Decision-making is an important operation for any autonomous system. Robots in particular must observe their environment and compute appropriate responses. For solitary robots and centralized multiple-robot systems, decision-making is a relatively straightforward operation, since only a single agent (either the solitary robot or the single central controller) is solely responsible for the operation. The problem is much more complex in a decentralized system, to the point where optimal decision-making is intractable in the general case. Decentralized multiple-robot systems (dec-MRS) are robotic teams in which no robot is in authority over any others. The globally observed behaviour of dec-MRS emerges out of the individual robots’ local interactions with each other. This makes system-level decision-making, an operation in which an entire dec-MRS cooperatively makes a decision, a difficult problem. Social insects have long been a source of inspiration for dec-MRS research, and their example is followed in this work. Honeybees and Temnothorax ants must make group decisions in order to choose a new nest site whenever they relocate their colonies. Like the simple robots that compose typical dec-MRS, the insects utilize local, peer-to-peer behaviours to make good, cooperative decisions. This thesis examines their decision-making strategies in detail and proposes a three-phase framework for system-level decision-making by dec-MRS. Two different styles of decision are described, and experiments in both simulation and with real robots were carried out and presented here to demonstrate the framework’s decision-making ability. Using only local, anonymous communication and emergent behaviour, the proposed collective decision-making framework is able to make good decisions reliably, even in the presence of noisy individual sensing. Social cues such as consensus and quorum testing enables the robots to predicate their behaviour during the decision-making process on the global state of their system. Furthermore, because the operations carried out by the individual robots are so simple, and because their complexity to the individual robots is independent of the population size of a dec-MRS, the proposed decision-making framework will scale well to very large population sizes.

Whereas conceptions of giftedness, assessment tools, and models espoused in contemporary psychology are all grounded in the West, there are different ways to look at giftedness. This study investigated Shona culture of Zimbabwe’s conceptions of giftedness with a view to generate theoretical ideas that inform gifted programming from an African cultural perspective. The study was conducted at two levels using different research designs: a) a cultural level seeking to highlight Shona culture’s implicit theories of giftedness and b) an individual level seeking to understand Shona artists’ talent attributions. At the first level, Shona culture’s implicit theories of giftedness were explored by a questionnaire completed by 16 Zimbabwean academics of Shona cultural background. Data were analyzed in thematic frames, using frequency tables to gauge a consensus of responses among the respondents. The second study adopted a grounded theory study approach to generate a mid-range theory of Shona stone sculptors’ talent attributions focusing on how they propel a field of art. Participants in the study were 20 top talented Shona stone sculptors (icons of creative works in Zimbabwe). The Shona model of giftedness that emerged is spiritual, participatory and community focused. The grounded theory generated in the study suggested a dynamic interactive process model (DIPM) which explains how artists’ talent attributions help to propel a field of art. The DIPM posits that creativity emerges from dynamic and interactive processes activated or reactivated (by some trigger stimulus) in interactions evoking one’s unique experiences, cultural consciousness and domain specific consciousness and realized through practice and experience. In the DIPM model, creative vision and inspiration in art evolve from the interplay of six major factors which are not necessarily discrete: a) inherent/inborn potential, b) cultural consciousness, c) individual’s unique experiences, d) activation/reactivation stimulus, e) domain specific consciousness, and f) practice and experience. The DIPM model is based on beliefs systems as the magic carpets by which the artists ascend into the unknown to unleash their creativity. The study suggests that belief systems could become an interesting focus for future studies to understand creativity. The study makes a case for diversity sensitivity in gifted programming.

Thesis (Ph. D.)--Michigan State University. Dept. of Music Education, 2008. / Title from PDF t.p. (viewed on Aug. 19, 2009) Includes bibliographical references (p. 105-112). Also issued in print.

Thesis--Munich. / Bibliography: p. 216-220.

Syfte:Syftet med uppsatsen är att skapa en större förståelse för mjuka värdens relevans och påverkan för organisationers verksamhet. Studien undersöker hur chefer resonerar kring användandet av mjuka värden i deras dagliga verksamhet. Vi tror att studien kan bidra med en ökad förståelse av ledarskap kopplat till mjuka värden för chefer och ledningsgrupper.   Metod:En induktiv forskning som studerat det identifierade problemområdet genom kvalitativa intervjuer.     Slutsats:Genom studiens resultat har fem kategorier identifierats vilka vi bedömer nödvändiga att arbeta med för att skapa goda förutsättningar i arbetet med mjuka värden. Kategorierna som identifierats är delaktighet, tydlighet, anpassat ledarskap, lönsamhet och kultur. Vidare har studien visat att chefernas uttalade värderingar inte alltid överensstämde med organisationernas värderingar. En möjlig orsak till utfallet är att organisationsledningen inte kommunicerat syftet bakom det valda värderingarna tillräckligt väl till chefsledet. Utfallet kan leda till att chefen skapar egna värderingar och utgår från dessa. För att säkerställa att arbetet med mjuka värden och värderingar uppfylls bör organisationens ledning söka att förmedla ett syfte med värderingsvisionen hos chefer inom organisationen.

O conjunto de textos e fragmentos que compõem a obra de Blaise Pascal e também uma parte da tradição interpretativa deixam entender que há no pensamento deste filósofo certas cisões radicais. Assim, frequentemente, chega-se à conclusão de que, em maior ou menor grau, a filosofia de Pascal é fragmentada e descontínua. Por uma obra fragmentada ou descontínua, não entendemos aqui o inacabamento dos textos ou a estrutura em aforismos ou pequenas digressões aparentemente independentes (de fato presentes em Pascal), mas aquela obra a que falte um elemento comum entre os textos, a que falte o mínimo de continuidade temática e conexão argumentativa, ou seja, uma obra que careça de um solo mínimo para a leitura do conjunto de seus textos. Embora alguns temas em Pascal notadamente a doutrina das três ordens evoquem uma espécie de cisão, isso não nos parece ser verdade quando tomamos seu pensamento na totalidade. Não é claro que o pensamento de Pascal careça totalmente de organização interna. Com efeito, ao lermos com mais atenção a obra pascaliana, tomamos consciência da originalidade e importância que tem, em seus escritos, o conceito de coração, entendido como a faculdade do sentimento. O que pensamos é que, embora não torne a filosofia do nosso autor um sistema fechado (à maneira cartesiana, por exemplo), o conceito de coração, na medida em que é definido pela capacidade de sentir seja aos princípios, seja a Deus , é capital na obra de Blaise Pascal e por isso nos oferece uma chave de leitura para entendermos os textos pascalianos em seu conjunto. Da ciência à teologia, passando pelo desejo de ser feliz e o divertimento, o conceito de coração cumpre papel central na filosofia de Pascal. / The set of texts and fragments that make up the work of Blaise Pascal and also a part of the interpretative tradition lead to understand that there is in the thought of this philosopher certain radical decisions. So, often, one comes to the conclusion that, to a greater or lesser extent, the philosophy of Pascal is fragmented and discontinuous. For a fragmented or discontinuous work, we do not understand here incompleteness of the text or structure in aphorisms or small seemingly unrelated digressions (actually present in Pascal), but that work that lacks a common element between the texts, that lacks the minimum thematic continuity and argumentative connection, that is, a work that lacks a minimum ground for reading the set of their texts. Although some issues in Pascal - notably the doctrine of the three orders - evoke a kind of rupture, it does not seem to be true when we take his thoughts in full. It is not clear that the thought of Pascal totally lacks internal organization. Indeed, when we read with more attention Pascals work, we become aware of the originality and importance of, in his writings, the concept of \"heart\", understood as the faculty of feeling. What we think is that, though it doesnt make the philosophy of our author a closed system (in cartesian manner, for example), the concept of the heart, to the extent that is defined by the ability to feel - wether the principles, or God - is capital in the work of Blaise Pascal and therefore offers us a reading key to understand pascalian texts as a whole. From science to theology, through the desire to be happy and diversion, the concept of heart plays a central role in Pascal\'s philosophy.

Syftet med denna undersökning är att bidra med kunskap om vad det är som driver musikmakare i sitt skapande, samt om inspirationen som ligger bakom. Detta fullföljdes medelst skriftliga intervjuer med fem låtskrivare och kompositörer, som tillfrågades om den bakomliggande orsaken till deras skapande, om inspirationens roll i skapandet och om hur de går tillväga för att frammana den. Det övergripande resultatet tyder på att det är den personliga utmaningen och känslan att utnyttja sin kapacitet som driver en människa till att skriva musik. Respondenterna uppger att resor och möten med människor och nya situationer är det som påverkar inspirationen positivt. I övrigt uppger de att inspirationen är av förhållandevis stor vikt för dem, men att den oftast uppkommer av sig själv om de bara ger sig in i skapandeprocessen. Undersökningen bidrar till ytterligare kunskap om begreppet inspiration och om hur människor i exempelvis musikbranschen kan resonera för att effektivisera sitt arbete.

Doctor of Philosophy / Department of Counseling and Educational Psychology / Fred O. Bradley / The purpose of the current study was to identify if any significant relationships between inspiration, temperament, and positive affect existed. The dependent variable was inspiration, which was measured by the Inspiration Scale (IS). Temperament was measured by the Keirsey Temperament Sorter II and positive affect by the Positive and Negative Affect Schedule (PANAS). One hundred forty-five students attending a large Midwestern university and small community college participated. Initially, participants completed the Keirsey Temperament Sorter II online. The IS and PANAS were administered in the student’s classroom. The data were consequently analyzed to determine if there was a correlation between inspiration and temperament, inspiration and positive affect, and inspiration and the combined effects of temperament and positive affect. The results were mixed: 1. No relationship between inspiration and temperament was discovered. ANOVA results indicated that mean inspiration scores for each temperament did not vary significantly. 2. A relationship was identified between inspiration and positive affect. Regression results suggested a positive linear relationship between inspiration and positive affect scores. 3. When inspiration was correlated with positive affect and temperament combined, no relationship was discovered. A 2 x 4 ANOVA showed no correlation between the variables. The implications these results have on psychology and counseling are discussed, along recommendations for future research. Additionally, limitations of the study, such as inherent risks associated with using self-report measures, are mentioned. The study concludes with a discussion of how future research can investigate inspiration, temperament, and positive affect.

Whereas conceptions of giftedness, assessment tools, and models espoused in contemporary psychology are all grounded in the West, there are different ways to look at giftedness. This study investigated Shona culture of Zimbabwe’s conceptions of giftedness with a view to generate theoretical ideas that inform gifted programming from an African cultural perspective. The study was conducted at two levels using different research designs: a) a cultural level seeking to highlight Shona culture’s implicit theories of giftedness and b) an individual level seeking to understand Shona artists’ talent attributions. At the first level, Shona culture’s implicit theories of giftedness were explored by a questionnaire completed by 16 Zimbabwean academics of Shona cultural background. Data were analyzed in thematic frames, using frequency tables to gauge a consensus of responses among the respondents. The second study adopted a grounded theory study approach to generate a mid-range theory of Shona stone sculptors’ talent attributions focusing on how they propel a field of art. Participants in the study were 20 top talented Shona stone sculptors (icons of creative works in Zimbabwe). The Shona model of giftedness that emerged is spiritual, participatory and community focused. The grounded theory generated in the study suggested a dynamic interactive process model (DIPM) which explains how artists’ talent attributions help to propel a field of art. The DIPM posits that creativity emerges from dynamic and interactive processes activated or reactivated (by some trigger stimulus) in interactions evoking one’s unique experiences, cultural consciousness and domain specific consciousness and realized through practice and experience. In the DIPM model, creative vision and inspiration in art evolve from the interplay of six major factors which are not necessarily discrete: a) inherent/inborn potential, b) cultural consciousness, c) individual’s unique experiences, d) activation/reactivation stimulus, e) domain specific consciousness, and f) practice and experience. The DIPM model is based on beliefs systems as the magic carpets by which the artists ascend into the unknown to unleash their creativity. The study suggests that belief systems could become an interesting focus for future studies to understand creativity. The study makes a case for diversity sensitivity in gifted programming. / Education, Faculty of / Educational and Counselling Psychology, and Special Education (ECPS), Department of / Graduate

Keramiskt arbete idag är ett konsthantverk som ofta utförs med metoder som använts sedan länge. Idéer, information och kunskap sprids snabbt och lätt och oftast utan att begränsas av tid eller rum i dagens digitaliserade värld. Syftet med detta arbete är att synliggöra vad ett urval keramiker berättar att de gör och vilka frågor de ställer under sitt arbete, samt hur de använder och förhåller sig till digitala kunskapskällor. De undersökningsfrågor som ställs är: Vad beskriver några keramiker att de gör och undersöker i sitt arbete? Hur använder de digitala källor och internet? Det empiriska underlaget har samlats in genom att använda etnografisk metod som frågeformulär, intervjuer, informella samtal och observationer. Sammanlagt tolv informanter har deltagit i undersökningen. Den teoretiska metod som använts för bearbetning och analys av det empiriska materialet, är diskursteori. Den har kombinerats med en analys av den estetiska produktionen- och processen utifrån Drotners modell med tre olika nivåer: - individuell nivå – social nivå och - kulturell nivå. Åtskilliga diskurser som synliggörs genom informanternas beskrivningar av det de gör och undersöker. Det de gör formuleras i det diskursiva fältet som är keramiskt konsthantverk med diskursordningarna keramisk konst och keramiskt hantverk. Övriga diskurser som beskrivs har sammanställts och grupperats i tre övergripande diskurser: - kommunikationsdiskurs -emotionell diskurs och -ideologisk diskurs. Dessa sammanfalller i stort också med den analys som gjordes utifrån Drotners modell. Det som informanterna berättar att de undersöker är diskurser som kommunikation med sig själva och andra, känslor- och emotionella reflektioner samt hantverksprocessen – Making. Svaren på frågan om hur digitala källor och internet används beskriver en kunskapsdiskurs och en inspirationsdiskurs. Den största förändringen som digitaliseringen inneburit beskrivs i intervjuerna, det som nämns främst är den stora tillgången på kunskap. Flera nämner också att internet ger många möjligheter att låta sig insprieras. Yrkesmässiga kontakter oavsett tid och rum nämns också som en stor fördel med digitaliseringen. Genom observationerna var det också uppenbart att såväl digitala källor som digitala- verktyg och utrustning är en självklar del av dagens keramikverkstad och det keramiska arbetet. Leran är alltjämt materialet men många verktyg är nya.