Intelligent tutoring systems (ITS) have proven to be effective tools for aiding in the instruction of new skills for young kids; however, interaction methods that employ traditional input devices such as the keyboard and mouse may present barriers to children who have yet learned how to write. Existing applications which utilize pen-input devices better mimic the physical act of writing, but few provide useful feedback to the users. This thesis presents a system specifically designed to serve as a useful tool in teaching children how to draw basic shapes, and helping them develop basic drawing and writing skills. The system uses a combination of sketch recognition techniques to interpret the handwritten strokes from sketches of the children, and then provides intelligent feedback based on what they draw. Our approach provides a virtual coach to assist teachers teaching the critical skills of drawing and handwriting. We do so by guiding children through a set of exercises of increasing complexity according to their progress, and at the same time keeping track of students' performance and engagement, giving them differentiated instruction and feedback. Our system would be like a virtual Teaching Assistant for Young Kids, hence we call it TAYouKi. We collected over five hundred hand-drawn shapes from grownups that had a clear understanding of what a particular geometric shape should look like. We used this data to test the recognition of our system. Following, we conducted a series of case studies with children in age group three to six to test the interactivity efficacy of the system. The studies served to gain important insights regarding the research challenges in different domains. Results suggest that our approach is appealable and engaging to children and can help in more effectively teach them how to draw and write.

Automatic recognition and digitization of the features found in raster images of 2D topographic maps has a long research history. Very little such work has focused on creating and working with alternatives to the classic isoline-based topographic map.This thesis presents a system that generates 3D scenes from a 2D diagram format designed for user friendliness; with more geometric expressiveness and lower ink usage than classic topographic maps. This thesis explains the rationale for and the structure of the system, and the difficulties encountered in constructing it. It then describes a user study to evaluate the language and the usability of its various features, and draws future research directions from it.

Este estudo se dá a partir de uma série de trabalhos em desenho, fotografia, instalação e livro de artista, desenvolvidos entre 2012 e 2014, tendo como eixo um arquivo de desenhos realizados em situações cotidianas. Interessa aqui pensar a prática constante do desenho como ação cotidiana em pequenos suportes (folhas avulsas, cadernos de formatos modestos), sua acumulação através dos anos, sua utilização como extensão física da memória. O trabalho acontece na construção de novas totalidades a partir de fragmentos que compõem recortes transversais no tempo, em uma série de propostas para dar a ver esses desenhos, no diálogo sugerido pelo encontro de imagens realizadas em momentos distantes entre si ou no encontro destas imagens com o espaço da prática, assim como nas fricções e ambiguidades entre os desenhos de esboço, da ordem do privado, e trabalhos finalizados de ordem pública. / The present study’s starting point is a series of works in drawing, photography, installation and artist's book, which have been developed from 2012 to 2014, having as na axis the archive of drawings made in everyday situations. The focus here is to think about the constant practice of drawing as a daily action on small structures (single sheets, modest format notebooks), its accumulation over the years, its use as an extension of physical memory. The work takes place in the construction of new wholes from fragments through transverse cuts in time, in a series of proposals for seeing these drawings, the suggested dialogue between images made at distinct moments or in relation to the atelier, and the friction between the sketches, that are private, and finished works, which are public.

Made available in DSpace on 2014-06-11T19:24:09Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-01-25Bitstream added on 2014-06-13T19:51:26Z : No. of bitstreams: 1 nascimento_lr_me_bauru.pdf: 3084758 bytes, checksum: f24d0c251d8c36bc159c0d9db6cc6801 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O modo como o homem desenvolve seus objetos sofreu uma profunda transformação ao longo de sua história, passando da produção artesanal à produção industrial no final do séc. XVIII, dando origem ao projeto industrial, e assim, ao design. Surge com isso a necessidade de metodologias de trabalho que organizem o processo, orientando assim a criação. A partir do final do séc. XX uma nova transformação ocorre, com a inserção da informática nesse processo, modificando as possibilidades de manipulação do projeto. Com a evolução tecnológica ocorrem também transformações culturais. Atualmente existe uma valorização de resultados imediatos, reflexo de uma sociedade ansiosa, que acaba menosprezando o valor dos processos de forma geral. Assim, técnicas tradicionais de projetação são muitas vezes substituídas ou ignoradas diante das novas tecnologias. Além desse problema de adequação aos processos tradicionais, existe uma imprecisão de linguagem para designar os tipos de desenhos utilizados nesse processo, o que acaba dificultando seu entendimento e consequentemente a própria prática. Para essa pesquisa optou-se pelo termo desenho expressional como forma de abranger os termos esboço, rascunho, croqui, rafe, sketch e esquete. De modo geral, são recursos tradicionais que são sub-utilizados no processo criativo. Através de entrevistas com os alunos do 5º e 6º termo do Curso de Graduação em Desenho Industrial da Faculdade de Arquitetura, Artes e Comunicação, da Universidade Estadual Paulista Julio de Mesquita Filho, campus de Bauru/SP, procurou-se identificar como esse recurso - o desenho expressional - vem sendo visto e utilizado e qual a sua importância no processo de projeto. / The way like man develop the goals had a huge change along the history, starting with the handmade production until the industrial production in the 18th century, originating the industrial project and also the design. Based on this, begins the necessity of methodologies of work that organize the process and guide the creation. From the end of 20th century, a news transformation happened: insertion of computing in all this process, changing the possibilities of project handling. Due to technologic evolution some cultural transformations have occured also. Nowadays there is an appreciation of direct results, reflection of an anxious society that in general despises the values of processes. Thereby, traditional techniques of project are just ignored or replaced by news technologies over. Besides this problem of traditional methods adjustment, there is a language inaccuracy to assign the kinds of drawings used in this process, that difficult comprehension and practice. For this research, the term expressional drawing was chosen to include another terms: sketch, draft, croquet and rough draft. Generally, these are traditional resources sub used during the creative process. Some interviews were made with students of 5th and 6th semesters of Design graduation course, from Architecture, Arts and Communication College, Julio de Mesquita Filho University, Bauru campus, São Paulo state. Based on this interviews, it was possible to identify how this resource - expressional drawing - has been used and seen and how much important is this during the process of project.

Este estudo se dá a partir de uma série de trabalhos em desenho, fotografia, instalação e livro de artista, desenvolvidos entre 2012 e 2014, tendo como eixo um arquivo de desenhos realizados em situações cotidianas. Interessa aqui pensar a prática constante do desenho como ação cotidiana em pequenos suportes (folhas avulsas, cadernos de formatos modestos), sua acumulação através dos anos, sua utilização como extensão física da memória. O trabalho acontece na construção de novas totalidades a partir de fragmentos que compõem recortes transversais no tempo, em uma série de propostas para dar a ver esses desenhos, no diálogo sugerido pelo encontro de imagens realizadas em momentos distantes entre si ou no encontro destas imagens com o espaço da prática, assim como nas fricções e ambiguidades entre os desenhos de esboço, da ordem do privado, e trabalhos finalizados de ordem pública. / The present study’s starting point is a series of works in drawing, photography, installation and artist's book, which have been developed from 2012 to 2014, having as na axis the archive of drawings made in everyday situations. The focus here is to think about the constant practice of drawing as a daily action on small structures (single sheets, modest format notebooks), its accumulation over the years, its use as an extension of physical memory. The work takes place in the construction of new wholes from fragments through transverse cuts in time, in a series of proposals for seeing these drawings, the suggested dialogue between images made at distinct moments or in relation to the atelier, and the friction between the sketches, that are private, and finished works, which are public.

京都大学 / 0048 / 新制・課程博士 / 博士(工学) / 甲第22126号 / 工博第4656号 / 新制||工||1726(附属図書館) / 京都大学大学院工学研究科建築学専攻 / (主査)教授 竹山 聖, 教授 神吉 紀世子, 准教授 田路 貴浩, 教授 三浦 研 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM

Katrineholm is a locality and the seat of Katrineholm Municipality,Södermanland County,Sweden,which used to have a strong industrial sector,with several multinational corporations, but in the 1990s some of these companies reduced their workforce in Katrineholm.Today,many residents work elsewhere,as the train connection between Katrineholm and other major cities is fast and comfortable. The main characteristic Katrineholm is “Provinciality”. It is in a condition that is between one historical identity and another identity. This is a good opportunity for Katrineholm to build a new City Hall, forming a new identity for the city. In the process of designing the City Hall, I hope to use rooms as intervention to create both the indoor and outdoor rooms for the citizen and authorities. With these public rooms, the city hall of Katrineholm can be a collection of different characters of rooms, and provide a gathering space for the citizens.

This dissertation tackles the problem of entanglement in Generative Adversarial Networks (GANs). The key insight is that disentanglement in GANs can be improved by differentiating between the content, and the operations performed on that content. For example, the identity of a generated face can be thought of as the content, while the lighting conditions can be thought of as the operations. We examine disentanglement in several kinds of deep networks. We examine image-to-image translation GANs, unconditional GANs, and sketch extraction networks. The task in image-to-image translation GANs is to translate images from one domain to another. It is immediately clear that disentanglement is necessary in this case. The network must maintain the core contents of the image while changing the stylistic appearance to match the target domain. We propose latent filter scaling to achieve multimodality and disentanglement. Previous methods require complicated network architectures to enforce that disentanglement. Our approach, on the other hand, maintains the traditional GAN loss with a minor change in architecture. Unlike image-to-image GANs, unconditional GANs are generally entangled. Unconditional GANs offer one method of changing the generated output which is changing the input noise code. Therefore, it is very difficult to resample only some parts of the generated images. We propose structured noise injection to achieve disentanglement in unconditional GANs. We propose using two input codes: one to specify spatially-variable details, and one to specify spatially-invariable details. In addition to the ability to change content and style independently, it also allows users to change the content only at certain locations. Combining our previous findings, we improve the performance of sketch-to-image translation networks. A crucial problem is how to correct input sketches before feeding them to the generator. By extracting sketches in an unsupervised way only from the spatially-variable branch of the image, we are able to produce sketches that show the content in many different styles. Those sketches can serve as a dataset to train a sketch-to-image translation GAN.

A thesis project that investigates layeredness in space in a museum for sketches on Djurgården in Stockholm. The thesis tries to explore spatial overlay, and how space can be created with the intention of achieving layered qualities. References of layered space have been gathered and investigated in order to further the analysis. The program of the sketch museum corresponds with the thesis question and is intended to act as another driving factor in the investigation.

no abstract provided by author / Master of Architecture