Academic literature on the topic 'Machinery Aesthetic aspects'
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Journal articles on the topic "Machinery Aesthetic aspects"
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Nemeth, Titus. "Arabic Hot Metal." Philological Encounters 3, no. 4 (November 27, 2018): 496–523. http://dx.doi.org/10.1163/24519197-12340052.
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Abstract This article investigates the beginnings of Arabic typographic composition with typesetting machinery. It discusses different claims in literature of the first instance of mechanical composition and juxtaposes them with findings from original research in archives of typesetting machinery manufacturers active at the beginning of the twentieth century. Based on this evidence, it suggests a new account of the development and use of the first Arabic casting machine. The article raises geographical and socio-cultural aspects that provided the circumstances for this development and re-situates it from the Middle East to the United States. It identifies the manufacturer of the first Arabic composition machine and type founts, as well as the customer who initiated and contributed to its development. It then considers how the Arabic Linotype was likely conceived in a collaboration between the customer and the manufacturer, pooling cultural and technical expertise for this pioneering effort. Finally, the article discusses the resulting type fount and considers its characteristics from a technical and a typographic-aesthetic perspective, illustrating some of the effects mechanisation had on Arabic typography.
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Harris, Keith. "Towards a post-anthropocentric aesthetics: Kerry Tribe’s Exquisite Corpse." Journal of Urban Cultural Studies 9, no. 1 (June 1, 2022): 111–29. http://dx.doi.org/10.1386/jucs_00051_1.
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Kerry Tribe’s recent film on the Los Angeles River, Exquisite Corpse (2016), blurs the lines between genres. With aspects of documentary and experimental filmmaking, it captures interactions among human and non-human life, ecological systems and machines along the river. This article develops a post-anthropocentric aesthetics from the film by drawing on Sianne Ngai’s book, Our Aesthetic Categories (2012), and Rosi Braidotti’s (2013) work on post-anthropocentrism. Bringing these resources together leads to three productive transformations of Ngai’s categories: the commodity aesthetic of cuteness becomes the differential aesthetic of interaction; the performative aesthetic of zaniness becomes the functional aesthetic of activity; and the discursive aesthetic of information becomes the peri-discursive aesthetic of sensation. The article concludes by arguing that these three aesthetic categories are well suited for describing how the contemporary built environment and the complexity of life within it might be perceived and assessed and, following Jacques Rancière, affirms these categories’ role in building a politics that is attuned to such complexities.
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Frisk, Henrik. "Aesthetics, Interaction and Machine Improvisation." Organised Sound 25, no. 1 (March 4, 2020): 33–40. http://dx.doi.org/10.1017/s135577181900044x.
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Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.
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Filipović, Andrija. "Musica inhumana: Towards the posthumanistic ethical and aesthetical paradigm in music." New Sound, no. 42 (2013): 86–101. http://dx.doi.org/10.5937/newso1342086f.
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This paper deals with the analysis of noise music by the Japanese artist Merz-bow, especially emphasizing the posthumanistic ethical and aesthetical paradigm as his artistic and political project. This project, or assemblage, has several aspects, three being particularly important: "musical" system (acoustic material, creator, listener), visual and textual material (album covers, articles and interviews), and the attitude towards the non-human (machines, animals, nature in general). These three aspects are a particular assemblage that enables the critique of the "everyday body" and the contemporary society, by creating special aesthetics of existence and lines of flight, an aesthetics which, ultimately, removes the human subject and replaces it with an (in)organic multiplicity.
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Biosca, Juan, Gabriel Fabra, Jose Vercher, Maria Soriano, Gracia Lopez, and Santiago Tormo. "Influence of High Temperatures on Concrete Pillars Confined with CFRP." Applied Mechanics and Materials 887 (January 2019): 64–71. http://dx.doi.org/10.4028/www.scientific.net/amm.887.64.
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Concrete is a quite recent material in the history of architecture. However, there are a large number of buildings whose structure consists on this material nowadays. Despite its excellent performance, concrete has a useful lifetime. When this time comes to its end, the structural element needs to be treated, repaired or replaced. We are getting to the point at which many of the concrete constructions are reaching, or already surpassing, the useful lifetime of the material. At this point, the Carbon Fiber Reinforced Polymer (CFRP) takes on importance, appearing on the market as a modern and high performance tool, in terms of structural reinforcement of the concrete. Nevertheless, this relatively new system presents yet some aspects to study and research, such as its long-term behaviour under extreme conditions. This is the departure point of our research, focused on the response of the CFRP system, both fiber and matrix, to adverse temperature conditions. This high and maintained temperature can be reached in places such as structures undergone to large periods of solar radiation around Equator latitudes, machinery installations enclosures which generate high temperatures focused on specific points, and brief small fires, among other situations, which surpass the maximum service temperature recommended by the manufacturers. In order to study this influence, a comparison of the compressive strengths of three groups of standard concrete test specimens has been carried out. Each group consisted of three cylindrical specimens, all manufactured on the same date. The first two groups were tested after their 28 day curing in chamber: one of them without any confinement and the other with CFRP sheet applied according to the manufacturer's specifications. The third group of specimens spent 90 days on a climatic chamber subjected to a temperature of 75°C, above the maximum temperature recommended by the manufacturer, 50°C. This third group was tested 388 days after their manufacture. In order to obtain a reliable basis on which to compare the effective strength provided by the deteriorated CFRP, it was needed to calculate the acquisition of theoretical strength that the concrete would have reached after the mentioned period of time without any added reinforcement. With all the results, it is possible to conclude that, after this period of heat attack, despite having produced an aesthetic degradation of the CFRP sheets, most of the compressive strength of the specimens remains.
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Liu, Yuan. "Humanizing Design Research on Automatic Watering Machine." Advanced Materials Research 711 (June 2013): 769–72. http://dx.doi.org/10.4028/www.scientific.net/amr.711.769.
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With the high speed of scientific technology, people now lead a more hurried, fashionable and convenient life. The products which pay more attention to humanism are appreciated by the market. The article clarifies the humanizing design of this product mainly through three aspects: appearance design, product function and aesthetic value.
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Moroni, Artemis, Fernando Von Zuben, and Jônatas Manzolli. "ArTbitration: Human-Machine Interaction in Artistic Domains." Leonardo 35, no. 2 (April 2002): 185–88. http://dx.doi.org/10.1162/00240940252940568.
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In this article, the authors analyze the process of humanmachine interaction in the context of artistic domains, as a framework for exploring creativity and producing results that could not be obtained without such interaction. “ArTbitration” denotes a process aimed at improving users' aesthetic judgment involving evolutionary computation and other computational intelligence methodologies. The authors interpret it as an interactive, iterative optimization process. They also suggest ArTbitration as an effective way to produce art through the efficient manipulation of information and the proper use of computational creativity to increase the complexity of the results, without neglecting the aesthetic aspects. The article emphasizes the spoken, visual and musical domains, since these are generally characterized by the lack of a systematic way to determine the quality of the result.
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Liu, Yuan. "Study on the Man-Machine Hairdryer Shape Design." Advanced Materials Research 739 (August 2013): 689–93. http://dx.doi.org/10.4028/www.scientific.net/amr.739.689.
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with the rapid development of the society, hairdryer, as one of the necessity in life, has been unable to meet the demand for high quality and fast pace of life, all because its modeling defects and a single feature. This article aims to elaborate the creative design and humanistic embodiment of this product, mainly from the following three aspects: the taste design of man-machine hairdryer shape, reasonable combination of features, and aesthetic unity of color and texture.
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Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics." Deleuze Studies 6, no. 2 (May 2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.
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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.
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Musfiroh, Hafshoh. "Kajian komparatif perancangan dan produksi peralatan saji (Studi kasus CV Estetika Indonesia)." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 8 (July 22, 2020): 261–68. http://dx.doi.org/10.24821/productum.v3i8.3326.
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The purpose of this study was to find out: (1) Comparison of the process of designing and producing serving serveware from wood and clay materials in CV Estetika Indonesia. (2) Types of food serveware products at CV Aesthetic Indonesia. (3) Comparison of design aspects of food and wood products from clay in CV Estetika Indonesia. This research was carried out at CV Estetika Indonesia and wood suppliers in Putat Wetan Village and Clay suppliers in Melikan Village, Klaten from 10 May to 10 June 2019. This study used a descriptive comparative method with a qualitative approach. The data used in this study are qualitative data with data sources in the form of informants, documents, observations, interviews, and documentation. Based on the results of the study it can be concluded: (1) The process of designing design serveware at CV Estetika Indonesia refers to the briefs given by the buyer. The process of designing food serveware products with wood material is carried out with machines so that it is more in line with the concept of the mass product or industrial products. While clay products are more directed at handicrafts because the products are produced manually using hands. (2) Types of fast food products CV Aesthetics of wood and clay materials include trays (tray), plates (cutting board), bowls (bowls), plates (plates), glass (glass), and coasters (coasters). (3) Design comparisons of serving serveware products include the design process, style and theme, finishing, color, ergonomics, and packaging.
Books on the topic "Machinery Aesthetic aspects"
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Rhetoric of machine aesthetics. Westport, Conn: Praeger, 1999.
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Lafontaine, Céline. L' empire cybernétique: Des machines à penser à la pensée machine : essai. Paris: Seuil, 2004.
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1972-, Beaumont Matthew, and Freeman Michael J. 1950-, eds. The railway and modernity: Time, space, and the machine ensemble. Oxford: Peter Lang, 2007.
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Artificial love: A story of machines and architecture. Cambridge, Mass: MIT Press, 2003.
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Kukulin, I. Mashiny zashumevshego vremeni: Kak sovetskiĭ montazh stal metodom neofit︠s︡ialʹnoĭ kulʹtury = Machines of noisy time : How early Soviet montage became a method of unofficial art. Moskva: Novoe literaturnoe obozrenie, 2015.
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Rutsky, R. L. High Techne: Art and Technology from the Machine Aesthetic to the Posthuman. University of Minnesota Press, 1999.
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High Techne: Art and Technology from the Machine Aesthetic to the Posthuman. University of Minnesota Press, 1999.
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Shepheard, Paul. Artificial Love: A Story of Machines and Architecture. MIT Press, 2003.
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MacDougall, David. The looking machine. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.001.0001.
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The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging, and corporate authorship. The book consists of a set of essays each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.
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Buddha in the Machine: Art, Technology, and the Meeting of East and West. Yale University Press, 2014.
Find full textBook chapters on the topic "Machinery Aesthetic aspects"
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Hultgren, Neil. "Automata, plot machinery and the imperial Gothic in Richard Marsh’s The Goddess." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0008.
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This chapter analyses Richard Marsh’s 1900 novel The Goddess in relation to the late-Victorian imperial Gothic mode of writing. It suggests that Marsh’s novel demystifies the occult and supernatural aspects of the imperial Gothic through its depiction of a mechanical goddess. Marsh’s goddess is notable because she is not a supernatural being but an automaton, an example of ‘clockwork machinery’ set in violent motion by the novel’s criminal antagonist. Marsh’s novel looks back to Tipu’s tiger, a late-eighteenth-century automaton from Mysore, India, which enacted the death of an Englishman by a tiger. Marsh recalls Indian violence against the English through a fictional reimagining of the tiger, a familiar museum piece, as a goddess. The exposure of the goddess’s machinery is a shocking aesthetic strategy that strips the imperial Gothic of its veil of mysticism and, through a negotiation of the plot machinery of the fantastic, interrogates imperial Gothic conventions.
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Broeckmann, Andreas. "Algorithm Machine." In Machine Art in the Twentieth Century. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035064.003.0004.
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This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.
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Broeckmann, Andreas. "Toward the Art and Aesthetics of the Machine." In Machine Art in the Twentieth Century. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035064.003.0003.
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This chapter provides an analysis of the basic aspects of an “aesthetics of the machine”. It focuses on two pivotal moments in the twentieth century history of machine art, one being the 1968 exhibition “The Machine as Seen at the End of the Mechanical Age”, curated by Pontus Hultén. The other example is the opening scene of Filippo Marinetti’s first futurist manifesto, published in 1909, in which the advent of futurism is marked by a symbolically charged car accident that preceded Marinetti’s hymn to the new technical culture. From here, and drawing mainly on artistic examples from Hultén’s exhibition (incl. Francis Picabia, Marcel Duchamp and Jean Tinguely), the author highlights five distinct aspects that have characterized the “machine aesthetic” until the 1960s: the “associative” reference to the social meanings of technology, often used to make a provocative claim against the assumptions of artistic ingenuity; the “symbolic” reference to mechanics as a way to describe aspects of human culture and psychology; the “formalist” appraisal of the beauty of functional forms; the play with “kinetic” functions as a way to broaden the expressive potentials of sculpture; and the “automatic” operation of machines that underpins their functional independence and their existential strangeness.
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Arbib, Michael A. "A look at vision, and a touch more." In When Brains Meet Buildings, 141–220. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780190060954.003.0003.
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Le Corbusier’s distinction between engineering and architectural aesthetics introduces the challenges of balancing the practical and the aesthetic, and introduces his dictum, “A house is a machine for living in.” Here, beauty is just one aspect of the emotional impact of a building. Early visual processing in the frog is action-oriented, while in the primate it is general-purpose. These support different approaches to aesthetic judgment of visual form and suggest deep evolutionary underpinnings of aesthetic judgment. Neuroscientists distinguish working memory, episodic memory, procedural memory, and semantic memory. The VISIONS model exemplifies some of these, as well as principles of brain operation, including competition and cooperation of schema instances in constructing an interpretation of a visual scene. What people attend to is influenced by task and motivation. After assessing how a blind artist developed the ability to paint pictures, the chapter outlines MULTIMODES, a cognitive model that extends the principles of VISIONS to multimodal action-oriented perception of episodes.
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Sinnerbrink, Robert. "Cinematic Experience." In The Oxford Handbook of Film Theory, 646–70. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.33.
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Abstract Although frequently cited, the idea of “cinematic experience” has proven both productive and elusive. My chapter outlines some of the features, history, and implications of this concept. I offer an historical account of different aspects of this notion (concerning aesthetics, spectatorship, ideology, and embodiment) and a theoretical reflection on its implications and possibilities in relation to both film-philosophy/film theory and contemporary cinematic practices. In particular, I examine the transformation of cinematic experience starting from the traditional notion of aesthetic experience, theoretical inquiry into cinematic spectatorship with its critique of the notion of experience, to the recent turn toward experiential dimensions of cinematic engagement (affect, embodiment, and ethical experience). In conclusion, I consider briefly the impact of new audiovisual technologies, suggesting that the original enthusiastic embrace of cinema as an “experience machine” has returned with the rise of digital media culture.
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Negi, Tanuj, Pinosh Kumar Hajoary, and Jose Arturo Garza-Reyes. "Reshaping Beverage Retail in Urban Communities Through a Connected Platform." In Handbook of Research on Changing Dynamics in Responsible and Sustainable Business in the Post-COVID-19 Era, 244–65. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-2523-7.ch012.
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Business organisations are attempting to transform themselves according to the paradigms of Industry 4.0. This chapter presents the case of Tapfrsh kiosk, an internet of things (IoT)-based beverage service platform for urban communities. It discusses the business ecosystem, system design, technology usage, machine design, aesthetics, and operational aspects of the Tapfrsh kiosk. The authors include a critical commentary on the kiosk using a multidimensional lens. Entrepreneurial insights are discussed.
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MacDougall, David. "Anthropological filmmaking: an empirical art." In The looking machine, 137–56. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.003.0012.
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This chapter provides an overview and guide to the methodology, theory, practice, and ethics of ethnographic filmmaking. Examining in turn the various uses of film in anthropology, the differences between anthropological writing and anthropological films, and the kinds of knowledge produced by each, it proceeds to discuss the practical concerns of the anthropological filmmaker: questions of point-of-view, method, and different approaches to the construction of films. It considers the pros and cons of teamwork and single-author filmmaking, aspects of film aesthetics, relationships with the subjects of films, the filmmaker’s behaviour in the field, and different modes of camera use. Finally, it addresses the different practical strategies possible for this kind of filmmaking, including a focus on individuals as subjects, the uses of narrative, and thematic approaches. Also considered is the filmmaker’s relation to the viewer, and ways of making the filmmaker’s intentions and practice more evident within the film.
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Boschetto, Alberto, and Luana Bottini. "Surface Characterization in Fused Deposition Modeling." In Surface Engineering Techniques and Applications, 249–80. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5141-8.ch008.
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Fused deposition modeling is a proven technology, widely diffused in industry, born for the fabrication of aesthetic and functional prototypes. Recently used for small and medium series of parts and for tooling, it received particular attention in order to integrate prototyping systems within production. A limiting aspect of this technology is the obtainable roughness and above all its prediction: no machine software and Computer-Aided Manufacturing implements a relationship between process parameters and surface quality of components. The prediction of the surface properties is an essential tool that allows it to comply with design specifications and, in process planning, to determine manufacturing strategies. Recently, great effort has been spent to develop a characterization of such surfaces. In this chapter, prediction models are presented and a new characterization approach is detailed. It is based on the theoretical prediction of the geometrical roughness profile, thus allowing it to obtain, in advance, all roughness parameters.
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Boschetto, Alberto, and Luana Bottini. "Surface Characterization in Fused Deposition Modeling." In 3D Printing, 22–47. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1677-4.ch002.
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Fused deposition modeling is a proven technology, widely diffused in industry, born for the fabrication of aesthetic and functional prototypes. Recently used for small and medium series of parts and for tooling, it received particular attention in order to integrate prototyping systems within production. A limiting aspect of this technology is the obtainable roughness and above all its prediction: no machine software and Computer-Aided Manufacturing implements a relationship between process parameters and surface quality of components. The prediction of the surface properties is an essential tool that allows it to comply with design specifications and, in process planning, to determine manufacturing strategies. Recently, great effort has been spent to develop a characterization of such surfaces. In this chapter, prediction models are presented and a new characterization approach is detailed. It is based on the theoretical prediction of the geometrical roughness profile, thus allowing it to obtain, in advance, all roughness parameters.
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"Space and Media." In A Simplex Approach to Learning, Cognition, and Spatial Navigation, 29–38. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2455-7.ch004.
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The tool identified for data collection of this research project is a video game, which makes the topic of the representation of space in videogame an absolutely relevant aspect for the project. This work bases on the statement of Jenkins, according to which “game space never exists in abstract, but always experientially”. In the current generation of video games, talking about position of the camera assumes a different value than in film or television language, assuming the meaning of point of view from which the game is visually (and auditory) presented and determines the spatial perspective of a computer game. The most common distinction, with respect to the position of the camera, is between First Person Camera, where space is presented from the perceptive perspective of the player's avatar and Third Person Camera, where the perspective is not directly the one of the avatar. This category, in fact, is very extensive, and poorly lends itself to a single definition. Under the umbrella of Third Person Camera are both perspectives associated with the avatar, but framing it externally (a camera follows the avatar) and those in which the camera is fixed. Moreover, the position of the camera compared to the avatar (from behind, left, right, Orbit Camera, etc.), or with respect to the environment (from above, from a precise point of reference) is not a neutral choice. In the present work, we use the categorization proposed by Britta Neitzel (Neitzel, 2002), which, taking up the work of Jean Mitry about The Aesthetics and Psychology of the Cinema (Mitry & King, 1997), distinguishes between subjective, semisubjective or objectives views. The chapter provides examples of different perspectives, and introduces the concept of Natural User Interfaces, which include movements based on input and output, on discretion, on voice, and evolve towards an efficient use of the senses in the interaction with machines.
Conference papers on the topic "Machinery Aesthetic aspects"
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Marinov, Rusi. "THE ROLE OF INFORMATION AND COGNITIVE DOMAINS IN EMERGENCIES." In 6th International Scientific Conference ERAZ - Knowledge Based Sustainable Development. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/eraz.2020.259.
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This report discusses the role of information domain and cognitive technologies in emergency management in the context of the global pandemic problems, which is also caused by a lack of leader’s capacity, knowledge transfer, lack of major investments in the security and health systems. Global emergency response plans should be based on the “artificial” reality of our planetary condition and used as a starting point for planning. Innovative companies are trying to take advantage of cognitive technologies to automate processes to solve a wide range of problems that require specific knowledge. The main aspects of knowledge are related to the so-called „P” categories (Perceive, Perception, Predict) of our critical environment and data input to such systems coming from sensors and smart elements. The new model for effective reactions in crisis refers to cognitive technologies, which, if available use an aesthetic language, generate unstructured texts, process information, used sensors for data in real-time, reading signals, access to “smart objects” and other algorithmic approaches for searching of solutions in extreme situations. The cognitive technologies used during contingency planning is oriented towards the further development of AI in order to improve the performance of machines in terms of intuition, sensitivity, emotions, and other factors that enhance the planning and decision-making tasks.
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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.
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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Sarh, K., K. Ravi-Chandar, M. Miller, and C. Patrick. "Towards a Biomechanical Model of the Breast: A Simulation-Based Study." In ASME 2001 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/imece2001/bed-23068.
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Abstract The clinical and financial impact of breast cancer on the U. S. health care system is great. In addition to the tangible metrics of costs and number of diagnoses, the psychological distress that accompanies a lump found in the breast is compounded by the apparent problems noted with contemporary reconstructive procedures. Currently, breast reconstruction is conducted largely by trial and error and varies with physician experience. For instance, a surgeon today will request three to four different sized implants for the operating room and will try each one, siting the patient up each time, until the desired volume and shape of the breast is achieved. The novel union of surgeons with machines and multi-modality information, made possible by advances in engineering and computing, has enormous potential in overcoming limitations realized with contemporary standard of care. For example, a virtual model of a patient’s breast will assist the surgeon in deciding a priori what implant size to order for the operating room such that desired breast outcomes are achieved. Our long-term goal is to develop novel computer-assisted surgical systems to significantly change breast cancer health care. Our approach builds upon four broad core areas of enabling knowledge and techniques, namely (1) multi-modality imaging, (2) simulation, (3) soft tissue biomechanics, and (4) interface subsystems. Recently, we developed a parametric deformable model of a female breast’s shape that allows the surgeon to manipulate the shape of the breast by varying key shape variables, analogous to the aesthetic and structural elements surgeons inherently vary manually during breast reconstruction [2]. Such a system may enhance the practice of breast surgery at multiple points. It enables the patient to communicate her expectations more clearly to the surgeon. It allows the surgeon to educate the patient with more accurate explanations about what can be accomplished, and after the consultation, it helps the surgeon plan specific aspects of the procedure to achieve the agreed upon goals.
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Chen, Xiaofei. "Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock Structure." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4555.
Full textAbstract:
Title: Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock StructureAuthor Name: Xiao Fei Chen Affiliation: Faculty of Architecture Design and Planning, The University of Sydney Address: The Wilkinson Bldg G04, 148 City Rd, Darlington NSW 2008 Email Address: xche3951@Sydney.edu.au Mobile: 61 (02) 0450875226 Keywords: Supergrid and Superblock, Urban Morphology, China and JapanAbstract:Supergrids and Superblocks form an urban structure that extends across large areas of many Chinese and Japanese cities. The grid structures consist of wide roads at a city scale and define Superblocks, each with a network of narrower streets. My paper investigates the form-function interrelationships of these structures from morphological perspectives against a backcloth of theory that stresses an integrated network of streets as the prerequisite for a convenient and synergetic environment, with a specific focus on road/street networks, and mix and distribution of functional activities. Both qualitative and quantitative methods (including space syntax) are used to investigate four Superblocks from two pairs of Chinese and Japanese cities: Xi’an and Kyoto, and Nanjing and Osaka, from three aspects: integration, connection and interaction. Here I focus on the Nanjing-Osaka pair and the findings demonstrate clear but divergent patterns between the two cities, which are indicative of general differences between Chinese and Japanese Superblocks: there are very strong interrelationships between the street network and distribution of activities in the Japanese Superblocks, but these are much less evident in the Chinese Superblocks and this results largely from the extensive Chinese cultural practice of building walls around compounds. It reveals some structural disadvantages, leading to congestion of traffic and functional activities in some strategic locations in Chinese Superblocks. It also highlights some crucial qualities in the structures of many Japanese Superblocks that can provide inspiration for China’s future urban development and possibly for cities in other parts of the world.Reference:Alexander, C. (1965) ‘A city is not a tree’, Architectural Forum 122, 58-62. Ashihara, Y. (1983) The Aesthetic Townscape, US: Massachusetts Institute Technology Press Halliday Lithograph. Bentley et al., (1985) Responsive environments: a manual for designers (London: Architectural Press). Hillier, B. (1996) Space is the machine (Cambridge University Press, Cambridge). Jacobs, J. (1961) The death and life of great American cities (New York: Random House). Marshall, S. (2005) Streets & Patterns, (Spon Press, Taylor & Francis Group). Shelton, B. (2012) Learning from the Japanese City: Looking East in Urban Design (Routledge imprint of Taylor & Francis, London). Zhu, W.Y. (2010) Space, Symbol and City: a Theory of Urban Design (China Architecture & Building Press, Beijing.