본 연구는 우즈베키스탄 자동차 산업 발전에 있어 리버스 엔지니어링 의 역할을 탐구하며, 특히 노나카와 타케우치의 지식 창출 모델(SECI Model)과의 통합에 중점을 두고 있다. 우즈베키스탄이 경쟁력 있는 국내 산업을 구축하고자 노력함에 따라, 리버스 엔지니어링은 해외 기술의 습 득, 적용, 그리고 국산화를 가능하게 했다. 본 연구는 정성적 사례 연구 접근법을 활용하여 기업 보고서, 정책 문서, 학술 문헌을 바탕으로 1996 년부터 2024년까지의 발전 상황을 분석한다. 연구 결과에 따르면 리버스 엔지니어링은 지식 이전과 혁신을 지원해 왔지만, 제한된 R&D 역량, 수 입 부품 의존도, 그리고 취약한 지식재산권 보호 등의 과제가 여전히 남 아 있다. 이러한 장벽을 극복하기 위해 본 연구는 전략적 정책, 국내 혁 신에 대한 투자 확대, 그리고 AI 기반 설계 프로세스 도입을 권고한다.

In order to identify the CAN message sent from the ECU, the CAN waveform and operating current were measured during the operation of the CAN driver.CAN ID was identified in the same phase as the measured voltage waveform and operating current, and reverse engineering was performed .And, by measuring CAN bus wire EMI noise, it was tested whether CAN ID was identified.CAN ID verified ECU data using CAN analyzer.

Among the various roll-to-roll printing technologies such as gravure, gravure-offset, and reverse offset printing,reverse offset printing has the advantage of fine patterning, with less than 5µm line width. However, it involves complexprocesses, consisting of 1) the coating process, 2) the off process, 3) the patterning process, and 4) the set process of the ink.Each process demands various ink properties, including viscosity, surface tension, stickiness, and adhesion with substrate orcliché; these properties are critical factors for the printing quality of fine patterning. In this study, Ag nano ink was developedfor reverse offset printing and the effect of polyvinylpyrrolidone(PVP), used as a capping agent of Ag nano particles, on theprinting quality was investigated. Ag nano particles with a diameter of ~60nm were synthesized using the conventional polyolsynthesis process. Ethanol and ethylene glycol monopropyl ether(EGPE) were used together as the main solvent in order tocontrol the drying and absorption of the solvents during the printing process. The rheological behavior, especially ink adhesionand stickiness, was controlled with washing processes that have an effect on the offset process and that played a critical rolein the fine patterning. The electrical and thermal behaviors were analyzed according to the content of PVP in the Ag ink. Finally,an Ag mesh pattern with a line width of 10µm was printed using reverse offset printing; this printing showed an electricalresistivity of 36µΩ·cm after sintering at 200oC.

The studies on the logistics has been mainly centered on the logistics information system and logistics performance on the supply chain for the enterprise's profit making. For sustainable development, it's being required the construction of recycling-oriented system, and it's also necessary to construct the efficient system not only in forward but in reverse channel. In addition, it's required to construct information system for supporting reverse logistics smoothly. In this study of manufacturing enterprises, recognition on the environmental problems is set as the adaptation degree to the national environmental regulations and enterprise's concern to the environmental logistics, and it presents the direction through analyzing the effects of such environmental logistics recognition on reverse logistics information system and performance. In order to achieve these aims, it was performed through combining philological and positive studies.

Robert Rauschenberg’s artistic career has often been regarded as having reached its culmination when the artist won the first prize at the 1964 Venice Biennale. With this victory, Rauschenberg triumphantly entered the pantheon of all-American artists and firmly secured his position in the history of American art. On the other hand, despite the artist’s ongoing new experiments in his art, the seemingly precocious ripeness in his career has led the critical discourses on Rauschenberg’s art to the artist’s early works, most of which were done in the mid-1950s and the 1960s. The crux of Rauschenberg criticism lies not only in focusing on the artist’s 50’s and 60’s works, but also in its large dismissal of the significance of the imagery that the artist employed in his works. As art historians Roger Cranshaw and Adrian Lewis point out, the critical discourse of Rauschenberg either focuses on the formalist concerns on the picture plane, or relies on the “culturalist” interpretation of Rauschenberg’s imagery which emphasizes the artist’s “Americanness.” Recently, a group of art historians centered around October has applied Charles Sanders Peirce’s semiotics as art historical methodology and illuminated the indexical aspects of Rauschenberg’s work. The semantic inquiry into Rauschenberg’s imagery has also been launched by some art historians who seek the clues in the artist’s personal context. The first half of this essay will examine the previous criticism on Rauschenberg’s art and the other half will discuss the artist’s 1955 work Rebus, which I think intersects various critical concerns of Rauschenberg’s work, and yet defies the closure of discourses in one direction. The categories of signs in the semiotics of Charles Sanders Peirce and the discourse of Jean-Francois Lyotard will be used in discussing the meanings of Rebus, not to search for the semantic readings of the work, but to make an analogy in terms of the paradoxical structures of both the work and the theory. The definitions of rebus is as follows: Rebus 1. a representation of words or syllables by pictures of object or by symbols whose names resemble the intended words or syllables in sound; also : a riddle made up wholly or in part of such pictures or symbols. 2. a badge that suggests the name of the person to whom it belongs. Webster’s Third New International Dictionary of the English Language Unabridged. Since its creation in 1955, Robert Rauschenberg’s Rebus has been one of the most intriguing works in the artist’s oeuvre. This monumental ‘combine’ painting(6 feet x 10 feet 10.5 inches) consists of three panels covered with fabric, paper, newspaper, and printed reproductions. On top of these, oil paints, pencil and crayon drawings connect each section into a whole. The layout of the images is overall horizontal. Starting from a torn election poster, which is partially read as “THAT REPRE,” on the far left side of the painting, Rebus leads us to proceed from the left to the right, the typical direction of reading in a Western context. Along with its seemingly proper title, Rebus, the painting has triggered many art historians to seek some semantic readings of it. These art historians painstakingly reconstruct the iconography based on the artist’s interviews, (auto)biography, and artistic context of his works. The interpretation of Rebus varies from a ‘image-by-image’ collation with a word to a more general commentary on Rauschenberg’s work overall, such as a work that “bridges between art and life.” Despite the title’s allusion to the legitimate purpose of the painting as a decoding of the imagery into sound, Rebus, I argue, actually hinders a reading of it. By reading through Peirce to Rauschenberg, I will delve into the subtle anxiety between words and images in their works. And on this basis, I suggest Rauschenberg’s strategy in playing Rebus is to hide the meaning of the imagery rather than to disclose it.

현재의 제품디자인 교육에는 다양한 프로세스와 방법론이 있다. 일반적으로 학생들의 아이디어를 바탕으로 디지털 운용능력을 통해 디자인 목업 제작까지 진행하는 결과물 중심의 교육 방식은 실무 제품디자인 분야에서 요구되는 현실적, 기능적 문제 해결에 다소 부족하다고 할 수 있다. 즉, 현재의 제품 관련 디자인은 학생들에게 결과가 아닌 과정 중심의 분석이 요구되고 있으며, 심미적 관점으로부터 기능적, 설계적 관점 등 실무에서 이루어지고 있는 구체적 경험을 요구한다는 점이다. 본 연구에서는 일반적 제품디자인 교육에서 벗어나 리버스 엔지니어링 개념을 적용하여 기존 제품의 문제점과 정량구조분 석을 통해 기능적, 생산적인 문제 해결을 경험하는 설계 중심의 리디자인 교육을 진행하였다. 이러한 교육방법은 심미적 관점의 디자인에서 확장된 구조 중심의 교육 방법론으로 기존의 제품에서 발견되는 문제점을 분석하고 제한된 조건 하에서 파라메트릭 3D 모델링과 병행하여 진행한다는 점이 차이점이라고 할 수 있다. 본 연구는 리버스 엔지니어링을 통한 리디자인 과정의 구체적 교육 방법론을 제시하고 있으며, 현실적인 디자이닝과 엔지니어링의 학제적 융합을 접목한 실무 제품 디자인교육이라고 할 수 있다.