Technology assessment of advanced automation for space missions

Six general classes of technology requirements derived during the mission definition phase of the study were identified as having maximum importance and urgency, including autonomous world model based information systems, learning and hypothesis formation, natural language and other man-machine communication, space manufacturing, teleoperators and robot systems, and computer science and technology

Improved Physical Design for Manufacturing Awareness and Advanced VLSI

Increasing challenges arise with each new semiconductor technology node, especially in advanced nodes, where the industry tries to extract every ounce of benefit as it approaches the limits of physics, through manufacturing-aware design technology co-optimization and design-based equivalent scaling. The increasing complexity of design and process technologies, and ever-more complex design rules, also become hurdles for academic researchers, separating academic researchers from the most up-to-date technical issues.This thesis presents innovative methodologies and optimizations to address the above challenges. There are three directions in this thesis: (i) manufacturing-aware design technology co-optimization; (ii) advanced node design-based equivalent scaling; and (iii) an open source academic detailed routing flow.To realize manufacturing-aware design technology co-optimization, this thesis presents two works: (i) a multi-row detailed placement optimization for neighbor diffusion effect mitigation between neighboring standard cells; and (ii) a post-routing optimization to generate 2D block mask layout for dummy segment removal in self-aligned multiple patterning.To achieve advanced node design-based equivalent scaling, this thesis presents two improved physical design methodologies: (i) a post-placement flop tray generation approach for clock power reduction; and (ii) a detailed placement approach to exploit inter-row M1 routing for congestion and wirelength reduction.To address the increasing gap between academia and industry, this thesis presents two works toward an open source academic detailed routing flow: (i) a complete, robust, scalable and design ruleaware dynamic programming-based pin access analysis framework; and (ii) TritonRoute – the open source detailed router that is capable of delivering DRC-clean detailed routing solutions in advanced nodes.This thesis concludes with a summary of its contributions and open directions for future research

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

Multiple forms of applications and impacts of a design theory -ten years of industrial applications of C-K theory

International audienceC-K theory has been developed by Armand Hatchuel and Benoit Weil and then by other researchers since 1990s. In this paper we show that its very abstract nature and its high degree of universality actually supported a large variety of industrial applications. We distinguish three types of applications: 1) C-K theory provides a new language, that supports new analysis and descriptive capacity and new teachable individual models of thoughts; 2) C-K theory provides a very general framework to better characterize the validity domain and the performance conditions of existing methods, leading to potential improvement of these methods ; 3) C-K theory is the conceptual model at the root of new design methods that are today largely used in the industry

Sound Aesthetic: A Form of Narrative

This research presents an exploration into a novel design methodology that incorporates architecture, multimedia, and interactive digital technologies to create an immersive experience that encourages a spatial and sensorial discourse between user and their built environment. This immersive design method creates a continuous narrative that allows a multi-directional interaction between the two. This interaction creates a “sound” architectural aesthetic that changes the experience of space. The target of the interaction between user and space is the five human senses resulting in an immersive aesthetic. In order to illustrate this immersive aesthetic, five architectural prototypes were created using an assorted design workflow of parametric programming environment and interactive prototyping platform. This workflow is employed for the creation of five prototypes used for the simulation that has user interaction as an input and formal geometries as an output. These five prototypes target various human senses in order to enhance the immersive aesthetic. Each protoype is evaluated according to individual prototype’s ability to stimulate user’s senses. Finally, future research based on the outcomes of this research is suggested

Design agency:prototyping multi-agent systems in architecture

This paper presents research on the prototyping of multi-agent systems for architectural design. It proposes a design exploration methodology at the intersection of architecture, engineering, and computer science. The motivation of the work includes exploring bottom up generative methods coupled with optimizing performance criteria including for geometric complexity and objective functions for environmental, structural and fabrication parameters. The paper presents the development of a research framework and initial experiments to provide design solutions, which simultaneously satisfy complexly coupled and often contradicting objectives. The prototypical experiments and initial algorithms are described through a set of different design cases and agents within this framework; for the generation of façade panels for light control; for emergent design of shell structures; for actual construction of reciprocal frames; and for robotic fabrication. Initial results include multi-agent derived efficiencies for environmental and fabrication criteria and discussion of future steps for inclusion of human and structural factors

A Semiotic Approach to the Evolution of Symboling Capacities During the Late Pleistocene with Implications for Claims of ‘Modernity’ in Early Human Groups

abstract: This research uses Peircean Semiotics to model the evolution of symbolic behavior in the human lineage and the potential material correlates of this evolutionary process in the archaeological record. The semiotic model states the capacity for symbolic behavior developed in two distinct stages. Emergent capacities are characterized by the sporadic use of non-symbolic and symbolic material culture that affects information exchange between individuals. Symbolic exchange will be rare. Mobilized capacities are defined by the constant use of non-symbolic and symbolic objects that affect both interpersonal and group-level information exchange. Symbolic behavior will be obligatory and widespread. The model was tested against the published archaeological record dating from ~200,000 years ago to the Pleistocene/Holocene boundary in three sub-regions of Africa and Eurasia. A number of Exploratory and Confirmatory Data Analysis techniques were used to identify patterning in artifacts through time consistent with model predictions. The results indicate Emergent symboling capacities were expressed as early as ~100,000 years ago in Southern Africa and the Levant. However, capacities do not appear fully Mobilized in these regions until ~17,000 years ago. Emergent symboling is not evident in the European record until ~42,000 years ago, but develops rapidly. The results also indicate both Anatomically Modern Humans and Neanderthals had the capacity for symbolic behavior, but expressed those capacities differently. Moreover, interactions between the two populations did not select for symbolic expression, nor did periodic aggregation within groups. The analysis ultimately situates the capacity for symbolic behavior in increased engagement with materiality and the ability to recognize material objects can be made meaningful– an ability that must have been shared with Anatomically Modern Humans’ and Neanderthals’ most recent common ancestor. Consequently, the results have significant implications for notions of ‘modernity’ and human uniqueness that drive human origins research. This work pioneers deductive approaches to cognitive evolution, and both strengths and weaknesses are discussed. In offering notable results and best practices, it effectively operationalizes the semiotic model as a viable analytical method for human origins research.Dissertation/ThesisAppendices A-N: SpreadsheetsDoctoral Dissertation Anthropology 201

Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good