Social distancing enhanced automated optimal design of physical spaces in the wake of the COVID-19 pandemic

NoAs the COVID-19 pandemic unfolds, manually enhanced ad-hoc solutions have helped the physical space designers and decision makers to cope with the dynamic nature of space planning. Due to the unpredictable nature by which the pandemic is unfolding, the standard operating procedures also change, and the protocols for physical interaction require continuous reconsideration. Consequently, the development of an appropriate technological solution to address the current challenge of reconfiguring common physical environments with prescribed physical distancing measures is much needed. To do this, we propose a design optimization methodology which takes the dimensions, as well as the constraints and other necessary requirements of a given physical space to yield optimal redesign solutions on the go. The methodology we propose here utilizes the solution to the well-known mathematical circle packing problem, which we define as a constrained mathematical optimization problem. The resulting optimization problem is solved subject to a given set of parameters and constraints – corresponding to the requirements on the social distancing criteria between people and the imposed constraints on the physical spaces such as the position of doors, windows, walkways and the variables related to the indoor airflow pattern. Thus, given the dimensions of a physical space and other essential requirements, the solution resulting from the automated optimization algorithm can suggest an optimal set of redesign solutions from which a user can pick the most feasible option. We demonstrate our automated optimal design methodology by way of a number of practical examples, and we discuss how this framework can be further taken forward as a design platform that can be implemented practically.University of Bradford's COVID-19 Response Fund, the Spanish Ministry of Science, Innovation, and Universities (Computer Science National Program) under grant #TIN2017-89275-Rof the Agencia Estatal de Investigacion and European Funds (AEI/FEDER, UE

Automatic Generation of Dynamic Musical Transitions in Computer Games

In video games, music must often change quickly from one piece to another due to player interaction, such as when moving between different areas. This quick change in music can often sound jarring if the two pieces are very different from each other. Several transition techniques have been used in industry such as the abrupt cut transition, crossfading, horizontal resequencing and vertical reorchestration among others. However, while several claims are made about their effectiveness (or lack thereof), none of these have been experimentally tested. To investigate how effective each transition technique is, this dissertation empirically evaluates each technique in a study informed by music psychology. This is done based on several features identified as being important for successful transitions. The obtained results led to a novel approach to musical transitions in video games by investigating the use of a multiple viewpoint system, with viewpoints being modelled using Markov models. This algorithm allowed the seamless generation of music that could serve as a transition between two composed pieces of music. While transitions in games normally occur over a zone boundary, the algorithm presented in this dissertation takes place over a transition region, giving the generated music enough time to transition. This novel approach was evaluated in a bespoke video game environment, where participants navigated through several pairs of different game environments and rated the resulting musical transitions. The results indicate that the generated transitions perform as well as crossfading, a technique commonly used in the industry. Since crossfading is not always appropriate, being able to use generated transitions gives composers another tool in their toolbox. Furthermore, the principled approach taken opens up avenues for further research

Proceedings of the 9th Arab Society for Computer Aided Architectural Design (ASCAAD) international conference 2021 (ASCAAD 2021): architecture in the age of disruptive technologies: transformation and challenges.

The ASCAAD 2021 conference theme is Architecture in the age of disruptive technologies: transformation and challenges. The theme addresses the gradual shift in computational design from prototypical morphogenetic-centered associations in the architectural discourse. This imminent shift of focus is increasingly stirring a debate in the architectural community and is provoking a much needed critical questioning of the role of computation in architecture as a sole embodiment and enactment of technical dimensions, into one that rather deliberately pursues and embraces the humanities as an ultimate aspiration

The Choreography of Space: Merce Cunningham and William Forsythe in Context

This thesis takes the work of Merce Cunningham and William Forsythe as case studies for a socio-historical analysis of choreographic space and, in so doing, develops a sociology of dance around the qualitative study of spatial aesthetics. By locating the spatial innovations of these artists in the social space of their practice and in the light of spatial models inherited by each, it argues that the choreography of space can express ideals of human relationality produced in and productive of its broader societal landscape. Drawing from Henri Lefebvre’s contention that ‘the space of a (social) order is hidden in the order of space’, the thesis takes classical ballet as a primary example of how political ideals come to be embodied in spatial aesthetics and uses the ‘classical model’ to coordinate a sociologically orientated dance-historical context for these artists. The thesis is structured around four case studies that together form a context for understanding Cunningham’s and Forsythe’s spatial practices. These are: firstly, a sociopolitical history of harmony in courtly expressions of classical ballet from fifteenth- century Italy to late Imperial Russia; secondly, an analysis of George Balanchine’s and Martha Graham’s respective choreographies of the ‘American geographical imagination’; thirdly, a comparative study of Rudolf von Laban’s and Oskar Schlemmer’s theories of space and technology in their pre-war German contexts; finally a contextualisation of John Cage’s 1952 event in relation to Marshall McLuhan’s ‘electronic age’ and John Dewey’s ‘democratic’ social space. The final two chapters weave these spatial models into comparative frames for measuring the socio-historical specificity of Cunningham’s and Forsythe’s choreographic spaces. Cunningham’s ‘no fixed points’ aesthetic is understood as producing a coexistent space commensurate with McLuhan’s electronic paradigm and Dewey’s democratic individualism. Forsythe’s fluctuating space is understood as producing a ‘space of flows’ emblematic, for Manuel Castells, of a late twentieth-century ‘digital age’

Virtual orchestration: a film composer's creative practice

The advent of digital technologies has led to a major change in the process of film music composition; consequent developments in music technology have forced film composers to adapt to this change. Technological innovations such as digital audio workstations (DAWs) and virtual musical instruments have made possible the creation of virtual orchestras that are technologically capable of simulating the sound and behaviour of a traditional acoustic orchestra. This has had an effect on film music production and on the creative process of the professional film composer in a way that today, creating orchestral simulations or 'mock-ups' that imitate live orchestras (or smaller ensembles) has become a requirement in the film industry and thus an essential part of the film-scoring process. In the context of contemporary film music production, this thesis investigates how orchestral simulations are composed and created using computer music technology and virtual sample-based instruments. In asking 'how', the focus is on the film composer's activities and thought processes during this creative cycle, along with the nature of the interactive relationship between composer and music materials. This study aims to show the complexity of the film composer's creative practice and to advance understanding of how the use of computer music technology and orchestral sample libraries is influencing the compositional process and compositional outcome. To address these questions, a qualitative multiple case study methodology approach was chosen that included examination of the practice of seven professional film composers working in the field of feature film as the primary valid source of data. The exploration involved semi-structured interviews with composers, observations and analysis of their studio practice and inspection of their compositional tools. Taken as a whole, the evidence provided by this study is that the process of creating orchestral simulations is a process of film music composition during which professional film composers are creating orchestral sounds through the use of computers, digital sequencing, samplers and sample-based virtual acoustic instruments for the realisation of musical works. It is a process of using and manipulating recorded samples of real acoustic instruments to generate an expressive and convincing musical performance through sample-based orchestral simulation. A characteristic of this compositional practice is that it is a continuous process that proceeds in stages over time where all procedures can be applied repeatedly between stages. The process of creating orchestral simulations for the purpose of the film score is a multifaceted compositional activity involving a complex set of relationships among different compositional states of mind and compositional activities in which film composers experience music and interact with musical materials and media in various ways. This creative activity is a process involving a single person and a mixture of various compositional tools, the composer's skills and abilities brought into existence through a creative process that requires a thorough blend of art and craft to be demonstrated at all times

Synthesis of aesthetics for ship design

In the search for consensus on a definition of beauty, fitting the task of appreciating a ship’s design, this research revealed that other components of visual appraisal and 3d pattern analysis are required for a systemic approach. The model process presented is built around local adaptation and Gestalt psychology and uses retrospective case studies to categorise and calculate proportions, and recognisable patterns. The number of results from each type of vessel were found to be different, due to each ship or boats various geometries and anatomy, which illuminated the importance of standardising a procedure of categorisation in the appreciative approach.The categorisation of functions around the philosophy of functional beauty and the maths of summation series, it is suggested here, will allow a library of algebraic patterns and parameters to penetrate further into the impending or emulated integrated systems of ship design. The process to derive physical parameters via the culturally focussed narrative of functional beauty, is deemed as a manageable and novel addition to the naval architect's role. However, for the results to have a decisive impact on commercial design or education, variance and validation through further case studies is required

Learning from Teacher's Eye Movement: Expertise, Subject Matter and Video Modeling

How teachers' eye movements can be used to understand and improve education is the central focus of the present paper. Three empirical studies were carried out to understand the nature of teachers' eye movements in natural settings and how they might be used to promote learning. The studies explored 1) the relationship between teacher expertise and eye movement in the course of teaching, 2) how individual differences and the demands of different subjects affect teachers' eye movement during literacy and mathematics instruction, 3) whether including an expert's eye movement and hand information in instructional videos can promote learning. Each study looked at the nature and use of teacher eye movements from a different angle but collectively converge on contributions to answering the question: what can we learn from teachers' eye movements? The paper also contains an independent methodology chapter dedicated to reviewing and comparing methods of representing eye movements in order to determine a suitable statistical procedure for representing the richness of current and similar eye tracking data. Results show that there are considerable differences between expert and novice teachers' eye movement in a real teaching situation, replicating similar patterns revealed by past studies on expertise and gaze behavior in athletics and other fields. This paper also identified the mix of person-specific and subject-specific eye movement patterns that occur when the same teacher teaches different topics to the same children. The final study reports evidence that eye movement can be useful in teaching; by showing increased learning when learners saw an expert model's eye movement in a video modeling example. The implications of these studies regarding teacher education and instruction are discussed.PHDEducation & PsychologyUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/145853/1/yizhenh_1.pd

Pattern Recognition

A wealth of advanced pattern recognition algorithms are emerging from the interdiscipline between technologies of effective visual features and the human-brain cognition process. Effective visual features are made possible through the rapid developments in appropriate sensor equipments, novel filter designs, and viable information processing architectures. While the understanding of human-brain cognition process broadens the way in which the computer can perform pattern recognition tasks. The present book is intended to collect representative researches around the globe focusing on low-level vision, filter design, features and image descriptors, data mining and analysis, and biologically inspired algorithms. The 27 chapters coved in this book disclose recent advances and new ideas in promoting the techniques, technology and applications of pattern recognition