Becoming Human with Humanoid

Nowadays, our expectations of robots have been significantly increases. The robot, which was initially only doing simple jobs, is now expected to be smarter and more dynamic. People want a robot that resembles a human (humanoid) has and has emotional intelligence that can perform action-reaction interactions. This book consists of two sections. The first section focuses on emotional intelligence, while the second section discusses the control of robotics. The contents of the book reveal the outcomes of research conducted by scholars in robotics fields to accommodate needs of society and industry

History of Computer Art

A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014)

Implementing Industry 4.0 in SMEs

This open access book addresses the practical challenges that Industry 4.0 presents for SMEs. While large companies are already responding to the changes resulting from the fourth industrial revolution , small businesses are in danger of falling behind due to the lack of examples, best practices and established methods and tools. Following on from the publication of the previous book ‘Industry 4.0 for SMEs: Challenges, Opportunities and Requirements’, the authors offer in this new book innovative results from research on smart manufacturing, smart logistics and managerial models for SMEs. Based on a large scale EU-funded research project involving seven academic institutions from three continents and a network of over fifty small and medium sized enterprises, the book reveals the methods and tools required to support the successful implementation of Industry 4.0 along with practical examples

Virtual Touch: Embodied Experiences of (dis)Embodied Intimacy in Mediatized Performance

In this dissertation, I explore a phenomenon I call virtual touch, in which embodied sensations of touch are felt through non-tactile senses. In the digital age, online interactivity has expanded the ways in which individuals experience connection, intimacy, and touch. Digital media, which have traditionally been thought of as disembodied, nevertheless have the ability to elicit intense feelings of touch. Through analysis of digital and virtual installation art, I examine the ways that non-tactile touch remains rooted in the embodied experience. The works I include in this study create a feeling of virtual touch through a co-functioning of the senses, and through what Brian Massumi terms “the superiority of the analog,” in which all experience is inherently rooted in the body. Grounded in Merleau-Ponty’s theory of the embodied subject, I focus on three broad categories of installation art, each of which creates an affective response of virtual touch through senses of sight and proprioception: telematic performance using video-conferencing technology, digitally reactive animations, and immersive sculptures of light designed to decenter the perceptual and visual senses. Along with works by artists Paul Sermon, Adrien M & Claire B, teamLab, and James Turrell, I include analyses of two research performances I created, Being Present (2016) and (dis)embodied in space (2019), both of which entangled live and mediatized bodies through telematic video technology. Each of the artworks that I include place an emphasis on the embodied experience, engaging bodies in interactions of virtual touch with other bodies, with digitally reactive artworks, and with light and space. Throughout this dissertation, I argue for a rethinking of concepts of touch, intimacy, and connection in the digital age

History of Computer Art

Die Entwicklung von Computer und Software von den fünfziger Jahren bis heute wird vorgestellt. Als Leitkriterien der Geschichte der Computerkunst werden ein Interface-Modell und drei Arten, Rechenprozesse einzusetzen (generativ, modular, hyptertextuell), vorgeschlagen. Die "Geschichte der Computerkunst"/"History of Computer Art" erörtert Beispiele aus frühen Entwicklungsphasen von Kunstformen wie Kybernetische Skulpturen, Computergraphik und -animation (einschließlich Musikvideos und Demos), Videokunst und Computerspielen, reaktive Installationen, Virtuelle Realität, Evolutionäre Kunst und Netzkunst. Die Funktionen der ausgewählten Werke werden detaillierter vorgestellt als dies in vergleichbaren Geschichten üblich ist. Die deutsche Version wurde bis Dezember 2012 kapitelweise in IASLonline Lektionen/Lessons in Net Art publiziert. Das letzte Kapitel der englischen Version wurde Juni 2014 veröffentlicht. Im September 2015 wurde ein erstes Update eingestellt

History of Computer Art

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories. The German version was completed in December 2012. The last chapter of the English translation was published in June 2014. First update: September 2015

Of Cigarettes, High Heels, and Other Interesting Things 3/E

Among species, human beings seem to be a peculiar lot. Why is it, for example, that certain members of the species routinely put their survival at risk by puffing on a small stick of nicotine? Why is it that some females of the species make locomotion difficult for themselves by donning high-heel footwear? Are there hidden or unconscious reasons behind such strange behaviors that seem to be so utterly counter-instinctual, so to speak? For no manifest biological reason, humanity has always searched, and continues to search, for a purpose to its life. Is it this search that has led it to engage in such bizarre behaviors as smoking and wearing high heels? And is it the reason behind humanity’s invention of myths, art, rituals, languages, mathematics, science, and all the other truly remarkable things that set it apart from all other species? Clearly, Homo sapiens appears to be unique in the fact that many of its behaviors are shaped by forces other than the instincts. The discipline that endeavors to understand these forces is known as semiotics. Relatively unknown in comparison to, say, philosophy or psychology, semiotics probes the human condition in its own peculiar way, by unraveling the meanings of the signs that undergird not only the wearing of high-heel shoes, but also the construction of words, paintings, sculptures, and the like

History of Computer Art, Second Edition

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014)

In your hands & self-portrait:Introductory spatial design exercises in the first-year studio

This paper considers the discrepancies in the visual literacy of students prior to entering spatial design education at a public higher-educational institution. Because the school subjects Visual Arts and Engineering Graphics and Design provide feeder skills to visual literacy, students with exposure to these subjects tend to have higher visual literacy than students who are unlikely to have received exposure to these subjects. This is problematic because Visual Arts and Engineering Graphics and Design are not on offer in all public South African schools.As educators from a public higher-educational institution endeavouring to provide equitable learning opportunities, how do we, through spatial design education, relate to first-year students with an awareness of differences in student’readiness’ impacted by schooling opportunities? What role can spatial design exercises play in alleviating these discrepancies while engaging all students in the first-year studio