6,673 research outputs found

    A Design Science Research Approach to Smart and Collaborative Urban Supply Networks

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    Urban supply networks are facing increasing demands and challenges and thus constitute a relevant field for research and practical development. Supply chain management holds enormous potential and relevance for society and everyday life as the flow of goods and information are important economic functions. Being a heterogeneous field, the literature base of supply chain management research is difficult to manage and navigate. Disruptive digital technologies and the implementation of cross-network information analysis and sharing drive the need for new organisational and technological approaches. Practical issues are manifold and include mega trends such as digital transformation, urbanisation, and environmental awareness. A promising approach to solving these problems is the realisation of smart and collaborative supply networks. The growth of artificial intelligence applications in recent years has led to a wide range of applications in a variety of domains. However, the potential of artificial intelligence utilisation in supply chain management has not yet been fully exploited. Similarly, value creation increasingly takes place in networked value creation cycles that have become continuously more collaborative, complex, and dynamic as interactions in business processes involving information technologies have become more intense. Following a design science research approach this cumulative thesis comprises the development and discussion of four artefacts for the analysis and advancement of smart and collaborative urban supply networks. This thesis aims to highlight the potential of artificial intelligence-based supply networks, to advance data-driven inter-organisational collaboration, and to improve last mile supply network sustainability. Based on thorough machine learning and systematic literature reviews, reference and system dynamics modelling, simulation, and qualitative empirical research, the artefacts provide a valuable contribution to research and practice

    Building body identities - exploring the world of female bodybuilders

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    This thesis explores how female bodybuilders seek to develop and maintain a viable sense of self despite being stigmatized by the gendered foundations of what Erving Goffman (1983) refers to as the 'interaction order'; the unavoidable presentational context in which identities are forged during the course of social life. Placed in the context of an overview of the historical treatment of women's bodies, and a concern with the development of bodybuilding as a specific form of body modification, the research draws upon a unique two year ethnographic study based in the South of England, complemented by interviews with twenty-six female bodybuilders, all of whom live in the U.K. By mapping these extraordinary women's lives, the research illuminates the pivotal spaces and essential lived experiences that make up the female bodybuilder. Whilst the women appear to be embarking on an 'empowering' radical body project for themselves, the consequences of their activity remains culturally ambivalent. This research exposes the 'Janus-faced' nature of female bodybuilding, exploring the ways in which the women negotiate, accommodate and resist pressures to engage in more orthodox and feminine activities and appearances

    Supernatural crossing in Republican Chinese fiction, 1920s–1940s

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    This dissertation studies supernatural narratives in Chinese fiction from the mid-1920s to the 1940s. The literary works present phenomena or elements that are or appear to be supernatural, many of which remain marginal or overlooked in Sinophone and Anglophone academia. These sources are situated in the May Fourth/New Culture ideological context, where supernatural narratives had to make way for the progressive intellectuals’ literary realism and their allegorical application of supernatural motifs. In the face of realism, supernatural narratives paled, dismissed as impractical fantasies that distract one from facing and tackling real life. Nevertheless, I argue that the supernatural narratives do not probe into another mystical dimension that might co-exist alongside the empirical world. Rather, they imagine various cases of the characters’ crossing to voice their discontent with contemporary society or to reflect on the notion of reality. “Crossing” relates to characters’ acts or processes of trespassing the boundary that separates the supernatural from the conventional natural world, thus entailing encounters and interaction between the natural and the supernatural. The dissertation examines how crossing, as a narrative device, disturbs accustomed and mundane situations, releases hidden tensions, and discloses repressed truths in Republican fiction. There are five types of crossing in the supernatural narratives. Type 1 is the crossing into “haunted” houses. This includes (intangible) human agency crossing into domestic spaces and revealing secrets and truths concealed by the scary, feigned ‘haunting’, thus exposing the hidden evil and the other house occupiers’ silenced, suffocated state. Type 2 is men crossing into female ghosts’ apparitional residences. The female ghosts allude to heart-breaking, traumatic experiences in socio-historical reality, evoking sympathetic concern for suffering individuals who are caught in social upheavals. Type 3 is the crossing from reality into the characters’ delusional/hallucinatory realities. While they physically remain in the empirical world, the characters’ abnormal perceptions lead them to exclusive, delirious, and quasi-supernatural experiences of reality. Their crossings blur the concrete boundaries between the real and the unreal on the mental level: their abnormal perceptions construct a significant, meaningful reality for them, which may be as real as the commonly regarded objective reality. Type 4 is the crossing into the netherworld modelled on the real world in the authors’ observation and bears a spectrum of satirised objects of the Republican society. The last type is immortal visitors crossing into the human world. This type satirises humanity’s vices and destructive potential. The primary sources demonstrate their writers’ witty passion to play with super--natural notions and imagery (such as ghosts, demons, and immortals) and stitch them into vivid, engaging scenes using techniques such as the gothic, the grotesque, and the satirical, in order to evoke sentiments such as terror, horror, disgust, dis--orientation, or awe, all in service of their insights into realist issues. The works also creatively tailor traditional Chinese modes and motifs, which exemplifies the revival of Republican interest in traditional cultural heritage. The supernatural narratives may amaze or disturb the reader at first, but what is more shocking, unpleasantly nudging, or thought-provoking is the problematic society and people’s lives that the supernatural (misunderstandings) eventually reveals. They present a more compre--hensive treatment of reality than Republican literature with its revolutionary consciousness surrounding class struggle. The critical perspectives of the supernatural narratives include domestic space, unacknowledged history and marginal individuals, abnormal mentality, and pervasive weaknesses in humanity. The crossing and supernatural narratives function as a means of better understanding the lived reality. This study gathers diverse primary sources written by Republican writers from various educational and political backgrounds and interprets them from a rare perspective, thus filling a research gap. It promotes a fuller view of supernatural narratives in twentieth-century Chinese literature. In terms of reflecting the social and personal reality of the Republican era, the supernatural narratives supplement the realist fiction of the time

    Foundations for programming and implementing effect handlers

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    First-class control operators provide programmers with an expressive and efficient means for manipulating control through reification of the current control state as a first-class object, enabling programmers to implement their own computational effects and control idioms as shareable libraries. Effect handlers provide a particularly structured approach to programming with first-class control by naming control reifying operations and separating from their handling. This thesis is composed of three strands of work in which I develop operational foundations for programming and implementing effect handlers as well as exploring the expressive power of effect handlers. The first strand develops a fine-grain call-by-value core calculus of a statically typed programming language with a structural notion of effect types, as opposed to the nominal notion of effect types that dominates the literature. With the structural approach, effects need not be declared before use. The usual safety properties of statically typed programming are retained by making crucial use of row polymorphism to build and track effect signatures. The calculus features three forms of handlers: deep, shallow, and parameterised. They each offer a different approach to manipulate the control state of programs. Traditional deep handlers are defined by folds over computation trees, and are the original con-struct proposed by Plotkin and Pretnar. Shallow handlers are defined by case splits (rather than folds) over computation trees. Parameterised handlers are deep handlers extended with a state value that is threaded through the folds over computation trees. To demonstrate the usefulness of effects and handlers as a practical programming abstraction I implement the essence of a small UNIX-style operating system complete with multi-user environment, time-sharing, and file I/O. The second strand studies continuation passing style (CPS) and abstract machine semantics, which are foundational techniques that admit a unified basis for implementing deep, shallow, and parameterised effect handlers in the same environment. The CPS translation is obtained through a series of refinements of a basic first-order CPS translation for a fine-grain call-by-value language into an untyped language. Each refinement moves toward a more intensional representation of continuations eventually arriving at the notion of generalised continuation, which admit simultaneous support for deep, shallow, and parameterised handlers. The initial refinement adds support for deep handlers by representing stacks of continuations and handlers as a curried sequence of arguments. The image of the resulting translation is not properly tail-recursive, meaning some function application terms do not appear in tail position. To rectify this the CPS translation is refined once more to obtain an uncurried representation of stacks of continuations and handlers. Finally, the translation is made higher-order in order to contract administrative redexes at translation time. The generalised continuation representation is used to construct an abstract machine that provide simultaneous support for deep, shallow, and parameterised effect handlers. kinds of effect handlers. The third strand explores the expressiveness of effect handlers. First, I show that deep, shallow, and parameterised notions of handlers are interdefinable by way of typed macro-expressiveness, which provides a syntactic notion of expressiveness that affirms the existence of encodings between handlers, but it provides no information about the computational content of the encodings. Second, using the semantic notion of expressiveness I show that for a class of programs a programming language with first-class control (e.g. effect handlers) admits asymptotically faster implementations than possible in a language without first-class control

    Photography and Aesthetics: a critical study on visual and textual narratives in the lifework of Sergio LarraĂ­n and its impact in 20th century Europe and Latin America

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    The main focus of this study is a theoretical exploration of critical approaches applicable to the work of the Chilean photographer Sergio LarraĂ­n (1931-2012). It presents analytical tools to contextualise and understand the importance and impact of his work in photographic studies and his portrayal of twentieth-century Latin American and European culture. It inspects in depth a large portion of his photo work, which is still only partially published and mostly reduced to his "active" period as a photojournalist, aside from the personal photographic exploration of his early and late career (C. Mena). This extended material creates a broader scope for understanding his photographs and him as a canonical photographer. This study analyses the photographer's trajectory as discourses of recollection of historical memory in time (Mauad) to trace LarraĂ­n's collective memory associated with his visual production. Such analysis helps decode his visual imagery and his projection and impact on the European and Latin American culture. This strategy helps solve a two fold problem: firstly, it generates an interpretive consistency to understand the Chilean's photographic practice; secondly, it explores the power of images as an aesthetic experience in the installation of nationalist ideologies and the creation of imaginaries (B. Anderson 163)

    Chinese Benteng Women’s Participation in Local Development Affairs in Indonesia: Appropriate means for struggle and a pathway to claim citizen’ right?

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    It had been more than two decades passing by aftermath the devastating Asia’s Financial Crisis in 1997, subsequently followed by Suharto’s step down from his presidential throne which he occupied for more than three decades. The financial turmoil turned to a political disaster furthermore has led to massive looting that severely impacted Indonesians of Chinese descendant, including unresolved mystery of the most atrocious sexual violation against women and covert killings of students and democracy activists in this country. Since then, precisely aftermath May 1998, which publicly known as “Reformasi”1, Indonesia underwent political reform that eventually corresponded positively to its macroeconomic growth. Twenty years later, in 2018, Indonesia captured worldwide attention because it has successfully hosted two internationally renowned events, namely the Asian Games 2018 – the most prestigious sport events in Asia – conducted in Jakarta and Palembang; and the IMF/World Bank Annual Meeting 2018 in Bali. Particularly in the IMF/World Bank Annual Meeting, this event has significantly elevated Indonesia’s credibility and international prestige in the global economic powerplay as one of the nations with promising growth and openness. However, the narrative about poverty and inequality, including increasing racial tension, religious conservatism, and sexual violation against women are superseded by friendly climate for foreign investment and eventually excessive glorification of the nation’s economic growth. By portraying the image of promising new economic power, as rhetorically promised by President Joko Widodo during his presidential terms, Indonesia has swept the growing inequality in this highly stratified society that historically compounded with religious and racial tension under the carpet of digital economy.Arte y Humanidade

    Recent Hong Kong cinema and the generic role of film noir in relation to the politics of identity and difference

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    This thesis identifies a connection in Hong Kong cinema with classical Hollywood film noir and examines what it will call a 'reinvestment' in film noir in recent films. It will show that this reinvestment is a discursive strategy that both engages the spectator-subject in the cinematic practice and disengages him or her from the hegemony of the discourse by decentring the narrative. The thesis argues that a cinematic practice has occurred in the recent reinvestment of film noir in Hong Kong, which restages the intertextual relay of the historical genre that gives rise to an expectation of ideas about social instability. The noir vision that is seen as related to the fixed categories of film narratives, characterizations and visual styles is reassessed in the course of the thesis using Derridian theory. The focus of analysis is the way in which the constitution of meanings is dependent on generic characteristics that are different. Key to the phenomenon is a film strategy that destabilizes, differs and defers the interpretation of crises-personal, social, political and/or cultural-by soliciting self-conscious re-reading of suffering, evil, fate, chance and fortune. It will be argued that such a strategy evokes the genre expectation as the film invokes a network of ideas regarding a world perceived by the audience in association with the noirish moods of claustrophobia, paranoia, despair and nihilism. The noir vision is thus mutated and transformed when the film device differs and defers the conception of the crises as tragic in nature by exposing the workings of the genre amalgamation and the ideological function of the cinematic discourse. Thus, noirishness becomes both an affect and an agent that contrives a self-reflexive re-reading of the tragic vision and of the conventional comprehension of reality within the discursive practice. The film strategy, as an agent that problematizes the film form and narrative, gives rise to what I call a politics of difference, which may also be understood as the Lyotardian 'language game' or a practice of 'pastiche' in Jameson's terminology. Under the influence of the film strategy, the spectator is enabled to negotiate his or her understanding of recent Hong Kong cinema diegetically and extra-diegetically by traversing different positions of cinematic identification. When the practice of genre amalgamation adopts the visual impact of the noirish film form, the film turns itself into a playing field of 'fatal' misrecognition or a site of question. Through cinematic identification and alienation from the identification, the spectator-subject is enabled to experience the misrecognition as the film slowly foregrounds the way in which the viewer's presence is implicated in the narrative. This thesis demonstrates that certain contemporary Hong Kong films introduce this selfconscious mode of explication and interpretation, which solicits the spectator to negotiate his or her subject-position in the course of viewing. The notions of identity and subjectivity under scrutiny will thus be reread. With reference to The Private Eye Blue, Swordsman II, City a/Glass and Happy Together, the thesis shall explore the ways in which the Hong Kong films enable and facilitate a negotiation of cultural identity

    A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964

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    The thesis examines the emergence of Peter Lanyon as one of the few truly innovative British landscape painters this century. In the Introduction I discuss the problematic nature of landscape art and consider the significance of Lanyon's discovery that direct description and linear perspective can be replaced with allusive representational elements by fusing the emotional and imaginative life of the artist with the physical activity of painting. Chapter One concentrates on the period 1936-8 when Lanyon was taught by Borlase Smart, a key figure in the St Ives art colony between the wars. Chapter Two examines the influence of Adrian Stokes and the links between Lanyon's painting and the theories developed in books such as Colour and Form and The Quattro Cento. Chapter Three analyses the period 1940-45 when Lanyon was directly influenced by the constructivism of Nicholson, Hepworth and Gabo. I look closely at their approaches to abstraction and assess Lanyon's relative position to them. The importance of Neo-Romanticism and the status of St Ives as a perceived avant-garde community is also addressed. In Chapter Four I discuss how Lanyon resolved to achieve a new orientation in his art on his return from wartime service with the RAF by synthesising constructivism, and traditional landscape. The Generation and Surfacing Series demonstrate his preoccupation with a sense of place, a fascination with the relationships between the human body and landscape and his struggle to find a technique and style that was entirely his own. His sense of existential insideness is discussed in Chapter Five through an examination of the work derived from Portreath, St. Just and Porthleven - key places in Lanyon's psychological attachment to the landscape of West Penwith. In Chapter Six I examine Lanyon's attachment to myths and archetypal forms, tracing the influence of Bergson's vitalist philosophy as well as his use of Celtic and classical motifs. Chapter Seven is a discussion of the malaise evident in Lanyon's work by 1955 and the impact of American Abstract Expressionism at the Tate Gallery a year later. In the summer of 1959 Lanyon joined the Cornish Gliding Club and Chapter Eight looks at how this necessitated a dynamic, expanded conception of the landscape and a re-thinking of relations within the picture field. The ability to dissolve boundaries encouraged him to break down distinctions between painting and construction so that abstract sculptural elements were now assembled into independent works of art. Finally, Chapter Nine assesses Lanyon's overall position in relation to his early influences and to St Ives art as a whole, his response to new directions in art coming out of London and NewYork in the early 1960s and the importance of travel as a stimulus for further realignment in his artistic and topographical horizons. His pictorial inventiveness and vitality remained unabated at the time of his death and would undoubtedly have continued to be enriched by travel abroad and contact with new movements in modem art on both sides of the Atlanti

    Playing no solo imagination: synthesising the rhythmic emergence of sound and sign through embodied drum kit performance and writing

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    This practice-based PhD explores musical imagination by examining the relationships of embodied musical performance and writing. The submission comprises audio recordings of original musical material and accompanying literary output, which are contextualised through a written commentary. Through creative practice-led research based on the author’s experience as a performing musician, the thesis explores and details the generative relationship between imagination and intersubjectivity. In demonstrating musical performance as an ecologically-grounded activity animated by polyvalent real and imaginary elements, the thesis ultimately challenges the notion of an autonomous, solo subject in musical performance practice. The research context draws on music, creative writing and a range of artistic and theoretical scholarship on the subjective experience: of emotion and feeling; intersubjectivity and embodiment; semiotics and the musical imagination; histories of time and rhythm. By engaging performance and writing as situated, ecological activities, creative practice is used productively as a research methodology through the following devices: (1) The drum kit—the author’s primary performance vehicle—is treated to a broadly historical and theoretical examination of material practice. A ‘hybrid drum kit’—combining acoustic drums, cymbals, and synthetic sounds—is proposed, and used by the author as the basis for this project’s practical explorations; (2) Rhythm is conceptualised and deployed as a systematic and recursive method for musical play, in order to investigate the interrelationship of sonic, semantic and physical elements; (3) Creative writing, based on theories of embodied cognition, is used to explore and inscribe the imagination of musical play. This creative practice methodology is used to articulate and respond to the following questions: (a) What is the felt relationship between listening and inscription? (b) How do particular words, diagrams, real and imagined materials effect the sound of drum performance? (c) How do movements of the body relate to semantic and timbral conventions? The methodology is productive generating emergent structures which express embodied cognition, demonstrating the function of musical imagination. The approach serves simultaneously to expose the bias of perceptual filtering, and to challenge conventions of movement and quantification that condition musical subjectivity. The research is formally presented in a way that reflects the synthesis of real, imagined, poetic and analytic elements under scrutiny in this thesis, through a series of interconnected units: thesis, audio recordings, and attendant written outputs. Exercises generate scores, in turn performed and recorded live. Sonic and written outcomes are combined, resulting in two publications, and a speculative performance. Narrated by a number of fictional characters, through various imaginary spaces, these outputs constitute three ‘Rhythmic Figure’ studies—‘Ductus,’ ‘Nsular’ and ‘Gyri’—produced as independent documents, and presented in the central ‘Garden’ section of the thesis. ‘Anteroom’ and ‘Exits’ sections, framing the ‘Garden,’ introduce, and conclude the thesis, respectively. In its original, creative demonstration of the interconnected contribution of non-verbal, sensory, and intersubjective imagination to musical play, this creative practice research project contributes argument and evidence for the manifold ways of knowing music—listen, feel, move, write—which sit beyond discursive norms.This practice-based PhD explores musical imagination by examining the relationships of embodied musical performance and writing. The submission comprises audio recordings of original musical material and accompanying literary output, which are contextualised through a written commentary. Through creative practice-led research based on the author’s experience as a performing musician, the thesis explores and details the generative relationship between imagination and intersubjectivity. In demonstrating musical performance as an ecologically-grounded activity animated by polyvalent real and imaginary elements, the thesis ultimately challenges the notion of an autonomous, solo subject in musical performance practice. The research context draws on music, creative writing and a range of artistic and theoretical scholarship on the subjective experience: of emotion and feeling; intersubjectivity and embodiment; semiotics and the musical imagination; histories of time and rhythm. By engaging performance and writing as situated, ecological activities, creative practice is used productively as a research methodology through the following devices: (1) The drum kit—the author’s primary performance vehicle—is treated to a broadly historical and theoretical examination of material practice. A ‘hybrid drum kit’—combining acoustic drums, cymbals, and synthetic sounds—is proposed, and used by the author as the basis for this project’s practical explorations; (2) Rhythm is conceptualised and deployed as a systematic and recursive method for musical play, in order to investigate the interrelationship of sonic, semantic and physical elements; (3) Creative writing, based on theories of embodied cognition, is used to explore and inscribe the imagination of musical play. This creative practice methodology is used to articulate and respond to the following questions: (a) What is the felt relationship between listening and inscription? (b) How do particular words, diagrams, real and imagined materials effect the sound of drum performance? (c) How do movements of the body relate to semantic and timbral conventions? The methodology is productive generating emergent structures which express embodied cognition, demonstrating the function of musical imagination. The approach serves simultaneously to expose the bias of perceptual filtering, and to challenge conventions of movement and quantification that condition musical subjectivity. The research is formally presented in a way that reflects the synthesis of real, imagined, poetic and analytic elements under scrutiny in this thesis, through a series of interconnected units: thesis, audio recordings, and attendant written outputs. Exercises generate scores, in turn performed and recorded live. Sonic and written outcomes are combined, resulting in two publications, and a speculative performance. Narrated by a number of fictional characters, through various imaginary spaces, these outputs constitute three ‘Rhythmic Figure’ studies—‘Ductus,’ ‘Nsular’ and ‘Gyri’—produced as independent documents, and presented in the central ‘Garden’ section of the thesis. ‘Anteroom’ and ‘Exits’ sections, framing the ‘Garden,’ introduce, and conclude the thesis, respectively. In its original, creative demonstration of the interconnected contribution of non-verbal, sensory, and intersubjective imagination to musical play, this creative practice research project contributes argument and evidence for the manifold ways of knowing music—listen, feel, move, write—which sit beyond discursive norms
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