Thesis (M.A.)--Ohio State University. / Bibliography: leaves 60-68.

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Th.

Doct. diss.--Department of psychology--Stockholm university, 1999. / Ouvrage constitué de cinq études indépendantes, contenant des résumés en anglais, en français, en espagnol. Bibliogr. en fin de chaque étude.

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The overall goal of this work is to combine the complementary contributions of algebra and coalgebra to specification, in order to provide a formal framework for the specification of state-based, dynamical systems. Algebraic specification methods benefit from the availability of inductive techniques for defining and reasoning about structures that involve computation; coalgebraic specification methods complement algebraic ones both in their objectives and in their means of achieving them, by employing coinductive techniques for defining and reasoning about structures that involve observation. State-based, dynamical systems comprise a computational aspect, concerned with the construction of (new) system states, and an observational aspect, concerned with the observation of (existing) system states, with the two aspects overlapping on features concerned with the evolution of system states. Existing formalisms for the specification of such systems typically exploit the overlap between computational and observational features to employ either algebraic or coalgebraic techniques for specification and reasoning. However, such a choice limits the expressiveness of these formalisms w.r.t. either observational or computational features. Furthermore, the accounts given by such approaches to the concepts of indistinguishability by observations and respectively of reachability under computations are somewhat artificial, due to the failure to distinguish between computational and observational features. The approach taken here is to clearly separate the two categories of features (by shifting the features concerned with the evolution of system states to the computational component), and to use algebra and respectively coalgebra in formalising them. In particular, such an approach yields a coalgebraically-defined notion of indistinguishability by observations, and an algebraically-defined notion of reachability under computations. The relationship between computing new states and observing the resulting states is specified by suitably lifting the coalgebraic structure of the semantic domains induced by the observational component to computations over these semantic domains. Such an approach automatically results in a compatibility between computational and observational features, with the observational indistinguishability of states being preserved by computations, and with the reachability of states under computations being preserved by observations. Correctness properties of system behaviour are formalised using equational sentences. This is a standard technique in algebraic specification. A similar technique is used here for coalgebraic specification, with the resulting notion of sentence capturing system invariants quantified over state spaces. Moreover, a sound and complete calculus for reasoning about the specified behaviours is formulated in a concrete setting obtained by syntactically dualising the setting of many-sorted algebra. Equational sentences are then used to formalise the equivalence of computations as well as various system invariants, with the associated notions of satisfaction abstracting away observationally indistinguishable and respectively unreachable states, and with the associated proof techniques employing coinduction and respectively induction. Suitably instantiating the resulting approach yields a formalism for the specification and verification of objects.

This thesis examines the characterization of blacks in contemporary British-made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain's multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain's premier animation studio.

SAMPAIO, Artur Pereira. Temporally coherent sculpture of composite objects. 2017. 67 f. Tese (Doutorado em Ciência da Computação)-Universidade Federal do Ceará, Fortaleza, 2017. / Submitted by Jonatas Martins (jonatasmartins@lia.ufc.br) on 2017-09-26T19:48:12Z No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) / Approved for entry into archive by Rocilda Sales (rocilda@ufc.br) on 2017-09-27T11:14:56Z (GMT) No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) / Made available in DSpace on 2017-09-27T11:14:56Z (GMT). No. of bitstreams: 1 2017_tese_apsampaio.pdf: 73477614 bytes, checksum: 49861ce00f0635a78ad41b8260e6be32 (MD5) Previous issue date: 2017 / We address the problem of sculpting and deforming shapes composed of small, randomly placed objects. Objects may be tightly packed - such as pebbles, pills, seeds and grains, or may be sparsely distributed with an overarching shape - such as flocks of birds or schools of fishes. Virtual sculpture has rapidly become a standard in the entertainment industry, as evidenced by the extensive use of software such as ZBrush Pixologic (2017b). Composites, though, are still usually created in a static way by individually placing each object or by sculpting a support surface and procedurally populating the final shape, which raises problems for the generalization of evolving shapes with visual continuity of the components. Large amounts of geometrical data are generated that must be maintained and processed, both by the CPU and by the GPU. Whenever the shape is stretched, pressed or deformed, one has to define how these compositing objects should turn, displace or disappear inside the volume, as well as how new instances should become visible to the outside. It is difficult to rely on a physical system to perform that task in real time. The system we suggest can be constructed upon any uniform mesh-based representation that can be deformed and whose connectivity can be updated by operations such as edge splits, collapses, and flips. We introduce the notion of CompEls as composing elements used to populate the mesh, with aperiodic distribution. These can be automatically updated under deformation. The idea is to sculpt the shape as if it were filled with little objects, without handling the complexity of manipulating volumetric objects. For this purpose, we suggest exploiting the properties of the uniform sampling of the surface with distances between vertices greatly exceeding the CompEls distances. Both the surface and the CompEls are immersed into deformation fields, such that the update of the uniform sampling can be used to track the movement of the CompEls, to identify those which should disappear inside the shape, and empty areas where further CompEls should be generated. This system uses GPU optimizations to efficiently perform the rendering of individual components. To our knowledge, no previous sculpting system allows the user to simultaneously see and sculpt agglomerates in such a fast and reliable fashion. / Esta tese trata do problema da escultura e deformação de formas compostas de pequenos objetos aleatoriamente distribuídos. Objetos podem estar fortemente agrupados - como pedregulhos, pílulas, sementes e grãos - ou estar escassamente distribuídos ao longo de uma forma global - como bandos de aves ou escolas de peixes. Escultura virtual tornou-se rapidamente o padrão na indústria de entretenimento, como evidenciado pelo extenso uso de aplicativos como o ZBrush. Objetos compostos, por outro lado, ainda são usualmente criados de maneira estática, por meio do posicionamento individual de cada objeto; ou por meio da escultura de uma superfície de suporte a ser povoada de maneira procedural. A generalização dessa abordagem é problemática quando se considera formas dinâmicas e a necessidade de continuidade visual dos elementos componentes. Uma grande quantidade de dados geométricos é gerada, que precisa ser mantida e processada, tanto pela CPU como pela GPU. Sempre que a forma é esticada, pressionada ou deformada, é necessária a definição de como esses objetos componentes devem girar, se deslocar ou desaparecer dentro do volume, assim como de que maneira novas instâncias devem se tornar visíveis na superfície. Depender de um sistema físico para a tarefa em tempo real é inviável em função da quantidade de dados. A técnica que propomos pode ser implementada sobre qualquer representação baseada em malhas uniformes, que possam ser deformadas, e cuja conectividade possa ser atualizada por meio de operações como colapso, subdivisão e rotação de arestas. Nós introduzimos o conceito de CompEls como elementos componentes utilizados para povoar a malha, com distribuição aperiódica. A ideia é esculpir a forma como se ela estivesse repleta de pequenos objetos, sem a preocupação com a complexidade da manipulação de objetos compostos. Para este fim, propomos explorar a as propriedades da amostragem uniforme da superfície, com distâncias entre vértices excedendo em grande medida as distâncias entre CompEls. Ambos, superfície e CompEls, são imersos em campos de deformação, de tal forma que a atualização da amostragem uniforme possa ser utilizada para rastrear o deslocamento de CompEls, para identificar aqueles que devem desaparecer no interior do objeto, e para identificar áreas vazias onde novos CompEls devem ser gerados. Esse algoritmo se utiliza de otimizações de GPU para realizar a rasterização eficiente de componentes individuais. Até onde sabemos, nenhum sistema anterior de escultura virtual permite que o usuário, de forma simultânea, veja e esculpa aglomerados de maneira simples e confiável.

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2008Bitstream added on 2014-06-13T20:09:40Z : No. of bitstreams: 1 kobayashi_at_me_ia.pdf: 14767955 bytes, checksum: acfbf52c7c9ede58c727fbf11456a00f (MD5) / Universidade Estadual Paulista (UNESP) / A pesquisa que apresento, sob forma de Trabalho Equivalente, investiga os procedimentos artísticos envolvidos na produção de um portfólio, a partir a partir do estudo de alguns conjuntos de trabalhos plásticos produzidos ou orientados por mim. A primeira etapa do processo consistiu em analisar os dez anos iniciais de minha produção artística, partindo das primeiras composições, realizadas em 1996, e chegando ate as pinturas mais recentes executadas durante o primeiro ano de mestrado em 2006. Organizei os trabalhos mais significativos, cronologicamente, em quatro portfolios que traduzem os interesses, as necessidades e as expectativas de períodos específicos. O segundo momento da pesquisa foi dedicado ao relado de algumas das minhas experiências no ensino de arte, ocorridas nos anos de 2006 e 2007, através das quais tive a oportunidade de orientar a produção de uma série de visualidades. Como produto final dessa sistematização propus a elaboração de um novo portfólio que sintetiza o meu percurso como artista visual e como professora na área de Artes. As imagens presentes neste relatório circunstanciado não desempenham função ilustrativa; elas constituem o verdadeiro substrato desta reflexão comunicada, essencialmente, através da linguagem visual. / The research that I present, in a form of Equivalent Work, investigates the artistic procedures envolved in the production of a portfolio from the study of some plastic art work set produced of orientated by me. The first stage of the process consisted in analyse the first ten years of my artistic production starting from ghe first composition, realizead in 1996 and finishid until the most recent paitings executed durint the first year of the Visual Art Masters, in 2006. I organized the most significant works chronologically, in four portfolios that express the intersts, needs and expectationsa of specific periods. The second stage was dedicated the report of some art teaching experiences of mine, occured in the years of 2006 and 2007, through them I had the opportunity to orientate the production of visualitics. As the result of this system I propused an elaboration of a new portfolio that systhetizes my trajectory as a visual and as a teacher in the art area. The present imges in the written repor don't represent illustrative function; they compose the real abstracat of this communicated reflection essentiallly through the visual language.

Made available in DSpace on 2014-10-09T12:30:29Z (GMT). No. of bitstreams: 0 / Made available in DSpace on 2014-10-09T14:00:48Z (GMT). No. of bitstreams: 1 00044.pdf: 2049945 bytes, checksum: bb1f86f542894839854874ab808f5f4f (MD5) / Dissertacao (Mestrado) / IEA/D / Instituto de Energia Atomica - IEA