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김종국,심창구,지상철,김정주 한국약제학회 1992 Journal of Pharmaceutical Investigation Vol.22 No.2
The effect of Tween 20 on the penetration of ketoprofen in aqueous vehicles through excised rat skin has been evaluated. The addition of Tween 20, up to 2%, in water containing ketoprofen decreased the penetration of ketoprofen through the skin compared with the reference vehicle without this surfactant. However, the addition of Tween 20 in ketoprofen aqueous vehicle increased diffusion parameter significantly which was compensated with the lowered partition parameter.
김종국,박형빈,배명진 한국음향학회 2004 韓國音響學會誌 Vol.23 No.1
This paper describes how to reduce the effect of an occupation threshold by that the transform of mixture components of HMM parameters is controlled in hierarchical tree structure to prevent from over-adaptation. To reduce correlations between data elements and to remove elements with less variance, we employ PCA (principal component analysis) and ICA (independent component analysis) that would give as good a representation as possible, and decline the effect of over-adaptation. When we set lower occupation threshold and increase the number of transformation function, ordinary WLLR adaptation algorithm represents lower recognition rate than SI models, whereas the proposed MLLR adaptation algorithm represents the improvement of over 2% for the word recognition rate as compared to performance of SI models. 고음질 합성을 하면서도 다양한 음색을 갖도록 하기 위해서는 파형부호화를 이용한 합성법에 적용할 수 있는 피치 변경법이 필요하다. 따라서 본 논문에서는 스펙트럼 왜곡률을 최소화하는 영교차 단위의 시간축 조절에 의한 피치 변경법과 피치 동기분석이 용이하고 다른 영역으로의 변환과정이 불필요한 피치시점 검출법을 제안함으로써 고음질을 유지하면서 시간영역에서만 처리됨으로써 계산량을 줄이고 스펙트럼 왜곡률을 최소화하고 위상을 그대로 보존할 수 있는 시간영역에서의 피치 변경법을 제안하였다. 결과적으로 전체 피치 변경율에 대해서는 기존의 방법에 비해서 제안한 방법의 스펙트럼 왜곡률이 0.73%개선되었고 피치 압축시에는 제안한 방법의 스펙트럼 왜곡율이 2.18%개선되었다.
김종국 한국디지털영상학회 2008 디지털영상학술지 Vol.5 No.1
I did rethink <D-WAR>(Sim Hyung-Rae, 2007) with digital theory at a boundary between mythologization and demythologization. As the digital game image <D-WAR> is faced with spectators somewhere the perspective of representational system, the superficiality of mechanical image and homogeneity/heterogeneity exist. It comes up synaesthetically to the interactive, productive spectators. It's just a play like an immature Young-Gu(director's character as a comedian) to the educated critics, who internalized the otherness like Aristotle's plots and Hollywood styles. The remediational strategies in exchange for the cinematic norm and order is a field of demythologizing possibility. The exclusiveness and normativity of an popular elite group are always confronted with an anxious, disordered threat by abject of speaking subject on processing. As abject in me, in us the acceptance of heterogeneous otherness is a meaning, effect for the transitional possibilities. It's a good harvest that we had in disputes on <D-WAR>. The hierarchicalization inherent between professional critics and general audiences that a specific notion overwhelmed the others is collapsed by digital writings of new spectators. <D-WAR> is a field of the potential. The moving from digital technologies of post-production including computer graphics to game, animation and broadcasting is very active. By the way, the sphere of film is exclusive and can't catch up with the world's transition. In the cultural age for art to be industrialized, film industry isn't any longer the cinema's possessions exclusively and shouldn't get to be so.