Ternary Instantaneous Noise-based Logic

One of the possible representations of three-valued instantaneous noise-based logic is proposed. The third value is an uncertain bit value, which can be useful in artificial intelligence applications. There is a forth value, too, that can represent a non-existing bit (vacuum-state) that is the same (1 numeric value) for all bits, however that is a squeezed state common for all bits. Some logic gates are explored. The ternary Universe has a significant advantage compared to the standard binary one: its amplitude is never zero during any clock period. All the known binary logic gates work for the binary bit values in the same way as earlier therefore the former binary algorithms can be run in the ternary system with no change and without the problems posed by zero values of the Universe.Comment: submitted for publicatio

Community Repair Project: Strategic Social Skill Mobilization For Sustainable Fashion

As an effort towards sustainability, fashion needs to embrace repair as a designed feature for everyday clothes. Normally we think of repair as merely fixing a broken object, making it functional again. But repair can be so much more. It can be an update of function, an improvement of style, a sign of compassion, or even rebuilding of community. If sustainable fashion takes repair seriously, designers might be able to reengage communities in strategic collaborations for repair; using the broken object to mend the social fabric scattered by the status anxiety of fashion

Viewing the Whale: Space, Time, and the Imagination in Moby-Dick and Comics

In defining ‘comics’ as a genre in his groundbreaking Understanding Comics, scholar Scott McCloud considers images in narratives more generally as operating within a representative space between the storyteller and the objects they describe. This project extracts from comics a structural theory of reading as a subjective visual experience, by comparing the framing of images in Herman Melville’s Moby-Dick with that in works of graphic narrative, primarily Richard McGuire’s Here, Chris Ware’s Building Stories, and Matt Kish’s Moby-Dick in Pictures: One Drawing for Every Page. In order to consider comics as works of narrative, McCloud emphasizes the role of the reader in perceiving a cohesive sense of space and time from the sequence of images arranged on the page, and argues that this idea of reader navigation and sequence is key to understanding comics’ visual language as a reflection of both narrative perspective and described object. This project close reads Here and Building Stories which, to various extents, experiment with the reader’s construction of spatial and temporal chronology and construct their narrative lens around that chosen experience. In addition, these projects also suggest a failure of traditional reading models when one examines comics as a visual experience. These readings are framed by comparative readings of Moby-Dick as a literary narrative dependent on its own ability to direct the reader’s visual perspective. By applying formal readings to this idea of reader participation this project extends a new theory of reading found in comics to consider textual narrative as what McCloud calls a “visual language,” framing its story through the reader’s tangible interactions with the text’s space and time

Unhinged

Unhinged is an animated graduate thesis film 7 minutes, 30 seconds long, which was originally conceived as a story about decision making, and it turned into a story about loneliness and an acceptance of it. It tells a story of a troll, Lancelot, who carries on a lonely life in a neglected cabin in the middle of a desert. He entertains himself by playing masquerade with his friends, mannequins-hat-holders. One day he hears a knock on the door and struggles with fear to open the door. This film is a hand-drawn animation that was mostly produced in TVPaint Animation Software. It is done in full color and has an elaborated soundtrack. This paper outlines the whole film creation process from the very beginning of an idea development stage until receiving a response and critique. It describes all my inventions, obstacles, failures, and successes, as well as technical specifics of the process