This paper discusses how sparse local measurements of positions and surface normals may be used to identify and locate overlapping objects. The objects are modeled as polyhedra (or polygons) having up to six degreed of positional freedom relative to the sensors. The approach operated by examining all hypotheses about pairings between sensed data and object surfaces and efficiently discarding inconsistent ones by using local constraints on: distances between faces, angles between face normals, and angles (relative to the surface normals) of vectors between sensed points. The method described here is an extension of a method for recognition and localization of non-overlapping parts previously described in [Grimson and Lozano-Perez 84] and [Gaston and Lozano-Perez 84].

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This thesis examines the concept of Madhyama Pratipad in light of the interpretations given by the Yogacara thinkers Vasubandhu and Asanga and by the Madhyamikas Nagarjuna: and Candrakirti. I also discuss madhyama pratipad in relation to the concepts of Sunyata, trisvabhava, and pratitya samutpada, and attempts to show in what ways the Yogacara acaryas differ from the Madhyamikas, and in what ways they are similar. / Thesis / Master of Arts (MA)

<p>In this dissertation I examine some possible areas in which Pierre Teilhard de Chardin and Alfred North Whitehead share similar interpretations of the nature of the cosmos and the nature of God. Further, I seek to illustrate areas of their cosmological-theistic interpretations where they offer distinctive views.</p> <p>Several recent authors have made references to apparent similarities between specific areas contained in the writings of Whitehead and Teilhard. For the most part these references are made somewhat in passing and are, therefore, undeveloped. </p> <p>However, two articles by Ian Barbour deal at some length with a comparison of Whitehead and Teilhard. The first "Five Ways of Reading Teilhard," (in The Teilhard Review, III (1968) 1, 3-20) is an attempt to show ". . . . that Teilhard's most significant intellectual contribution is a 'process theology' which combines Christian theology and process philosophy." The second article, "Teilhard's Process Metaphysics," (Journal of Religion, 49 (1969) 2, 136-159) is an exploration of "some of Teilhard's metaphysical categories which reflect both evolutionary and biblical assumptions." While each of these articles is a clear interpretation of Teilhard's thought and of significant value for anyone interested in comparing Whitehead and Teilhard, nevertheless, they tend to describe Teilhard as closely allied to the general scheme of Whitehead's 'process' philosophy. While I agree with Dr. Barbour on many of his points, I am led to challenge an interpretation which too closely allies Whitehead and Teilhard. Therefore, while a number of authors have suggested some similarities between Whitehead and Teilhard, no one (to my knowledge) has presented a developed comparison of their thoughts. Among the many possible areas for comparison, I have chosen to concentrate on two; namely, their respective interpretations of the structure and activity of the cosmos and their respective interpretations of the nature and activity of God. While noting several similarities between the thoughts of these two thinkers, I have been led to conclude that their distinctive interpretations are of greater importance. Briefly, I maintain in this study that each describes the universe as having a different structure and guided by God described as having a different nature and function.</p> <p>Hopefully, this dissertation will have scholarly significance not only because of its 'pioneer' quality, i.e., because it raises issues others might wish to challenge and pursue further, but also, because of its concentration on specific pivotal issues, this dissertation might be useful to those suspecting some alliance of these two systems with one another.</p> STRUCTURE AND DEVELOPMENT <p>In Chapter One, I seek to organize Teilhard's cosmological ideas. In Chapter Two, I consider Whitehead's cosmological categories and present a preliminary comparison between his cosmology and that of Teilhard.Next, in Chapter Three I turn my attention to Teilhard's 'theism,' examining what his cosmological proposals lead him to say regarding the existence of God. Also, within this chapter, I take note of the 'theological' interpretation of God which Teilhard appears to incorporate into his system. In Chapter Four, I turn my attention to Whitehead's 'theism,' noting his discussion of God's existence and activity relative to the cosmos. Also, in this chapter I offer a preliminary comparison of the 'theisms' of Teilhard and Whitehead. Next, in Chapter Five, I consider, in summary, the principle areas in which Teilhard and Whitehead agree and, specifically, where their interpretations differ. The latter portion of this chapter is devoted to what might be a central critique of Teilhard's scheme from a Whiteheadian point of view. Finally, in an Appendix I consider Teilhard's "Christology," asking whether his interpretation of Christ provides a theme indicating that Teilhard's God is mutable(i.e., passive) and asking, further, whether Teilhard's interpretation of Christ revises the cosmological issues of irreversibility and infallibility I found so prominent in Teilhard's system.</p> / Thesis / Doctor of Philosophy (PhD)

Master of Music / Department of Music / Dale Ganz / Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. Although Simone is remembered for the lyrics she sang and the emotions she evoked, not enough credit is given to her as an interpreter of song. Simone had an incredible talent at finding the true message of a song and exposing it to her audience. Rather than jazz musician or activist, this thesis will focus on Simone as a gifted interpreter.

The most direct way available to modern day researchers to reconstruct individual and population level behavior is to analyze markers of activity from skeletal remains (Ruff et al., 2004). An analysis of the population at the Republic Groves site (8HR4) was conducted, using the entheseal change score system, the Coimbra method, developed by Henderson et al. (2015). This study examined the implication of analyzing a commingled and fragmentary population with this methodology. Reconstructing specific behavior cannot be done with this type of approach; however, entheseal changes can be compared to specific patterns of behavior for consistency. An atlatl was found with the human remains and thus provided a suggestion of behavior for comparison. Entheses were chosen in line with a throwing motion of the atlatl and focused exclusively on the humerus, radius, and ulna. The application of the Coimbra methodology to the Republic Groves population was successful, at least in part. Overall, there was low variability of results, mostly 0, some 1, and with very few high 2 scores. The entheseal changes from Republic Groves were consistent with the throwing of an atlatl; however, this does not mean that this is the only behavior that could have generated that kind of change. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

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Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T18:08:24Z : No. of bitstreams: 1 canassa_rd_me_ia.pdf: 1425813 bytes, checksum: f31b55518d0ce57f0beb77a3b0835cb9 (MD5) / Nesta dissertação de mestrado, que trata da interpretação mítica e psicológica do enredo dos quatro filmes: Caixa de Pandora (1928); Helena de Tória (1955) e Kill-Bill - Vol.1 e 2 (2003), analiso o comportamento das personagens principais e estabeleço uma conexão com as seguintes deusas gregas: Pandora, Afrodite e Deméter, numa leitura junguiana. Por mais racionais que possamos ser, nossos cérebros não resistem ao ímpeto de adotar relatos metafísicos para o entendimento dos mistérios naturais que determinam nossa existência. Os mitos possuem características humanas e, por meio de suas lendas, podemos compreender melhor nossas questões existênciais, na busca de sentido para vida humana. Os temas mitológicos contemplam tanto a sociedade, o coletivo, como a subjetividade humana, o individual, tornando-se universal, com seu poder de nos emocionar e de nos ensinar as verdades profundas da psique humana. Ao associar cinema, psicologia e mitologia, encontro uma nova leitura entre imagem e verbo e que poderá dar novo significado à leitura e a compreensão de um filme. / This master's degree thesis studies the mythical and psycological interpretations of the plot of the following four films: Pandora's Box (1928); Helen of Troy (1955); and Kill Bill - Vol. 1 and 2 (2003). The behavior of the main characters is studied and a connection with the following Greek goddesses is made: Pandora, Aphrodite and Demeter, according to Jungian analysis. No matter how rational we might attempt to be, our brains do not resist the urge to adopt metaphysical accounts in order to understand the mysteries and natural phenomena that determine our existence. Myths have human characteristics and, by means of their legends, one can better understand our existential issues, in search of the meaning of human life. Mythological themes embrace both society - the collective - and human subjectivity - the individual-, becoming universal, with their power to stir up our emotions and teach us the deepest truths of human psyche. By associating cinema, psychology and mythology I find a new reading of image and words which might give a new meaning to the reading and understanding of a film.

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