)과 <복수는 나의 것>(2002)의 5초점을 조명한다. 그리고 명시적으로 관객의 관점이동을 유도하는 대안영화, <라빠르망L"Appartement, The Apartment>(1996)과 <황혼에서 새벽까지From Dusk Till Dawn> (1996)를 분석한다. 결과적으로 본 연구는 작품들을 통해 구성점과 중심질문의 개념을 정립하고 그 실효성을 가늠하며, 밀착점의 의미와 역할을 통섭하고 그 실효성을 타진하며, 중간점의 개념과 그 효과를 정리하고 그 파격적 변주와 대안의 양상 및 가능성을 찾고자 한다.

Accuracy and robustness of hysteresis loop analysis in the identification and monitoring of plastic stiffness for highly nonlinear pinching structures

Hamish Tomlinson,Geoffrey W. Rodgers,Chao Xu,Virginie Avot,Cong Zhou,J. Geoffrey Chase 국제구조공학회 2023 Smart Structures and Systems, An International Jou Vol.31 No.2

Structural health monitoring (SHM) covers a range of damage detection strategies for buildings. In real-time, SHM provides a basis for rapid decision making to optimise the speed and economic efficiency of post-event response. Previous work introduced an SHM method based on identifying structural nonlinear hysteretic parameters and their evolution from structural force-deformation hysteresis loops in real-time. This research extends and generalises this method to investigate the impact of a wide range of flag-shaped or pinching shape nonlinear hysteretic response and its impact on the SHM accuracy. A particular focus is plastic stiffness (<i>k<sub>p</sup></>), where accurate identification of this parameter enables accurate identification of net and total plastic deformation and plastic energy dissipated, all of which are directly related to damage and infrequently assessed in SHM. A sensitivity study using a realistic seismic case study with known ground truth values investigates the impact of hysteresis loop shape, as well as added noise, on SHM accuracy using a suite of 20 ground motions from the PEER database. Monte Carlo analysis over 22,000 simulations with different hysteresis loops and added noise resulted in absolute percentage identification error (median, (IQR)) in <i>k<sub>p</sup></> of 1.88% (0.79, 4.94)%. Errors were larger where five events (Earthquakes #1, 6, 9, 14) have very large errors over 100% for resulted <i>k<sub>p</sup></> as an almost entirely linear response yielded only negligible plastic response, increasing identification error. The sensitivity analysis shows accuracy is reduces to within 3% when plastic drift is induced. This method shows clear potential to provide accurate, real-time metrics of non-linear stiffness and deformation to assist rapid damage assessment and decision making, utilising algorithms significantly simpler than previous non-linear structural model-based parameter identification SHM methods.

Structural health monitoring for pinching structures via hysteretic mechanics models

Mohammad Rabiepour,Cong Zhou,James G. Chase,Geoffrey W. Rodgers,Chao Xu 국제구조공학회 2022 Structural Engineering and Mechanics, An Int'l Jou Vol.82 No.2

Many Structural Health Monitoring (SHM) methods have been proposed for structural damage diagnosis and prognosis. However, SHM for pinched hysteretic structures can be problematic due to the high level of nonlinearity. The model-free hysteresis loop analysis (HLA) has displayed notable robustness and accuracy in identifying damage for full-scaled and scaled test buildings. In this paper, the performance of HLA is compared with seven other SHM methods in identifying lateral elastic stiffness for a six-story numerical building with highly nonlinear pinching behavior. Two successive earthquakes are employed to compare the accuracy and consistency of methods within and between events. Robustness is assessed across sampling rates 50-1000 Hz in noise-free condition and then assessed with 10% root mean square (RMS) noise added to responses at 250 Hz sampling rate. Results confirm HLA is the most robust method to sampling rate and noise. HLA preserves high accuracy even when the sampling rate drops to 50 Hz, where the performance of other methods deteriorates considerably. In noisy conditions, the maximum absolute estimation error is less than 4% for HLA. The overall results show HLA has high robustness and accuracy for an extremely nonlinear, but realistic case compared to a range of leading and recent model-based and model-free methods.

한국 영화 극적 구조 분석 및 새로운 지점에 대한 고찰

김도영(Kim Do Young) 한국영화학회 2008 영화연구 Vol.0 No.38

Syd Field understood the unique storylines and time ratios of mass commercial movie scenarios, and presented a form of dramatic structure which he called Paradigm. He assessed that favorable scenarios tally to such Paradigm. Of course, such argwnent is extreme, but the mention of the three chapters structure, which can be traced back to Aristotle's "Poetics", and arguments regarding the specific concept of Plot Point and elements of Paradigm, such as Mid-Point and Pinch, and their time placements are significant in movie scenarios. In reality, most mass commercial movies are known to follow such form of dramatic structure, and this is thought to be a universal storyline which existed even before Syd Field devised the Paradigm. Also, it is presumed that such Paradigm can be used in analyzing the dramatic structure of most Korean movies. The purpose of this study is to examine through actual examples whether the Syd Field Paradigm is applicable to the dramatic structure of Korean movies, to see if there are any points to revise or add to the dramatic structure of Korean movies based on the Paradigm, to investigate if the Paradigm is applicable to movies that were screened outside of the US before Syd Field presented the Paradigm, and to provide insight to other related questions. Precedent for such study can be found from Aristotle to Tolstoy. To examine whether the Syd Field Paradigm is able to provide basic principles and be a model for Korean movie scenarios, and also to investigate through specific examples the possibility of the Paradigm becoming the general storyline of movies is natural for a scholar. Hence, specific examples, such as the Korean movies Oldboy, You're My Sunshine!, and The Golden Age Of Young-Ja, and the Italian Movie Ladri Di Biciclette, have been thoroughly analyzed. As a result of this study, the following insights were discovered; first, the dramatic structure of Korean movies can be analyzed by the Syd Field Paradigm; second, based on the Syd Field Paradigm, there are possibly three supporting points that commonly exist in Korean movies; and third, the Paradigm is applicable to Italian and Korean movies that were screened before Syd Field devised the Paradigm. Such results of this study provide implications to not only scholars in universities, but also to people working in fields related to film production. After the decrease of screen-quota, reduction in production costs is one of the most significant problems faced by the Korean movie industry. The results can be important reference materials in not only the pre-production stage, but also in managing the filming schedule and cost distribution in the production stage. This is also true for the post-production stage. In addition, the results are considered to be important in the study of storylines, which is traditionally based around theories.