Big Data Management in Structured Storage Based on Fintech Models for IoMT using Machine Learning Techniques

김경실,Kim, Kyung-Sil Convergence Society for SMB 2022 산업과 과학 Vol.1 No.1

사물인터넷(IoT) 기술은 최근 의료사물인터넷(IoMT)으로 정의된 대량의 의료 데이터를 처리하여 발전을 위해 개발된 의료분야에서 많이 활용되고 있다. 수집된 광범위한 의료 데이터는 수집된 의료 데이터를 처리하기 위해 구조화된 방식으로 클라우드에 저장된다. 그러나 방대한 양의 의료 데이터를 효과적으로 처리하는 것은 쉽지 않기 때문에 의료분야 구조 데이터를 개발하는 것이 필요하다. 본 논문에서는 IoMT에서 수집된 구조화된 건강 관리 데이터를 처리하기 위한 기계 학습 모드를 개발하였다. 광범위한 의료 데이터를 처리하기 위해 본 논문에서는 의료 데이터 처리를 위한 MTGPLSTM 모델을 제안하였다. 제안된 모델은 의료 정보 처리를 위한 선형 회귀 모델을 통합한다. 개발된 모델 이상치 모델은 IoMT에서 수집된 COVID-19 의료 데이터들의 평가 및 예측을 위해 FinTech 모델을 기반으로 구현되었다. 제안된 MTGPLSTM 모델은 감염 확산 방지를 위한 계획 계획을 예측하고 평가하기 위한 회귀 모델로 구성된다. 개발된 모델 성능은 LR, SVR, RFR, LSTM 및 제안된 MTGPLSTM 모델과 같은 서로 다른 분류기를 고려하였으며 1GB, 2GB, 3GB 등 데이터 크기가 다르다는 점도 주요하게 고려되었다. 제안된 MTGPLSTM 모델이 전 세계 데이터에 대해 최대 4% 감소된 MAPE 및 RMSE 값을 달성하였고 중국의 경우 기존 분류기보다 최대 6% 최소인 최소 MAPE(0.97)이 달성되었다.

동양 미용 문화의 연구

김경실(Kim Kyung-Sil) 한국인체미용예술학회 2005 한국인체미용예술학회지 Vol.6 No.3

  This paper made an investigation on the techniques of coloring facial makeup in the Korean and Chinese Dynasties and made an attempt to interpret philosophy and fashion trends which were represented in facial makeup techniques in each Dynasty as a main component of fashion and to derive applicable information in the context of our current fashion needs. This paper defined the scope of investigation starting from the Koguryo and Han Dynasty when the techniques of coloring facial makeup began to be used generally, and looked into pictures and the related relics with coloring facial makeups based on the documents of pertinent archives.<BR>  "The facial makeup applied with red coloring on some parts of face appeared to have been most popular facial cosmetic technique among oriental women through history. Usually, red coloring materials were put on and around cheeks after facial powdering or mixed with facial powder. Facial makeup with white powder as main ingredient or background and red coloring materials as pasted or touched on the background facial makeup were applied in varied mixes, and a variety of techniques were formulated accordingly. The facial makeup techniques might be affected and adopted by age factor and social status of the woman, and geographical characteristics, regional culture, living conditions of the society as well. And they appeared to represent the fashion trends of their contemporary women.<BR>  Although not commonly documented, a few descriptions of the facial makeup techniques or styles have been sought for in the mural paintings of Koguryo tumulus and in the pertinent archives. Early in the Chin Dynasty, some women were shown to use thick facial makeup with color, but it was not taken generally though. It appeared that the Red Makeup as its thick type of makeup became rapidly disseminated in the Han Dynasty. This paper made an investigation on the techniques of coloring facial makeup in the past oriental history since the Koguryo Dynasty and Han Dynasty.

일러스트레이션 트랜드에 따른 디지털 미디어 시대의 일러스트 산업의 고찰

김경실(Kim, Kyung Sil) 한국디자인리서치학회 2019 한국디자인리서치학회 학술대회 자료집 Vol.2019 No.1

The age of the fourth industry is often called the age of convergence. Illustration, which used to serve as a tool for communication in the past, is now converging with various industries to expand its meaning and use. Using the Internet and social media, writers are easily exposing their works, and the nation s boundaries are also falling apart. Works are being used in various fields such as exhibition, publication and product production. We analyzed the trend and current address of how this illustration industry separated from the field of art and settled into a single genre. For modern people, who have become accustomed to mechanization and automation in the rapidly changing digital media age, illustration comes to a new meaning not only as a driving force for purchasing, but also as a warm comfort and a stimulating emotion. In the domestic market, we have explored the factors that are lacking in the domestic market through overseas examples and analyzed the trend of illustration trend to find the future direction of development of the domestic illustration industry.

생체인증에서 다양한 플랫폼 기반의 효용성 분석

김경실 ( Kyung-sil Kim ),이근호 ( Keun-ho Lee ) 한국정보처리학회 2013 한국정보처리학회 학술대회논문집 Vol.20 No.2

과거의 오프라인에서만 이루어 졌던 생활이 온라인에서의 활동으로 발전함으로 인해 온라인상에서 사용자가 올바른 사용자인지의 여부는 중요한 문제이다. 온라인상이나 나아가 일반 생활에서도 사용자 인증을 보다 정확하게 하기 위하여 생체인식 기술을 도입하였다. 생체인식 기술은 개인의 고유한 특징을 이용하여 인증을 수행하는 방법으로 비밀번호를 대체하는 차세대 인증 기술로 각광받고 있다. 인간의 고유한 특징의 종류는 매우 다양하며 이러한 특징을 추출하는 생체인식 기술도 다양한 센서와 알고리즘을 이용하여 이루어진다. 이러한 다양한 생체인식 기술들을 구분하고 다양한 플랫폼에 적용하였을 경우 어떤 효용성이 있는지 분석하고자 한다.

국가 정체성에 따른 올림픽 픽토그램 기호의 표현양식 연구 퍼스의 기호학 이론을 중심으로

김경실(Kim, Kyung Sil),엄기준(Um , Gi Jun) 한국디자인리서치학회 2019 한국디자인리서치 Vol.4 No.3

전 세계에서 주목하는 최대의 스포츠 이벤트인 올림픽은 다양한 문화와 언어가 공존하는 만큼 언어보다도 더욱 활발하게 사용되는 것이 바로 비언어적 시각 커뮤니케이션인 픽토그램이다. 이는 단순히 스포츠 경기 를 기호화하여 표현할 뿐만 아니라, 그 형태와 색상을 통해 국가의 이미지와 정체성을 나타내고 있다. 본 연구는 올림픽 픽토그램을 연도와 국가별로 구분하여 퍼스의 기호학 이론을 중심으로 어떻게 픽토그램 을 디자인하여 기호로 표현했는지 분석하였다. 이를 바탕으로 국가의 정체성을 어떻게 나타내고 있는지 그 표현양식을 연구하였다. 올림픽 픽토그램은 제작 당시의 시대적인 특징을 반영하고 있으며 색상과 형태를 통해 국가 브랜드를 기호화하여 표현한 것을 알 수 있다. 또 시대적인 흐름에 따라 보완되고 수정되는 변화를 반복하고 있으며 기호로서의 역할과 함께 디자인도 진화해 온 것을 확인할 수 있다. 앞으로 점점 더 빠르게 변화하는 기술과 정보의 발달에 따른 미래 픽토그램의 발전 방향도 모색하여 본다. The Olympics, the largest sporting event in the world, is a representative international event where many people enjoy and participate together, transcending language, culture and race. As various cultures and languages coexist, Pictogram, a non-verbal visual communication, is used more actively in the Olympics than the language. This not only serves as a symbol of sporting events but also represents the image and identity of the nation through its forms and colors. This study analyzed and studied the Olympic pictograms by year and country, focusing on the theory of Puss semiotics, and examined how each host country revealed its national identity through the expression form of the pictogram. Based on this, one can see how the national brand is represented and what the contemporary features of the time when it was made. In addition, one can see how they have been modified, supplemented and evolved according to the trends of the times. Furthermore, we look at the future directions of pictograms with the development of rapidly changing technologies and information.

조선시대 연화대무 동기복식 고증 및 재현

김경실(Kyung Sil Kim) 한국복식학회 2002 服飾 Vol.52 No.6

This paper investigated the costumes of young girl dancers in Yon wha dae moo(蓮花臺舞 : Lotus Stage dance) which were documented on the Ak-hak-guae-bum(樂學軌範 : Protocol of music) and the Jin-yeon-eui-guae(進宴儀軌 : Archives of Royal Feast). The fashion of the costumes can be changed into three phases, based mainly on the changes of Hap-rip(蛤笠 : silk hat), Dan-eui(丹衣 : long jacket) and Sang(裳: apron type skirt). In the first phase the costume consisted of Hap-rip, round neck-line Dan-eui and tiered skirt decorated with pleat and Yu-so(流蘇 : decorated cords). In the second phase, it consisted of Hap-rip, v-shape neck-line Dan-eui and skirt without pleat. In the third phase, it consisted of Yeon-wha-swan(蓮花冠 : Lotus shape cap), round neck-line Dan-eui of later era and skirt with pleat and Yu-so. Yon-wha-dae dance appears to be adopted from Ja-ji-mu(자지무 : chinese dance) that originated in West and Central Asia. In both dances, young girl dancers danced mainly jump and spin. The costume of round neck-line Dan-eui seems to have been affected by the fashion in Dang Dynasty when young girls loved to wear Dan-ryung(團領 : male coat with round neckline). And it satisfied the need of mobility for the dance which was performed mainly with jump.

전통요소를 응용한 패션디자인 연구

김경실 ( Kyung Sil Kim ) 한국패션디자인학회 2007 한국패션디자인학회지 Vol.7 No.1

With the turn into the 21st century, people`s interest in Korean culture and Korean traditional costume(Han Bok) is getting highlighted and new term of ``Han Ryu`` has been begotten. (Han Ryu means big Korean cultural wave.) Han Bok as a component of Han Ryu is now on the move with the national interest and support. Analysis and modernization works on Han Bok especially traditional royal costume should be taken urgently when we consider its symbolic meaning, representativeness and diversity. To respond on this need, as a process of research, we explored and find the essential design elements of the aesthetic characteristics of Korean traditional royal costume, attempted to apply those elements to the costume of modern style by making it as following. As a result of our analysis of the characteristic of Korean traditional royal costume, it might be summarized as reverence-implying loftiness, stylish and pure dignity, and auspiciousness harmonized by yin and yang. We observed closely the elements of its` design such as pattern, color, and formation. In this paper design, motives were sought for out of traditional royal costume and hereby a few design works wearable in modern living were made. The work chose King`s formal dress that is relatively open for diverse modification in formation and color. Genderless characteristics of modern costume and suitableness of formal wear were also taken into consideration. Aesthetic characteristics of loftiness and dignity in King`s formal dress might be observed in its pattern. Most prominent pattern is dragon which has top position among mysterious animals. And auspiciousness in King`s formal dress can be observed in its color in compliance with the principle of yin and yang, and in its grand fold-on-fold formation. The work produced two suits of lady`s day time formal suit and an evening coat which are good in any occasion of official or cultural event. International designers including Asian adopt traditional elements and transfer them in the fast track of modernization. Especially, we are able to guess the trend of cross over using between the countries with similar culture and national background. Therefore, the effort to promote Korean excluded image and to produce competible goods should be continuous with protection of the essential traditional royal costume`s elements.

특집 / 전통생활문화의 실천적 과제 모색 : 성균관대학교 전통식 학위체복 디자인 개발에 관한 연구 - 성균관 유생복과 석전제례복식을 응용한 디자인 -

황선진(Sun Jin Hwarg),김혜영(Hye Young Kim),권혜욱,권현정,이금희,김경실(Kyung Sil Kim),김소영,변유선,성희진(Hee Jin Sung),간호섭,안소영,문민애 성균관대학교 생활과학연구소 1999 生活科學 Vol.2 No.-

아크릴산을 이용한 폴리옥시에틸렌계 반응성 계면활성제의 합성 및 수성 점착제 특성

조정은(Jung-Eun Cho),이상철(Sang-Chul Lee),박종권(Jong-Kwon Park),김경실(Kyung-Sil Kim),신혜린(Hye-Lin Shin),김유리(Yu-Ri Kim),정노희(Noh-Hee Jeong) 한국고분자학회 2020 폴리머 Vol.44 No.1

본 실험에서 반응성 계면활성제는 비이온성 계면활성제인 polyoxyethylene lauryl ether(C12POE23), polyoxyethylene stearyl ether(C18POE20) 및 아크릴산을 사용하여 합성하였다. 합성한 계면활성제는 FTI R 및 ¹H NMR에 의해 확인하였으며, 물성은 임계미셀농도와 유화력을 측정하였다. 합성한 반응성 계면활성제의 표면장력 및 임계미 셀농도는 polyoxyethylene lauryl ether acrylate(C12POE23-AA)에 대해 1.1×10<SUP>-4</SUP> mol/L 및 37.85 dyne/cm이고 polyoxyethylene stearyl ether acrylate(C18POE20-AA)에 대해서는 9.6×10<SUP>-5</SUP>mol/L, 39.88 dyne/cm이었다. 본 연구에서 합성된 반응성 계면활성제를 점착제의 유화 중합에서 유화제로 사용하여 그 물성을 평가하였다. 고형분 함량은 57.2~57.5%의 범위에서 측정되었다. 초기 접착의 경우, 반응성 유화제로 제조된 C12POE23-AA는 <SUP>#</SUP>11으로 측정되었고, C18POE20-AA는 <SUP>#</SUP>9이다. 반응성 유화제를 이용한 수성 점착제는 피부용 점착제로서 응용될 것이다. In this experiment, reactive surfactants were synthesized by using nonionic surfactants such as polyoxyethylene lauryl ether (C12POE23), polyoxyethylene stearyl ether (C18POE20) and acrylic acid. The synthesized surfactant was confirmed by FTIR and ¹H NMR. In addition, its surface tension and emulsifying properties were estimated. The surface tension and critical micelle concentration of the synthesized reactive surfactant were 1.1×10<SUP>-4</SUP> mol/L and 37.85 dyne/cm, respectively, for polyoxyethylene lauryl ether acrylate (C12POE23-AA) and 9.6×10<SUP>-5</SUP>mol/L and 39.88 dyne/cm, respectively, for polyoxyethylene stearyl ether acrylate (C18POE20-AA). The synthesized reactive surfactant in this research was used as an emulsifier in emulsion polymerization of adhesives and its physical properties were evaluated. The solid content was measured in the range of 57.2~57.5%. In the case of initial adhesion, the C12POE23-AA and C18POE20- AA made with reactive emulsifier showed <SUP>#</SUP>11 and <SUP>#</SUP>9, respectively. Water-based adhesive using a reactive emulsifier will be applied as an adhesive for skin.

폴리옥시에틸렌계 반응성 계면활성제의 합성 및 물성

조정은 ( Jung-eun Cho ),이상철 ( Sang-chul Lee ),박종권 ( Jong-kwon Park ),김경실 ( Kyung-sil Kim ),신혜린 ( Hye-lin Shin ),김유리 ( Yu-ri Kim ),신승훈 ( Seung-hoon Shin ),정노희 ( Noh-hee Jeong ) 한국공업화학회 2019 공업화학 Vol.30 No.2

본 실험에서 반응성 계면활성제는 비이온성 계면활성제인 polyoxyethylene(23) lauryl ether(Brij 35)와 polyoxyethylene(20) stearyl ether(Brij S20)를 acrylic acid 또는 3-butenoic acid를 사용하여 합성하였다. 계면활성제는 FT-IR과 ¹H-NMR로 확인하였으며, 물성은 임계미셀농도, 유화력, 기포력을 측정하였다. 합성한 반응성 계면활성제의 표면장력과 임계미셀 농도는 35 dyne/cm~41 dyne/cm에서 1.0 × 10^-4 mol/L~9.7 × 10^-5 mol/L의 값을 가진다. 또한, 계면활성제의 유화력은 대두유, 벤젠, 모노머에서 측정하였으며, 기포의 초기 높이 및 5 min 후의 높이를 측정하여 비교하였다. In this paper, reactive surfactants were synthesized by using acrylic acid or 3-butenoic acid as nonionic surfactants, polyoxyethylene(23) lauryl ether (Brij 35) and polyoxyethylene(20) stearyl ether (Brij S20). The synthesis of surfactants was confirmed by FT-IR and ¹H-NMR. The surface tension, emulsifying property, and foam power and stability were also measured. The surface tension value was 35~41 dyne/cm at an critical micelle concentration (cmc) which was measured as 1.0 × 10^-4~9.7 × 10^-5 mol/L using a surface tension method. The emulsifying power of synthesized surfactant was measured with benzene, soybean oil and monomer. Also, the initial height of the bubbles and the height after 5 minutes were measured and the values were compared with each other.