3,539 research outputs found
The Official Student Newspaper of UAS
UAS Answers: Everybody's got one... -- Thanksgiving Break! -- Experience Tidal Echoes -- Language Learning & Dr. Walter Soboleff Day -- The End of Times -- Thank you, Chancellor Pugh -- Literary Traditions: The Ptolemaic System -- (How to Not Be) Cold as Ice -- Big H[i]ro 6 -- By a Small Margin, Alaska Voted "YES on 2" -- Dip It, Drizzle It, Chocolate -- Campus Calenda
Disability rights and robotics: Co-producing futures
This project brought together a team of 25 co-researchers from the University of the West of England, Fairfield Farm College and Wiltshire Centre of Independent Living. The co-researchers are a diverse group including disabled people, carers, students, and academics from social work, psychology and sociology to robotics. Our research team demonstrates a wealth of experiences as some members had both lived experience of disability, in addition to being involved in teaching, learning and research. The research question for the project was:How can robotic technologies support disability rights? Rights are about everyday opportunities to live life to the full, human rights that everyone is entitled to (The Convention on the Rights of Persons with Disabilities (CRPD) 2009 (Enable.un.org, 2019). In this time of rapid social change to our social and work lives, relationships and leisure, there are new technologies that might support disability rights like âdriverless carsâ, smart phones, social media and new robotic technologies. The project had two aims:â˘to identify priority research questions into disability rights and roboticsâ˘to develop the co-production process for future researc
VISIT JAPAN OR WHERE TRADITION MEETS THE FUTURE â Branding a Nation Digitally Seen from the Perspective of the 4.0 Industrial Era and Semiotics
Using the TPM is a process of meaning creation; the viewer will select cultural content from (one of the) three paradigms, tradition, modernity, and nature, and, thereafter, combine the selected cultural content into a sequence. Via the selections and combinations of the viewer (completed by the algorithm of the TPM) a message comes into being; the message is the map and the list. The map is an iconic sign, a diagram, with more semiotic functions; hence, the map not only represents different locations â rather, the map, furthermore, represents cultural content, and, thereby, we can understand the map as showing the viewer a (possible) path within that part of the âJapanese encyclopediaâ, which concerns tradition, modernity, and nature. The TPM, furthermore, potentially, relates to the travel notes made by the European tourists which have been to Japan; hence, the travel notes have the status of (potential) interpretants mediating between the viewer and the cultural content by communicating, emotively and referentially, for example, the emotions, attuites, and evaluations of the European tourists concerning the cultural content as well as referring to objective, factual circumstances. The travel notes, therefore, become a supplement to the meaning of the 360-degree VR movie and TPM. In the above we have, more than once, mentioned the Zeitgeist of the 4.0 industrial era; and the VJEW seems to be âsomething appropriate to the spirits of timeâ involving simulation and âsmart digital planningâ in order to convey cultural content and to brand a nation; perhaps, thereby, also, making that nation stronger
VISIT JAPAN OR WHERE TRADITION MEETS THE FUTURE â Branding a Nation Digitally Seen from the Perspective of the 4.0 Industrial Era and Semiotics
Using the TPM is a process of meaning creation; the viewer will select cultural content from (one of the) three paradigms, tradition, modernity, and nature, and, thereafter, combine the selected cultural content into a sequence. Via the selections and combinations of the viewer (completed by the algorithm of the TPM) a message comes into being; the message is the map and the list. The map is an iconic sign, a diagram, with more semiotic functions; hence, the map not only represents different locations â rather, the map, furthermore, represents cultural content, and, thereby, we can understand the map as showing the viewer a (possible) path within that part of the âJapanese encyclopediaâ, which concerns tradition, modernity, and nature. The TPM, furthermore, potentially, relates to the travel notes made by the European tourists which have been to Japan; hence, the travel notes have the status of (potential) interpretants mediating between the viewer and the cultural content by communicating, emotively and referentially, for example, the emotions, attuites, and evaluations of the European tourists concerning the cultural content as well as referring to objective, factual circumstances. The travel notes, therefore, become a supplement to the meaning of the 360-degree VR movie and TPM. In the above we have, more than once, mentioned the Zeitgeist of the 4.0 industrial era; and the VJEW seems to be âsomething appropriate to the spirits of timeâ involving simulation and âsmart digital planningâ in order to convey cultural content and to brand a nation; perhaps, thereby, also, making that nation stronger
Heart robot: a public engagement project
Heart Robot was a public engagement project funded by the Engineering and Physical Sciences Research Council (EPSRC). The aim of the project was to challenge cultural perceptions of robots, and to stimulate thought and debatein members of the general public around research in the field of social and emotional robotics. Fusing the traditions of Bunraku puppetry, the technologyof animatronics and the field of artificial emotion and social intelligence, Heart Robot presented a series of entertaining, thought-provoking, and moving performances at fourteen events in the south-west region of the UK betweenMay and December 2008.This paper presents a summary of the independent evaluation of the project
What If (Dublin)
Raby developed three âWhat If...â exhibitions with Dunne (RCA), asking what role design can play in imagining possible futures and raising social, cultural and ethical questions, building on 20 yearsâ practice in Critical Design theorised inter alia in Dunne and Rabyâs Design Noir (2001), Hertzian Tales (2005) and Speculative Everything (2013).
Rabyâs research included concept development, extended collaboration with exhibitors to develop their contributions, and devising the engagement strategy: all three required localised approaches to audiences, circumstances and commissioning hosts. Extensive investigation was needed in synthetic biology, nanotechnology, surveillance technologies and the domestication of natural phenomena, working with scientific partners at Imperial College and Cambridge University.
âWhat IfâŚâ Dublin (2009) comprised 29 projects envisioning hypothetical futures and was reviewed in Irish broadsheets (Examiner, Times, Independent), Wired and New Scientist: âthe exhibitsâŚaddress questions on scientific or medical ethics that must be asked in our bio-technological ageâ (http://www.newscientist.com/blogs/culturelab/2009/12/post-2.html). Exhibits were also shown at the Art Institute of Chicago, Israel Museum, MoMA and Ars Electronica Center.
About 1.8 million people pass the windows of the Wellcome Trust building in London annually, making them an important means of science communication. Wellcome commissioned a changing âWhat IfâŚâ exhibition of 15 themes over 15 months (February 2010 â March 2011). Raby reconceived the design strategy with exhibits engaging at different distances, from passing buses to close-up study.
The third exhibition, for the Beijing International Design Triennial (2011), explored the impact on future life of novel technologies through 58 projects in 130 exhibits from 36 designers (12 from China), for a diverse audience. The exhibition and related symposium at Tsinghua University were supported by the British Council. The Triennial was visited by approximately 500,000 visitors and featured widely, e.g. China Central Television, People's Daily, New York Times (all 2011) and Zhuangshi journal (2011 and 2012)
Stagnant, April 3, 2017
Satirehttps://irl.umsl.edu/current2010s/1259/thumbnail.jp
Natural Language based Context Modeling and Reasoning with LLMs: A Tutorial
Large language models (LLMs) have become phenomenally surging, since
2018--two decades after introducing context-awareness into computing systems.
Through taking into account the situations of ubiquitous devices, users and the
societies, context-aware computing has enabled a wide spectrum of innovative
applications, such as assisted living, location-based social network services
and so on. To recognize contexts and make decisions for actions accordingly,
various artificial intelligence technologies, such as Ontology and OWL, have
been adopted as representations for context modeling and reasoning. Recently,
with the rise of LLMs and their improved natural language understanding and
reasoning capabilities, it has become feasible to model contexts using natural
language and perform context reasoning by interacting with LLMs such as ChatGPT
and GPT-4. In this tutorial, we demonstrate the use of texts, prompts, and
autonomous agents (AutoAgents) that enable LLMs to perform context modeling and
reasoning without requiring fine-tuning of the model. We organize and introduce
works in the related field, and name this computing paradigm as the LLM-driven
Context-aware Computing (LCaC). In the LCaC paradigm, users' requests, sensors
reading data, and the command to actuators are supposed to be represented as
texts. Given the text of users' request and sensor data, the AutoAgent models
the context by prompting and sends to the LLM for context reasoning. LLM
generates a plan of actions and responds to the AutoAgent, which later follows
the action plan to foster context-awareness. To prove the concepts, we use two
showcases--(1) operating a mobile z-arm in an apartment for assisted living,
and (2) planning a trip and scheduling the itinerary in a context-aware and
personalized manner.Comment: Under revie
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