Academic literature on the topic 'Cinematic Model'
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Journal articles on the topic "Cinematic Model"
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Cassell, Bradley, and R. Young. "Ember, Toward Salience-Based Cinematic Generation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 4 (June 30, 2021): 78–81. http://dx.doi.org/10.1609/aiide.v9i4.12630.
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Automatic cinematic generation for virtual environments and games has shown to be capable of generating general purpose cinematics. There is initial work that approaches cinematic generation from the perspective of narrative instead of low level camera manipulation. In our work, we further extend this idea to take into consideration a model of user memory. Models of reader comprehension and memory have been developed to attempt to explain how people comprehend narratives. We propose using these models of narrative comprehension and memory to augment a system for cinematic generation so that it can produce a cinematic that can communicate character deliberation to the viewer by maintaining the salience of specific events.
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Bronguleyev, V. Vad. "3-d CINEMATIC MODEL OF SLOPE EVOLUTION." Geomorphology RAS, no. 1 (April 23, 2015): 3. http://dx.doi.org/10.15356/0435-4281-2011-1-3-13.
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Martin, Philip. "Toward a Model of Distributed Affectivity for Cinematic Ethics." Projections 13, no. 2 (June 1, 2019): 80–107. http://dx.doi.org/10.3167/proj.2019.130205.
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Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.
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Simonton, Dean Keith. "Cinematic success, aesthetics, and economics: An exploratory recursive model." Psychology of Aesthetics, Creativity, and the Arts 3, no. 3 (August 2009): 128–38. http://dx.doi.org/10.1037/a0014521.
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Kovács, András Bálint, Gal Raz, Giancarlo Valente, Michele Svanera, and Sergio Benini. "A Robust Neural Fingerprint of Cinematic Shot-Scale." Projections 13, no. 3 (December 1, 2019): 23–52. http://dx.doi.org/10.3167/proj.2019.130303.
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This article provides evidence for the existence of a robust “brainprint” of cinematic shot-scales that generalizes across movies, genres, and viewers. We applied a machine-learning method on a dataset of 234 fMRI scans taken during the viewing of a movie excerpt. Based on a manual annotation of shot-scales in five movies, we generated a computational model that predicts time series of this feature. The model was then applied on fMRI data obtained from new participants who either watched excerpts from the movies or clips from new movies. The predicted shot-scale time series that were based on our model significantly correlated with the original annotation in all nine cases. The spatial structure of the model indicates that the empirical experience of cinematic close-ups correlates with the activation of the ventral visual stream, the centromedial amygdala, and components of the mentalization network, while the experience of long shots correlates with the activation of the dorsal visual pathway and the parahippocampus. The shot-scale brainprint is also in line with the notion that this feature is informed among other factors by perceived apparent distance. Based on related theoretical and empirical findings we suggest that the empirical experience of close and far shots implicates different mental models: concrete and contextualized perception dominated by recognition and visual and semantic memory on the one hand, and action-related processing supporting orientation and movement monitoring on the other.
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Toma, Georgeta. "Research Concerning the Dynamic Model of the Conventional Sucker Rod Pumping Units." Revista de Chimie 70, no. 8 (September 15, 2019): 2818–21. http://dx.doi.org/10.37358/rc.19.8.7434.
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The study of the dynamic model of the conventional sucker rod pumping units requires first determining the variation on the cinematic cycle of the synthesis parameters (the reduced moment and the reduced mass moment of inertia) and then the variation of the angular speed of the cranks, in response to the dynamic and resistant actions on the component elements that appear during operation. The paper presents the way of determining the variation on the cinematic cycle of the synthesis parameters of the dynamic model corresponding to the conventional pumping unit mechanism and of the variation of the angular speed of its cranks. The experimental records have been processed with the Total Well Management program. The simulations have been performed with a computer program developed by the author using the Maple programming environment.
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Wang, Kenny, and Chong Han. "Cinematic Equivalence in Subtitling: A Case Study of the Biographical Drama Forever Enthralled." Studies in Linguistics and Literature 4, no. 2 (March 16, 2020): p1. http://dx.doi.org/10.22158/sll.v4n2p1.
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We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.
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Romanescu, Alina Elena, Laura Diana Grigorie, and Daniela Vintilă. "Theoretical and Experimental Studies on the Motion of a Pneumatically Actuated Manipulator." Applied Mechanics and Materials 823 (January 2016): 423–28. http://dx.doi.org/10.4028/www.scientific.net/amm.823.423.
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The current study reveals a method of cinematic calculus of a manipulator, whose geometry has been created according to the model of a plant. The calculus method has been experimentally checked on a scale model.
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Edwards, D. A. "A differential equation model of North American cinematic box-office dynamics." IMA Journal of Management Mathematics 12, no. 1 (July 1, 2001): 41–74. http://dx.doi.org/10.1093/imaman/12.1.41.
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Edwards, D. A., R. Buckmire, and J. Ortega-Gingrich. "A mathematical model of cinematic box-office dynamics with geographic effects." IMA Journal of Management Mathematics 25, no. 2 (June 2, 2013): 233–57. http://dx.doi.org/10.1093/imaman/dpt006.
Full textDissertations / Theses on the topic "Cinematic Model"
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Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.
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The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary.
Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice.
The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Guirado, Natalia Cipolaro. "Um sistema semiótico sincrético: a linguagem cinematográfica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-30092013-115304/.
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Nesta dissertação, partimos da base teórica da semiótica francesa para abordar o sincretismo da linguagem cinematográfica, sistema semiótico no qual é possível obter a significação homogênea da forma códica sincrética a partir da sincretização de linguagens concorrentes. Procuramos estabelecer o lugar do cinema na teoria semiótica para que a análise dos objetos sincréticos possa ser elaborada de maneira ampla considerando todas as linguagens envolvidas em sua manifestação. Assim, partimos das colocações do conceito de sincretismo de Hjelmslev (1975), Greimas e Courtés (1979) e dos avanços teóricos de Beividas (1983) para aprofundar a discussão a respeito de como pode ocorrer o arranjo e a organização das linguagens participantes do sistema de sincretização na linguagem do cinema, tendo em vista que se colocariam como funções do sistema sincrético e também como funtivos de novas funções que seriam criadas. Pretendemos demonstrar com a proposta do modelo de sincretização da forma códica sincrética que um filme pode ser analisado em uma abordagem abrangente da sincretização para que se alcance a complexidade da linguagem que constrói sua significação por meio da organização de diversas formas códicas, as linguagens individuais que participam do sistema sincrético. Por fim, buscamos abarcar as peculiaridades formais e materiais da linguagem cinematográfica com a análise semiótica de seu sistema de significação.In this dissertation, we depart from the theoretical basis of French semiotics to treat the syncretism of cinematic language, semiotic system in which it is possible to obtain the homogeneous signification of the syncretic code form from the syncretization of concurrent languages. We aim at establishing the place of cinema in semiotic theory so that the analysis of syncretic objects can be broadly elaborated considering all languages involved in its manifestation. Thus, we assume the conceptualization of syncretism by Hjelmslev (1975), Greimas and Courtés (1979) and the theoretical advances proposed by Beividas (1983) to deepen the discussion about how the arrangement and the organization of languages that participate in the system of syncretization in the language of cinema may occur, assuming that they would act as functions of the syncretic system, and also as functives of new functions which would be created. We intend to demonstrate with a model of syncretization of the syncretic code form that a movie can be analyzed in a broad approach of syncretization so that the complexity of the language that constructs its signification is achieved through the organization of several code forms, the individual languages that participate in the syncretic system. Finally, we aim at covering the formal and material peculiarities of cinematic language through the semiotic analysis of its system of signification.
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CASSAGHI, DANIELE MARIO. "RETAINING RETENTIONALISM. A DEFENCE OF A TENSELESS ACCOUNT OF PERCEPTUAL EXPERIENCE." Doctoral thesis, Università degli Studi di Milano, 2020. http://hdl.handle.net/2434/708263.
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We are able to perceive temporally structured events, like change, motion and persistence. These events do have temporal properties like duration, temporal order and simultaneity. In addition, many philosophers hold that, contrary to space, these temporal properties do not exhaust our temporal experience. Time itself, they hold, is felt as enjoying a transient character over and above these relations. Our awareness of temporal properties and the alleged flowing character of time are the object of analysis of this dissertation.
Many philosophical problems and issues arise in this respect, among which the Paradox of Temporal Experience, the requirement of accommodating temporal transparency and the troubles for the B-Theory because of the so-called "Argument from Phenomenology". In addressing all of them, I will propose a full-blown tenseless account of temporal perception, implemented via retentionalism. It is a completely new proposal, since the received view runs against this very hypothesis, especially if the latter is accompanied by a naive realist conception of experience. In other words, I will show that no reference to any temporal location is within our perceptual contents. Moreover, In respect of the idea of a perceived flow, I will propose that this relies on a mistake. There is nothing like the perception of time passage.
Finally, It is worth to point out that, within the overall field of philosophy of perception, our ability to perceive time is an unicum. While it is often said that our acts of perception do not share the properties of the perceived objects, it is still the case that temporal perception occurs in time. This is very interesting because temporal properties of perception come to have a role at explaining our ability to be acquainted with temporal properties in the environment. Finally, temporal perception has a lot of connections with other inquiries such metaphysics and cognitive science which will be explored in various extent.
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Erthal, Jorge Luiz. "Modelo cinestático para análise de rolagem em veículos." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/93976.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Engenharia Mecânica, Florianópolis, 2010Made available in DSpace on 2012-10-25T05:14:16Z (GMT). No. of bitstreams: 1 280433.pdf: 682023 bytes, checksum: f87fb02af6515fa339856aed8a844ee5 (MD5)
Este trabalho tem como objetivo propor um modelo matemático para análise do comportamento de um veículo submetido a um carregamento lateral crescente até atingir o limiar do capotamento. Modelos simplificados existentes não levam em conta o comportamento da cinemática da suspensão o que inviabiliza a representação da cambagem, bitola, transferência de carga, posição do centro de gravidade e, principalmente, a posição do centro de rolagem, normalmente considerado fixo no plano médio. Trata-se de um modelo quase-estático, com representação plano-frontal e com dois graus de liberdade. Compõe-se de carroceria e duas rodas, conectadas à carroceria através de duas suspensões tipo McPherson. A rigidez equivalente das molas é levada em consideração. A formulação matemática aplicada baseia-se no método de Davies, que propõe uma forma sistemática para a geração e solução das equações da cinemática e da estática de mecanismos. O método utiliza a teoria dos helicoides, a teoria dos grafos e as leis de Kirchhoff. Através do modelo, é possível analisar o movimento da carroceria, a migração do centro de rolagem e do centro de gravidade, a transferência de carga e a distribuição da carga vertical, até ser atingido o limiar do capotamento, em resposta a uma aceleração lateral. Também pode-se avaliar a diferença em relação ao Fator de Estabilidade Estática, parâmetro utilizado para avaliar a tendência de capotamento de um veículo. Para demonstrar o comportamento do centro de rolagem no mecanismo de dois graus de liberdade, é dado o enfoque de mecanismos em que o centro de rolagem e os polos são considerados como centros instantâneos de rotação. A contribuição está relacionada com a representação cinemática mais apropriada proporcionada pelo modelo (com dois graus de liberdade), que consegue reproduzir, de forma adequada, a variação da cambagem, da bitola e, principalmente, a migração do centro de rolagem. Outra contribuição diz respeito à forma de geração das equações e da obtenção dos resultados, notavelmente facilitados pela aplicação do método de Davies.
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Campos, Renato de. "Implementação de um algoritmo para estimativa de parametros do modelo cinematico de robos." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/265027.
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Orientador: João Mauricio RosarioDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecanica
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Resumo: Atualmente, as tarefas a serem executadas por robôs estão se tornando mais complexas. Nesse contexto encontra-se, por exemplo, a integração de robôs aos sistemas CIM (Computer Integrated Manufaturing), e a necessidade de se definir trajetórias matematicamente, via um sistema CAD (programação off-line), sendo inviável a programação por aprendizagem. Com a programação off-line, a exatidão do sistema robótico torna-se essencial para o sucesso da operação programada. Este trabalho visa o estudo e implementação de um procedimento para. estimativa de parãmetros geométricos e calibração para robôs, consistindo basicamente de quatro fases: 1. Modelagem geométrica do sistema robótico e de seu erro através do jacobiano de sua matriz de posicionamento; 2. Sequência de medidas de posicionamento por um sistema externo; 3. Estimativa de parãmetros através de um algoritmo que tem como entrada as medidas geradas na segunda fase e um valor inicial arbitrário para os parãmetros, que-deve convergir usando o critério de mínimos quadrados; 4. Implementação dos valores dos parãmetros estimados no software de controle e programação off-line do robô. São realizadas simulações do algoritmo de estimativa, onde é analisado a influência de variáveis do procedimento, com relação à precisão na estimativa. É efetuado um experimento prático de estimativa dos parâmetros do robô MANUTEC r3, tendo como dispositivo de medidas, uma mesa tridimensional. É realizado um outro procedimento visando a estimativa de parâmetros do mesmo robô, porém com as medidas feitas através de uma ferramenta e peça de calibração dedicada para esta finalidade. Os resultados obtidos utilizando-se estes dois dispositivos são comparados. São propostas duas diferentes soluções visando a correção de erros de posicionamento entre um robô e seu painel de operação em intervenções submarinas
Abstract: Not informed.
Mestrado
Mestre em Engenharia Mecânica
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Darke, Paul Anthony. "The cinematic construction of physical disability as identified through the application of the social model of disability to six indicative films made since 1970 : A day in the death of Joe Egg (1970), The raging moon (1970), The elephant man (1980), Whose life is it anyway? (1981), Duet for one (1987) and My left foot (1989)." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/36342/.
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In writing this thesis I have tried to get beneath the clichés of disability imagery to reveal the social constructions, through cinematic processes, of images of physical impairment as disability. The thesis must be seen in the context of other writers who have done similar work on other marginalised groups within our society that are regularly portrayed on the cinema screen: gays, blacks, women and, to a lesser extent, the working-class. The construction of school of writers, using representation theory, who have over the last two decades revealed that which had previously been taken for granted - the ideological and cultural influences on and of imagery that have an impact upon the lived lives of those represented - have been my guiding influence. The Social Model of disability theory has been used as my primary methodological framework and analytical approach. In the introduction I provide an outline of Disability Theory — i.e., the Medical Model and the Social Model of disability - and define the theoretical framework within which the thesis has been written to make the thesis comprehensible in the wider context of the social construction of 'disability'. In the literature review of disability imagery writing (Chapter One), I include writing that is journalistic rather than academic to redress the general scarcity of writing on disabling images. In this thesis, the cinematic techniques that construct impairment as disability, i.e., pathologise impairment as Other(ness), are identified. I explore three specific areas of cinema and culture in Chapters Two, Three and Four of the thesis: the use, or non-use, of stereotypes; the representation of the family in relation to disability, and finally, the use of the abnormal body to pathologise impairment.
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Agostinho, Felipe Stefan [UNESP]. "Avaliação de modelo tridimensional não invasivo da articulação coxofemoral em ovinos hígidos." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/140254.
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000866843.pdf: 2051424 bytes, checksum: 606e4de0c5ae748f2a56babafa7d9845 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O trabalho teve por objetivos propor e avaliar modelo cinemático tridimensional não invasivo da articulação coxofemoral de ovinos, usando sistema de coordenada articular, bem compará-lo e correlacioná-lo a dois modelos sagitais. Para tanto, foram utilizados oito ovinos hígidos de porte semelhante, não castrados, fêmeas, com idade entre 2 e 4 anos. Para o cálculo dos ângulos foram aplicados três modelos matemáticos, um sistema de coordenada articular (SCA) e dois modelos sagitais, sendo um linear (MSL) e um segmentar (MSS). Os modelos SCA, MSL e MSS permitiram a captura dos ângulos de flexão/extensão e abdução/adução. Adicionalmente o modelo SCA permitiu a captura dos ângulos de rotação interna/externa. Os ângulos máximos, mínimos e deslocamentos angulares para cada uma das variáveis foram avaliados. Na comparação entre SCA e MSL não foram observadas diferenças significativas para flexão/extensão e abdução/adução. Já nas comparações de MSL/MSS e SCA/MSS, excetuando-se o deslocamento angular em flexão/extensão entre SCA/MSS, foram observadas diferenças significativas para flexão/extensão e abdução/adução, nas demais variáveis. Os valores dos ângulos de rotação interna/externa apresentaram alta variabilidade. Não houve correlação significativa no deslocamento angular de abdução/adução entre MSL e MSS, porém todas as demais correlações entre modelos foram significativas. Foi possível concluir que os ângulos de flexão/extensão e abdução/adução adquiridos com o sistema de coordenada articular foram similares com o modelo sagital linear, mas não com o modelo sagital segmentar. Os dados de rotação interna/externa determinados pelo sistema de coordenada articular podem não ser aplicáveis
The aim of this study was to develop and evaluate a noninvasive three-dimensional model of the hip joint in sound sheep using a joint coordinate system, and to compare and correlate it with two sagittal models. Eight sound sheep of similar size, intact, female, aged from 2 to 4 years were used. Three models were used to angle calculations including joint coordinate system (SCA), and sagittal linear (MSL) and sagittal segmental model (MSS). The SCA, MSL and MSS models were able to capture flexion/extension and abduction/adduction angles whereas SCA model also was able to capture internal/external rotation angle. Maximum angle, minimum angle and angular displacement were calculated for all variables. Comparing SCA to MSL, significant differences were not observed. Differences were observed in all comparisons between SCA/MSS and MSL/MSS, except for flexion/extension displacement between SCA/MSS that was similar. The values of internal/external rotation angles showed high variability. The correlations were significant for both flexion/extension and abduction/adduction angles in the three models, except for abduction/adduction displacement between MSL/MSS. In conclusion, the flexion/extension and abduction/adduction angles obtained with joint coordinate system were similar to sagittal linear, but not with sagittal segmental model. The internal/external rotation angle data obtained by joint coordinate system may not be useful
FAPESP: 2012/12826-8
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Sandu, Sebastian. "Developing a power dissipation model for planetary roller screws." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEI096.
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Les vis à rouleaux convertissent la rotation en translation de manière très efficace et sont utilisées dans des nombreuses industries. Mais même s'il présente beaucoup d'avantages, le mécanisme reste complexe et relativement difficile à comprendre. Le principal but de cette thèse est de quantifier la puissance dissipée par les vis à rouleaux standard et inversées, qui est un résultat important pour toute étude liée à l'efficacité ou la distribution de température. De plus, il s'agit d'un critère de conception dans le choix de paramètres optimaux pour une certaine application. À cause des travaux peu nombreux en termes de recherche et des hypothèses restrictives faites dans la littérature courante, ce mémoire commence avec une analyse géométrique de base du mécanisme et envisage de généraliser les équations des surfaces filetées pour les différents types de profils et conditions de jeu. La position des points de contact peut ensuite être déduite avec un algorithme de type Newton-Raphson très rapide. Cette information est cruciale pour toute étude ultérieure de force. Après, les équations classiques de Hertz sont adaptées à des contacts peu conformes pour déterminer la forme, les dimensions et l'orientation des ellipses de contact rouleau-vis et rouleau-douille. Il est prouvé que les directions principales de courbure obtenues ici par géométrie différentielle sont différentes de celles supposées dans les précédents travaux de recherche. Ensuite, la cinématique du mécanisme est étudiée avec un modèle stationnaire, qui établit des liens entre les mouvements uniformes de tous les composants et permet de calculer d'une manière simplifiée le champ de vitesse de glissement en tout point de l'aire de contact. Le mouvement local apparaît comme une combinaison de spin et de glissement uniforme. Le modèle est calibré sur un seul degré de liberté qui prend la forme d'un quotient de glissement, qui dépend de conditions de lubrification et équations d'équilibre dynamique. Un banc expérimental est conçu pour mesurer ce quotient et permettre donc la comparaison avec des valeurs numériques, ainsi que les quelques modèles analytiques disponibles dans la littérature. Les résultats montrent que les mesures sont très proches des conditions de fonctionnement idéales, ce qui fait que les propriétés du lubrifiant et les coefficients de frottement deviennent les paramètres les plus influents dans le peu de marge disponible pour l'amélioration cinématique. Finalement, un modèle numérique en forces est développé et permet de calculer la puissance dissipée pendant l'équilibre stationnaire. L'algorithme itératif détermine d'abord le quotient de glissement atteint à l'équilibre et utilise ensuite le résultat pour déduire les autres variables cinématiques et dynamiques liées au calcul. Une étude paramétrique est réalisée dans le but d'identifier les facteurs importants pour l'efficacité et la puissance dissipée, ainsi que leur contribution relativeRoller screws are highly efficient rotation-translation converters used in a variety of industries. Despite its numerous advantages, the mechanism remains complex and rather difficult to understand. The main goal of this thesis is to quantify the amount of power dissipated by standard and inverted roller screws, which is an important result for any study related to efficiency or temperature distribution. Furthermore, it is used as a design criterion in choosing optimal parameters for a given application. Due to the limited amount of available research and the restrictive assumptions made in current literature, this memoir starts with a basic geometric analysis of the mechanism and attempts to generalize threaded surface equations for different types of profiles and backlash conditions. The contact point locations can then be deduced using a very fast Newton-Raphson algorithm. This information is crucial for any subsequent force analysis. Classic Hertzian equations are then adapted to slightly conforming contacts in order to calculate the shape, size and orientation of the roller-screw and roller-nut contact ellipses. It is shown that the principal directions of curvature obtained here by differential geometry are different from the ones assumed by previous research. Next, the mechanism kinematics is investigated using a stationary model, which relates the steady-state movement of all the different components and allows a simplified calculation of the sliding velocity field at any point within the contact areas. The local motion proves to be a combination of spin and uniform sliding. The model is set to have only one degree of freedom in the form of a slip ratio, which depends on lubrication conditions and force balance equations. An experimental setup is designed to measure this ratio and thus allow comparison to numerical values, as well as the few analytical models available in the literature. Results show that measurements are very close to ideal operating conditions, which makes lubricant properties and friction coefficients the most influential parameters in the little room available for kinematic improvement. Finally, a numerical force model is developed, which calculates the power dissipated during the steady-state regime. The iterative algorithm first determines the value of the slip ratio reached during stationary equilibrium and then uses the result to deduce the other kinematic and dynamic unknowns involved. A parametric study is conducted to identify the important factors in efficiency and power dissipation, as well as their relative influence
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Rosa, Rossella. "Kinematic indexes and models for performance optimization of parallel manipulators." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3422158.
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This Thesis proposes definitions of novel performance indexes for parallel manipulators. The first one, called Direction Selective Index (DSI), can provide uncoupled evaluations of robot translational capabilities along specific directions. Such an index, which might be considered an extension of the traditional manipulability index, overcomes the limitations of manipulability (but also of other popular indexes such as the minimum singular value and the condition number of the Jacobian matrix) which just provides global evaluations of the robot capabilities that are often of limited practical usefulness.
Afterwards, a new Task dependent Performance Index (TPI) has been defined based on the extended DSI formulation. TPI is an index aimed at providing evaluations of parallel robot performances in executing specific tasks. What is innovative in the TPI, is its accounting for robot kinematics and task geometrical features concurrently.
The experimental investigations carried out on a commercial parallel robot have proved the validity of the hints inferred through the proposed DSI formulation and the reliability of the TPI formulation predictions of the best relative positioning between the robot and the task to be executed.
The TPI has also been employed as a design tool in an optimization methodology for choosing the lengths of some selected robot links. Such a method as well as the proposed indexes can therefore be applied to any parallel robot architecture, as long as an inverse Jacobian matrix can be computedIn questa Tesi vengono proposti nuovi indici di prestazione per manipolatori paralleli. Il primo, chiamato Direction Selective Index (DSI), consente di valutare separatamente le capacità di traslazione del robot lungo specifiche direzioni. Tale indice, che può essere considerato una estensione del tradizionale indice di manipolabilità, supera i limiti di quest’ultimo (oltre a quelli di altri indici conosciuti come il minimo valore singolare o il numero di condizionamento della matrice Jacobiana) che dà solo delle valutazioni globali delle capacità del robot che spesso non sono utili dal punto di vista pratico. Successivamente, è stato definito un altro indice, il Task dependent Performance Index (TPI), basato sulla formulazione del DSI. Il TPI ha lo scopo di dare valutare le prestazioni del robot riguardanti l’esecuzione di specifiche operazioni. L’aspetto innovativo del TPI è rappresentato dal tener conto della cinematica del robot e delle caratteristiche geometriche dell’operazione. Gli studi sperimentali condotti su un robot parallelo di uso commerciale hanno dimostrato la validità dei suggerimenti ottenuti attraverso il DSI e l’affidabilità delle previsioni del TPI nell’individuare la migliore posizione relativa tra robot e task da eseguire. Inoltre il TPI è stato utilizzato come strumento di progettazione in un metodo di ottimizzazione per la scelta delle lunghezze di alcuni membri del robot. Una volta ricavata la matrice Jacobiana inversa del robot, gli indici proposti e il metodo di ottimizzazione possono essere applicati a qualsiasi manipolatore parallelo
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Baccar, Amina. "Etude de la géométrie et de la cinématique du système vis à rouleaux." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEI033.
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Ce travail de thèse Cifre, réalisé dans le cadre de la collaboration avec la société Elbi, porte sur la modélisation de la géométrie et de la cinématique du système vis à rouleaux. Ce travail analyse la cinématique et la géométrie du mécanisme de vis à rouleaux satellites (RSM) pour fournir une base fondamentale pour soutenir ses diverses applications. Un modèle 3D du système vis à rouleaux est développé. Un code numérique a été développé en fonction de la géométrie et la cinématique du système de vis à rouleaux. Le champ d’effort et le champ de pression en fonction des défauts de forme et de la géométrie sont obtenus dans ce travail. Ensuite, un modèle 3D du moment de frottement dans le contact entre les surfaces de la vis à rouleaux est développé. La vitesse de glissement et la force de frottement se produisant entre vis/rouleau et entre rouleau/écrou a été calculé conformément à la cinématique, la géométrie et les erreurs de forme. L’efficacité, les pertes par frottement et la durée de vie du mécanisme de la vis à rouleaux en fonction des défauts de forme, de la cinématique et de la géométrie sont obtenues. Ces résultats numériques montrent le rendement important du système de vis à rouleaux en fonction des défauts de forme (autour de 97%). Par ailleurs, une partie expérimentale a été faite sur un banc d’essais électromécanique en collaboration avec le laboratoire Ampère d’Insa de Lyon afin de comparer les résultats expérimentaux avec les résultats théoriques. Ces expériences nous permettent de découvrir plusieurs sources de pertes de frottement dans l’ensemble du banc d’essais, ce qui confirme le faible rendement obtenu expérimentalement (autour de 50 %) pour tout l’ensemble (vérin électromécanique, réducteur). Quelques optimisations ont été effectuées pour améliorer l’efficacité de l’ensemble. Mais il reste difficile de quantifier l’efficacité de système (vis-rouleaux-écrou) expérimentalement. Pour cela, des essais manuels effectués en utilisant le système vis à rouleaux seul confirme les résultats numériques. Une autre partie expérimentale (en utilisant les machines MTM et HFRR) a été faite afin d’obtenir l’influence du lubrifiant sur le coefficient de frottement. Quatre huiles de différentes caractéristiques ont été utilisées. Ces huiles ont été utilisées sur le banc d’essais, mais l’influence du lubrifiant sur le rendement de l’assemblage n’est pas obtenue à cause de la rugosité importante des surfaces de contact du système vis à rouleauxThis PhD work, carried out in collaboration with the Elbi company concerns the modeling of the geometry and the kinematics of the roller screw system. This work analyzes the ki- VII Résumé nematics and the geometry of the planetary roller screw mechanism (RSM) to provide a fundamental basis to support its various applications. A 3D model of the roller screw system is developed. A numerical code has been developed as a function of the geometry and the kinematics of the roller screw system. The force and the contact pressure distribution as a function of form errors and geometry are obtained in this work. Then, a 3D model of the frictional moment was developed. The sliding speed and the frictional force (between screw/roller and roller/nut) was calculated as a function of the kinematics, the geometry and the form error. Efficiency, frictional losses and the lifetime of the roller screw mechanism as a function of the form errors, the kinematics and geometry are obtained. These numerical results show the high efficiency of the roller screw system (around 97 %). Furthermore, experiments were performed on an electromechanical bench in collaboration with the laboratory Ampére of INSA Lyon, to compare these results with theoretical predictions. These experiments reveal several sources of friction losses, which confirms the low efficiency obtained experimentally (around 50 %) for the complete system (electromechanical actuator and gearbox). Some optimizations have been made to improve the efficiency of the assembly. But it remains difficult to quantify the efficiency of the set (screw-roller-nut) experimentally because of the presence of many sources of friction. To attain this goal, manual tests using the single roller screw system confirm the numerical results. Furthermore, another experimental part (using the HFRR and MTM Machines) was carried out to obtain the influence of the lubricant on the friction coefficient. Four oils of different characteristics were used. These four oils were used on the test bench, but the influence of the lubricant on the performance of the system was not obtained due to the high roughness of the contact surfaces of the roller screw system
Books on the topic "Cinematic Model"
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Nagib, Lúcia. Realist Cinema as World Cinema. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517.
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This book presents the bold and original proposal to replace the general appellation of ‘world cinema’ with the more substantive concept of ‘realist cinema’. Veering away from the usual focus on modes of reception and spectatorship, it locates instead cinematic realism in the way films are made. The volume is structured across three innovative categories of realist modes of production: ‘noncinema’, or a cinema that aspires to be life itself; ‘intermedial passages’, or films that incorporate other artforms as a channel to historical and political reality; and ‘total cinema’, or films moved by a totalising impulse, be it towards the total artwork, total history or universalising landscapes. Though mostly devoted to recent productions, each part starts with the analysis of foundational classics, which have paved the way for future realist endeavours, proving that realism is timeless and inherent in cinema from its origin.
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Aitken, Ian. Cinematic Realism. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441346.001.0001.
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This book explores the subject of cinematic realism through a long Introduction which covers general notions related to cinematic realism, and then through close analysis of book chapters written by Siegfried Kracauer and Georg Lukács. The theories of Edmund Husserl and Henri Bergson are also covered. The long Introduction attempts to set out a model of cinematic realism based on a philosophical realist and ‘externalist’ position. This is followed by an introductory chapter on Bergson, which serves as a foundation for the following four chapters, which cover the work of Lukács. The same structure is then repeated for Kracauer: an introductory chapter on Husserl is followed by four chapters on Kracauer.
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Radner, Hilary, and Alistair Fox. Spectators, Dispositifs, and the Cinematic Body. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0010.
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Raymond Bellour explains why he returned to a preoccupation with cinema in general, and the spectator in particular, and how he came to write Le Corps du cinéma, emphasizing his interest in the diverse dispositifs represented by Foucault’s Panopticon on one hand, and by the phenomena of panoramas and phantasmagorias on the other. He describes how his discovery of Daniel Stern’s The Interpersonal World of the Infant marked a critical turning point, leading him to explore an analogy between the infant and a spectator watching a film in the cinema – an analogy that enabled him to break with the psychoanalytic model, reflected in his eventual substitution of the notion of the body for that of the text.
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Cenciarelli, Carlo, ed. The Oxford Handbook of Cinematic Listening. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190853617.001.0001.
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It has long been suggested that films have changed the way we listen, but cinema’s contribution to broader listening cultures has only recently started to receive serious academic attention. Taking this issue as its central topic, The Oxford Handbook of Cinematic Listening explores—from philosophical, archival, empirical, and analytical perspectives—the genealogies of cinema’s audiovisual practices, the relationship between film aesthetics and listening protocols, and the extension of cinematic modes of listening into other media and everyday situations.
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Lewis, Hannah. Théâtre filmé, Opera, and Cinematic Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0005.
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Chapter 4 focuses on a famous debate between playwright Marcel Pagnol and film director René Clair. Pagnol was a successful playwright who was excited about film’s potential for recording live theater. His screenplays, perhaps most notably Marius, emphasized spoken dialogue, relegating music to a secondary role. Clair was a silent filmmaker who was interested in the poetic qualities of the image, and he feared that sound, particularly dialogue, would threaten cinema’s poetic potential. His film Le Million relied heavily on music, particularly live musical-theatrical forms like operetta and opera, to create alternative models for film’s sound–image relationship. The debate between Pagnol and Clair reveals diverging approaches to sound film, the aesthetic connections and tensions between live theater and cinema, and music’s importance in articulating those tensions.
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Lehman, Frank. Tonal Practices. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0002.
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This chapter lays out a series of conventions toward pitch design that both constrain musical meaning making in film and enable its unique effects. The chapter begins by examining the idiom of late Romanticism in European art music and the ways in which film music conforms to and differs from that model. This exploration is followed by a discussion of three vital aspects of American cinematic tonality: subordination, immediacy, and referentiality. Examples are drawn from an expansive set of filmmaking eras and styles; these range from the early days of the Sound Era to far more contemporary sounds. Beginning in this chapter, the beginnings of an interpretive methodology are constructed, recruiting from approaches as diverse as leitmotivic, atonal, Schenkerian, and audiovisual styles of analysis.
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Lehman, Frank. Expression and Transformation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0003.
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This chapter introduces the two core theoretical concepts of this study: expressivity and transformation. These two topics are broached through an initial examination of two highly dissimilar cinematic style topics: whole-tone harmony and stepwise modulations. The stylistic and aesthetic continuity with Romantic Era practices, especially from Wagner, is emphasized. A working model of tonal expressivity is constructed, in which intrinsic and extrinsic musical factors combine to form combinatorial meaning. With these concepts in hand, the notion of transformation—the cornerstone of neo-Riemannian theory—is introduced, and the second half of this chapter fleshes out the idiom of pantriadic chromaticism. A clear definition for pantriadicism is offered, along with a provisional aesthetics and analytical methodology for the idiom. The chapter concludes with a treatment of three common guises of pantriadicism—absolute progressions, sequences, and discursive chromaticism—all of which tend to occur on the musical surface rather than background.
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Lurie, Peter. “Orders from the House”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0003.
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This chapter takes its title from an essay about The Shining by Fredric Jameson, “Historicism in the Shining,” which, for all its acuity about the film’s awareness of economic history, demonstrates a notable blind spot around issues of race and the violence subtending America’s past in regions like the U.S. west. It shows a troubling alliance between Jack Torrance’s will to mastery and director Stanley Kubrick’s unique wielding of cinematic omniscience, suggesting the film’s awareness of the frontier as both a space of supposed white sovereignty and aesthetic spectacle. It employs key visual tropes and verbal details as well as the film’s stylistic excesses to suggest the history of genocide embedded in both the Overlook Hotel’s history and in American historical concepts such as manifest destiny. Its conclusion utilizes Gilles Deleuze’s model of the time-image to describe an apprehensible historicity in the film’s dual ending.
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Szczepaniak-Gillece, Jocelyn. The Optical Vacuum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689353.001.0001.
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Between the 1920s and the 1960s, American mainstream cinematic architecture underwent a seismic shift. From the massive urban movie palace to the intimate streamlined theater, movie theaters became “neutralized” spaces for calibrated, immersive watching. Leading this charge was New York architect Benjamin Schlanger, a fiery polemicist whose designs and essays reshaped how movies were watched. This book examines the impact of Schlanger’s work in the context of changing patterns of spectatorship; his theaters and writing propose that the essence of film viewing lies not only in the text, but in the spaces where movies are shown. As such, this study insists that changing models of cinephilia are determined by physical structure: from the decorations of the palace to the black box of the contemporary auditorium, variations in movie theater design are icons for how twentieth-century viewing has similarly transformed. And by looking backward into cinema’s architectural history, 1970s screen theory becomes clearer as a historical in addition to a theoretical model; the emergence of the apparatus can be found in the immersive powers of the neutralized movie theater. In this book, exhibition practice takes its place as a force that propels spectatorship through time. Ultimately, space and viewing are revealed to be intertwined and mutually constitutive phenomena through which spectatorship’s discourses are all the more clearly seen.
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Verevis, Constantine. Remakes, Sequels, Prequels. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.15.
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Film remakes, sequels, and prequels are often understood as forms of adaptation: that is, modes of cinematic remaking characterized by strategies of repetition, variation, and expansion. This essay seeks to examine the circumstances in which these modes of serialization have been taken up in the first decades of the new millennium. It analyzes the practice, aesthetics, and politics of cinematic remaking to build an inventory of contexts, descriptions, and knowledges that contribute to the cultural and economic currency of serial forms. Specifically, the essay interrogates a new millennial context that has mobilized a set of discourses around intermediality, transnationalism, and a logic of convergence to determine how these factors have been worked in and through the concepts of adaptation and remaking.
Book chapters on the topic "Cinematic Model"
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Greiner, Rasmus. "Fiction Film and History." In Cinematic Histospheres, 17–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_2.
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AbstractAs well as taking stock of the existing literature on film and history, this chapter aims to develop a terminological apparatus for describing the conceptual core of the historical film. The first section makes reference to a classic semiological model according to which a film’s production of meaning is determined by its specific arrangement of signs. It draws parallels to debates within historical studies that have enabled a reassessment of fiction film as a historiographical medium and mode of conceptualizing history. Building on these considerations, the second section posits a genre of popular fiction film defined by its referential relation to historical events, individuals, and lifeworlds. The third section argues that this is less a matter of incontrovertible factual accuracy than of generating a feeling of authenticity.
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Greiner, Rasmus. "Immersion and Empathy." In Cinematic Histospheres, 115–49. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_6.
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AbstractThe aim of this chapter is to investigate histospheres as multi-immersive perceptual spaces that not only model a historical world but also profoundly influence our conceptions and interpretations of history. In this context, the first section examines the role of aesthetically modeled atmospheres and the moods they evoke. The second section builds on this examination by considering filmic space. Filmic atmospheres and spatial figurations of movement bring us physically and mentally closer to the action of the film. Another potent mechanism of perspectivation is film characters, and so the third section focuses on imaginative empathy with the characters who inhabit a film’s historical world. In combination with film experience as a mode of embodied perception, this inner perspective provokes interpretations and evaluations that we can extend to the filmic depiction’s historical references.
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Greiner, Rasmus. "Modeling and Perceiving." In Cinematic Histospheres, 75–114. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_5.
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AbstractThe aim of this chapter is to develop a theory of how filmic figurations are already fused with conceptions of history during the mise-en-scène process, and thereby enable historical experiences. The first section will therefore examine the theoretical concept of figuration and the special relation between cinematic illusion and historical reference. The second section analyzes the strategies used by historical films to create filmic spaces and model an internally consistent, temporally arranged historical world. Building on this, the third section proposes that, for historical films, the film theory concept of mise-en-scène should be supplemented by a concept of mise-en-histoire: the imaginative referentialization of the historical worlds constructed by a film.
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Greiner, Rasmus. "Appropriation and Configuration." In Cinematic Histospheres, 183–204. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_8.
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AbstractThis chapter will seek to demonstrate that the process of appropriation also irrevocably inscribes the aesthetic parameters of a cinematic-historical way of thinking into our historical consciousness. Building on theories of the phenomenological relationship between the spectator’s body and the world, the first section develops a model of incorporative appropriation of history, which it connects to constructivist and cognitive approaches. The second section raises the specific experience of historical films described in the previous section to the status of paradigmatic core of a historical film genre, which it fleshes out based on a phenomenological conception of genre. Its systematic account of this genre integrates the theoretical discussion of the distinctive characteristics of historical films from the preceding chapters.
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Greiner, Rasmus. "Audiovisual History." In Cinematic Histospheres, 37–47. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70590-9_3.
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AbstractThe aim of this chapter is to consider relevant theories of visual and audio history whose ontologies a histosphere absorbs and elaborates. The first section surveys the relatively new field of visual history. It argues that a histosphere creates not just disparate images but a visual sphere in which history is brought to life. Research into audio history is an even newer and less developed field. The second section therefore sketches the outlines of an audio history of film and examines the aesthetics and function of film sound, understood as an equally important expressive dimension of histospheres. The two aspects are brought together in the third section: The fusion of sound and vision makes the historical film not just a model of a historical world, but a form of perception in its own right.
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Savinaud, Mickael, Martin de La Gorce, Serge Maitrejean, and Nikos Paragios. "Model-Based Multi-view Fusion of Cinematic Flow and Optical Imaging." In Medical Image Computing and Computer-Assisted Intervention – MICCAI 2010, 668–75. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15745-5_82.
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Gowanlock, Jordan. "Cinematic Chaos, Catastrophe, and Unpredictable Embrace." In Palgrave Animation, 145–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_6.
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AbstractThis chapter studies how unpredictable change is understood through concepts like of fractals, chaos theory, catastrophe theory, perfect storms, and climate models in feature films from 1982 to 2019, both as narrative themes and as spectacular simulation-based animations. Positing a particular mode of visual effects spectatorship, the chapter observes how narrative, theme, and spectacular images represent these concepts in congress. Over the period surveyed, these representations shift from sublime overwhelming images of disastrous events to more recent examples that embrace chaos as a source of creativity and knowledge.
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Urios-Aparisi, Eduardo. "Chapter 5. Metaphor emergence in cinematic discourse." In Performing Metaphoric Creativity across Modes and Contexts, 97–118. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ftl.7.05uri.
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Wedding, Danny. "The Final Curtain: Movies as Models." In The Cinematic Mirror for Psychology and Life Coaching, 247–50. New York, NY: Springer New York, 2009. http://dx.doi.org/10.1007/978-1-4419-1114-8_13.
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Richards, Rashna Wadia. "“You See Everything”." In Cinematic TV, 67–110. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190071257.003.0003.
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Chapter 2 concentrates on implicit cinematic references in serial television, ones that seem to flash up suddenly and perhaps even inadvertently. References are usually seen as synonymous with invocations, which entail the active summoning of sources, whereas this chapter relies on evocative references, which seem more random or unmotivated and often non-canonical. Using Mad Men’s (AMC, 2007–15) myriad evocations—ones that exceed the usual references to Billy Wilder’s The Apartment (1960) or Jacques Demy’s Model Shop (1969)—this chapter demonstrates how a series engages with cinema to talk about a particular era. It concludes with this paradox: the more authored a series, the wider its set of unintended intertextual connections might be.
Conference papers on the topic "Cinematic Model"
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Bradley, Arwen, Jason Klivington, Joseph Triscari, and Rudolph van der Merwe. "Cinematic-L1 Video Stabilization with a Log-Homography Model." In 2021 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2021. http://dx.doi.org/10.1109/wacv48630.2021.00108.
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Ohta, Makoto, Naoko Fujimura, Luca Augsburger, Hasan Yilmaz, and Daniel A. Ru¨fenacht. "Cinematic Angiography for Measurements of Blood Flow in Cerebral Aneurysms With Stents." In ASME/JSME 2007 5th Joint Fluids Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/fedsm2007-37254.
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Background and Purpose: The assessment of blood flow speed by imaging modalities is important for endovascular treatments, such as stent implantation, of cerebral aneurysms. The subtracted vortex centers path line method (SVC method) is one of the ways of determining flow speed quantitatively using the image sequence. And a cinematic angiography (CA) is a high speed image acquisition system using X-ray and contrast media integrated in Digital Subtraction Angiography (DSA) for endovascular therapy. The combination of SVC and CA may useful for determining the blood flow speed during the operation using DSA. In this study, we applied this combination to analyze hemodynamic changes before and after stenting. Methods: A transparent tubular model was constructed of silicone which included an aneurysm 10 mm in diameter and having a 5 mm neck on a straight parent artery with a diameter of 3.5 mm. The model was integrated into a pulsatile circulation system. A double layer stent was placed in the parent artery on the aneurysm. By CA, successive images at 25 frames per second with injection of contrast were obtained. Results and conclusion: Rotating vortexes of contrast, which advanced along the wall of the aneurysm, were observed in successive images of the aneurysm cavity. The movement distance of the vortex center was measured and the results show that the vortex speed decrease after stenting. This indicates the possibility of applying the SVC method to medical imaging equipment for analysis of the flow in aneurysms containing stent.
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Rafikova, Elvira, Paulo R. G. Kurka, and Marat Rafikov. "Optimal Linear State Feedback Time-Varying Regulator for a Unicycle Mobile Robot." In ASME 2008 9th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2008. http://dx.doi.org/10.1115/esda2008-59167.
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This paper proposes an optimal time-varying linear state feedback control for wheeled mobile robot of the unicycle type. The control law that stabilizes exponentially the motion of the robot to a given desired trajectory is found, after transformation of the cinematic model of the robot into a well-known Brocket integrator [1]. Numerical simulations are presented in order to demonstrate the effectiveness of the proposed control design.
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Bosso, N., A. Gugliotta, and A. Soma`. "Introduction of a Wheel-Rail and Wheel-Roller Contact Model for Independent Wheels in a Multibody Code." In ASME/IEEE 2002 Joint Rail Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/rtd2002-1648.
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This paper reports the introduction of a contact model on multibody codes to simulate both wheel/rail and wheel/roller contact for independent wheel railway vehicle. The contact model has been developed both through external subroutines (used to develop the friction model and the determination of the creepages) and using standard element of the MBS code (used to define the cinematic constraints of the wheel). This model can be introduced in a general railway vehicle model with no limitations: each “contact element” so defined can be applied between two bodies of the MBS the one representing the wheel, the other the rail or the roller. It is possible to choose among several algorithms to solve the friction problem: the Fastsim code, the Polach’s method, the linearized Kalker method or a simplified analytical method with saturation. It is also possible to perform simulations using constant value for the friction coefficient and for the normal load (fast simulations) or to use a non-linear law for the friction coefficient and the actual value for the normal load on the wheel. Due to the structure of the code it is possible to change the shape of the wheels profiles during the simulations even if at the moment this features has not been introduced in the code. Finally In the paper is compared the behavior of a bogie on rail and on roller.
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Cheli, Federico, Elisabetta Leo, Edoardo Sabbioni, and Andrea Zuin. "A Semi-Physical Model of a Hydraulic Power Steering System for Vehicle Dynamics Simulations." In ASME 8th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2006. http://dx.doi.org/10.1115/esda2006-95591.
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A semi-physical model of an hydraulic power steering system is presented in this paper. The proposed model allows to evaluate the wheels dynamic response to steering inputs and to calculate the corresponding reaction torque on the steering-wheel (steering torque). The analyzed steering system increases its stiffness (so that the steering assist level is decreases) with the rise of the vehicle speed. Thus, vehicle maneuverability is improved during parking maneuvers, while at high vehicle speeds, stability and driver perceived steering feel are ensured. A two d.o.f. (steering-wheel and rack-pinion rotations) model has been implemented during this study. The model parameters have been identified through the standard laboratory tests carried out to characterize a steering system, minimizing the difference between the experimental data and the model numerical results. During laboratory tests the hydraulic power system has been characterized first, measuring its stiffness variation as a function of the relative rotation between the steering-wheel and the rack-pinion, and the steering torque as a function of the difference between the delivery and the reversal pressure of the double-acting ram. The complete steering system has been then characterized, suspending the vehicle and placing the wheels on appropriate low-friction plates which permit them to turn; sine and frequency sweep steering input have been applied by a robot and the corresponding reaction torque on the steering-wheel has been measured. Simulations results are in good agreement with the experimental ones for all the performed tests. The steering system model has been integrated into a 14 d.o.f. vehicle model developed by the Mechanical Department of the Politecnico di Milano in order to access its reliability during handling maneuvers. Several simulations have been performed both in open (step-steer, steering pad, etc.) and in closed loop (lane change, double lane change, slalom, etc). Simulation results have shown a reduction of the toe angle due to the deformability of the steering system and a time delay of the wheel angle respect to the cinematic condition introduced by the steering system dynamics. The reaction torque on the steering-wheel has also been calculated during the simulations to access the driver perceived steering feel during the maneuvers.
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Piazza, Tommaso, Johan Lundstro¨m, Alexander Hugestrand, Andreas Kunz, and Morten Fjeld. "Towards Solving the Missing Marker Problem in Realtime Motion Capture." In ASME 2009 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/detc2009-86517.
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A common problem in optical motion capture is the so-called missing marker problem. The occlusion of markers can lead to significant loss of tracking accuracy unless continuous data flow is guaranteed by computationally demanding interpolation or extrapolation schemes. Since interpolation algorithms require data sampled before and after an occlusion, they cannot be used for real-time applications. Extrapolation algorithms only require data sampled before an occlusion. Other algorithms require statistical data and are designed for post-processing. In order to bridge sampling gaps caused by occluded markers and hence to improve 3D real-time motion capture, we suggest a real-time extrapolation algorithm. The realization of this prediction algorithm does not need statistical data or rely on an underlying cinematic human model with pre-defined marker distances. Under the assumption that natural motion can be linear, circular, or a linear combination of both, a prediction method is suggested and realized. The paper presents linear and circular movement measurements for use when a marker is briefly lost. The suggested extrapolation method seems to behave well for a reasonable number of frames, not exceeding 200 milliseconds.
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Zhang, Catty Dan. "Animating Mediums: From Visuality of Superimposition to Drawings for Afterimage." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.32.
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In her book Phantasmagoria, Marina Warner states a relationship between vision and mentality that “one kind of mental image was described as ‘eidetic’, referring to optical experiences that are retained in the mind’s eye with hallucinatory intensity. It comes from eidos, used by Aristotle for that which is seen, or ‘form, shape, figure’, both of something particular and of a generic kind of form, and it is related to ide in, to see, and eidolon, a shape, image, spectre, or phan-tom, also an image in mind, a vision or fancy”1.It was within a relatively short period of time— comparing with over a century long obsession of the aesthetics of superimposed moving sequences— that the discourse of animation in architecture has diverged its paradigm from analytical motion forms in the digital environment towards new possible optical experiences and atmospheric effects in physical spaces. Differing from the traditional cinematic model implemented in architectural design which stitches series of views through spatial organizations, recent investigations regarding these dynamic spatial effects have been largely inspired by mapping techniques, autonomous drawings, and hybrid mediums; or in other words- expanded operations on visuals. The long tradition of the spatiotemporal visual practice in forms of superimposed images, however, has taken on various trajectories transitioning from the static basis to animated implications. Historically used for capturing and representing motion, it is recognized identically assets of frames with discrete positions, where the animation virtually emerges from the viewer’s subconscious process of translation.
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Guglielmi, M., I. Richard, and J. F. Mathe. "Characterization of the cinematic by the means of dynamical models." In 1992 14th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 1992. http://dx.doi.org/10.1109/iembs.1992.5760848.
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Guglielmi, Richard, and Mathe. "Characterization Of The Cinematic By The Means Of Dynamical Models." In Proceedings of the Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 1992. http://dx.doi.org/10.1109/iembs.1992.589301.
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Arellano Martinez, I. T., M. E. Arellano Saldana, M. G. Morales Osorio, and G. Rodriguez Reyes. "Cinematic gait analysis: A comparison of two modes of treatment in children with hemiparetic, spastic, cerebral palsy." In 2009 Pan American Health Care Exchanges. IEEE, 2009. http://dx.doi.org/10.1109/pahce.2009.5158357.
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