10 research outputs found
Extending The Lossy Spring-Loaded Inverted Pendulum Model with a Slider-Crank Mechanism
Spring Loaded Inverted Pendulum (SLIP) model has a long history in describing
running behavior in animals and humans as well as has been used as a design
basis for robots capable of dynamic locomotion. Anchoring the SLIP for lossy
physical systems resulted in newer models which are extended versions of
original SLIP with viscous damping in the leg. However, such lossy models
require an additional mechanism for pumping energy to the system to control the
locomotion and to reach a limit-cycle. Some studies solved this problem by
adding an actively controllable torque actuation at the hip joint and this
actuation has been successively used in many robotic platforms, such as the
popular RHex robot. However, hip torque actuation produces forces on the COM
dominantly at forward direction with respect to ground, making height control
challenging especially at slow speeds. The situation becomes more severe when
the horizontal speed of the robot reaches zero, i.e. steady hoping without
moving in horizontal direction, and the system reaches to singularity in which
vertical degrees of freedom is completely lost. To this end, we propose an
extension of the lossy SLIP model with a slider-crank mechanism, SLIP- SCM,
that can generate a stable limit-cycle when the body is constrained to vertical
direction. We propose an approximate analytical solution to the nonlinear
system dynamics of SLIP- SCM model to characterize its behavior during the
locomotion. Finally, we perform a fixed-point stability analysis on SLIP-SCM
model using our approximate analytical solution and show that proposed model
exhibits stable behavior in our range of interest.Comment: To appear in The 17th International Conference on Advanced Robotic
Designing sound : procedural audio research based on the book by Andy Farnell
In
procedural
media,
data
normally
acquired
by
measuring
something,
commonly
described
as
sampling,
is
replaced
by
a
set
of
computational
rules
(procedure)
that
defines
the
typical
structure
and/or
behaviour
of
that
thing.
Here,
a
general
approach
to
sound
as
a
definable
process,
rather
than
a
recording,
is
developed.
By
analysis
of
their
physical
and
perceptual
qualities,
natural
objects
or
processes
that
produce
sound
are
modelled
by
digital
Sounding
Objects
for
use
in
arts
and
entertainments.
This
Thesis
discusses
different
aspects
of
Procedural
Audio
introducing
several
new
approaches
and
solutions
to
this
emerging
field
of
Sound
Design.Em
Media
Procedimental,
os
dados
os
dados
normalmente
adquiridos
através
da
medição
de
algo
habitualmente
designado
como
amostragem,
são
substituídos
por
um
conjunto
de
regras
computacionais
(procedimento)
que
definem
a
estrutura
típica,
ou
comportamento,
desse
elemento.
Neste
caso
é
desenvolvida
uma
abordagem
ao
som
definível
como
um
procedimento
em
vez
de
uma
gravação.
Através
da
análise
das
suas
características
físicas
e
perceptuais
,
objetos
naturais
ou
processos
que
produzem
som,
são
modelados
como
objetos
sonoros
digitais
para
utilização
nas
Artes
e
Entretenimento.
Nesta
Tese
são
discutidos
diferentes
aspectos
de
Áudio
Procedimental,
sendo
introduzidas
várias
novas
abordagens
e
soluções
para
o
campo
emergente
do
Design
Sonoro
The Music Sound
A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video.
Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes.
The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration.
Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music