271 research outputs found
LIPIcs, Volume 251, ITCS 2023, Complete Volume
LIPIcs, Volume 251, ITCS 2023, Complete Volum
Minimum algorithm sizes for self-stabilizing gathering and related problems of autonomous mobile robots
We investigate a swarm of autonomous mobile robots in the Euclidean plane. A
robot has a function called {\em target function} to determine the destination
point from the robots' positions. All robots in the swarm conventionally take
the same target function, but there is apparent limitation in problem-solving
ability. We allow the robots to take different target functions. The number of
different target functions necessary and sufficient to solve a problem is
called the {\em minimum algorithm size} (MAS) for . We establish the MASs
for solving the gathering and related problems from {\bf any} initial
configuration, i.e., in a {\bf self-stabilizing} manner. We show, for example,
for , there is a problem such that the MAS for the
is , where is the size of swarm. The MAS for the gathering
problem is 2, and the MAS for the fault tolerant gathering problem is 3, when
robots may crash, but the MAS for the problem of gathering all
robot (including faulty ones) at a point is not solvable (even if all robots
have distinct target functions), as long as a robot may crash
Fictional Practices of Spirituality I: Interactive Media
"Fictional Practices of Spirituality" provides critical insight into the implementation of belief, mysticism, religion, and spirituality into worlds of fiction, be it interactive or non-interactive. This first volume focuses on interactive, virtual worlds - may that be the digital realms of video games and VR applications or the imaginary spaces of life action role-playing and soul-searching practices. It features analyses of spirituality as gameplay facilitator, sacred spaces and architecture in video game geography, religion in video games and spiritual acts and their dramaturgic function in video games, tabletop, or LARP, among other topics. The contributors offer a first-time ever comprehensive overview of play-rites as spiritual incentives and playful spirituality in various medial incarnations
Rendezvous on a Known Dynamic Point on a Finite Unoriented Grid
In this paper, we have considered two fully synchronous
robots having no agreement on coordinates entering a finite unoriented grid
through a door vertex at a corner, one by one. There is a resource that can
move around the grid synchronously with the robots until it gets co-located
along with at least one robot. Assuming the robots can see and identify the
resource, we consider the problem where the robots must meet at the location of
this dynamic resource within finite rounds. We name this problem "Rendezvous on
a Known Dynamic Point".
Here, we have provided an algorithm for the two robots to gather at the
location of the dynamic resource. We have also provided a lower bound on time
for this problem and showed that with certain assumption on the waiting time of
the resource on a single vertex, the algorithm provided is time optimal. We
have also shown that it is impossible to solve this problem if the scheduler
considered is semi-synchronous
Changing Priorities. 3rd VIBRArch
In order to warrant a good present and future for people around the planet and to safe the care of the planet itself, research in architecture has to release all its potential. Therefore, the aims of the 3rd Valencia International Biennial of Research in Architecture are:
- To focus on the most relevant needs of humanity and the planet and what architectural research can do for solving them.
- To assess the evolution of architectural research in traditionally matters of interest and the current state of these popular and widespread topics.
- To deepen in the current state and findings of architectural research on subjects akin to post-capitalism and frequently related to equal opportunities and the universal right to personal development and happiness.
- To showcase all kinds of research related to the new and holistic concept of sustainability and to climate emergency.
- To place in the spotlight those ongoing works or available proposals developed by architectural researchers in order to combat the effects of the COVID-19 pandemic.
- To underline the capacity of architectural research to develop resiliency and abilities to adapt itself to changing priorities.
- To highlight architecture's multidisciplinarity as a melting pot of multiple approaches, points of view and expertise.
- To open new perspectives for architectural research by promoting the development of multidisciplinary and inter-university networks and research groups.
For all that, the 3rd Valencia International Biennial of Research in Architecture is open not only to architects, but also for any academic, practitioner, professional or student with a determination to develop research in architecture or neighboring fields.Cabrera Fausto, I. (2023). Changing Priorities. 3rd VIBRArch. Editorial Universitat Politècnica de València. https://doi.org/10.4995/VIBRArch2022.2022.1686
Jornadas Nacionales de Investigación en Ciberseguridad: actas de las VIII Jornadas Nacionales de Investigación en ciberseguridad: Vigo, 21 a 23 de junio de 2023
Jornadas Nacionales de Investigación en Ciberseguridad (8ª. 2023. Vigo)atlanTTicAMTEGA: Axencia para a modernización tecnolóxica de GaliciaINCIBE: Instituto Nacional de Cibersegurida
Fundamentals
Volume 1 establishes the foundations of this new field. It goes through all the steps from data collection, their summary and clustering, to different aspects of resource-aware learning, i.e., hardware, memory, energy, and communication awareness. Machine learning methods are inspected with respect to resource requirements and how to enhance scalability on diverse computing architectures ranging from embedded systems to large computing clusters
A Phenomenological approach to media art environments: The Immersive art experience and the Finnish art scene
This research focuses on immersive art, defined as a multimedia experience where visitors interact with artwork whilst immersed in a range of sensory experiences. In this dissertation, I investigate the immersive art experience from the perspective of art history, social theory, and media studies situated within a phenomenological theoretical framework. I present a comparative analysis of forms of immersive spatiality, including projected moving-image art, spatial environments, participatory installations, video art installations and interactive environments in the international art scene. One of my objectives is to emphasise the role of video art in the development of interactive and immersive art environments. The growing importance of spectators for giving meaning to the artwork allows immersivity to be analysed in relation to the notions of spectacle and spectatorship.
I connect disciplines, practices and concepts by adopting principles from Maurice Merleau-Ponty’s phenomenological writings. Spatiality and motility are pivotal points in immersive experiences. Immersive art, as an embodied mutual experience, materialises the phenomenological concepts of spectatorship, corporeality, motility, porosity, chiasm, and encounter.
I have selected a group of relevant Finnish artists from different generations to characterise the development of media art and, particularly, immersive media art in an international context. The group includes Eija-Liisa Ahtila, Lauri Astala, Laura Beloff, Hanna Haaslahti, Tuomas A. Laitinen, Erkka Nissinen, and Marjatta Oja. I examine the historical dissemination of phenomenology in Finland and a renewed interest in the 1990s which coincided with the spatialisation of video art and the emergence of immersivity. I also investigate the opening of Kiasma Museum of Contemporary Art and its impact on Finnish culture, and the recent Amos Rex Museum, specifically built for immersive exhibitions.
Regarding the unstable nature of media art, I analyse the changes in displaying art collections and exhibitions, the new commitments of art museums and the innovative directions taken by media conservators. My examination of immersive art, with its performativity and transience, reveals environmentally friendly and sustainable aspects.Fenomenologinen tulokulma mediataideympäristöihin. Immersiivinen taidekokemus ja Suomen taidekenttä
Tämä tutkimus käsittelee immersiivistä taidetta multimediaalisena kokemuksena. Immersiossa kävijät ovat erilaisten aistimellisten kokemusten ympäröiminä vuorovaikutuksessa taiteen kanssa. Tutkin väitöskirjassani immersiivistä taidekokemusta fenomenologisessa teoriakehyksessä taidehistorian, yhteiskuntateorian ja mediatutkimuksen näkökulmasta. Esitän vertailevan analyysin immersiivisistä tilallisuuden muodoista, joihin sisällytän liikkuvan kuvan projisoinnit, tilateokset, osallistavat installaatiot, videoinstallaatiot ja interaktiiviset ympäristöt kansainvälisen taidekentän ilmiöinä. Yhtenä pyrkimyksenäni on painottaa videotaiteen merkitystä interaktiivisen ja immersiivisen taiteen kehityksessä. Katsojien kasvava rooli taideteoksen merkityksen muodostuksessa tarjoaa perustan immersion analyysille nimenomaan spektaakkelin ja katsojuuden viitekehyksessä.
Yhdistän eri tieteenaloja, käytäntöjä ja käsitteitä toisiinsa Maurice Merleau-Pontyn fenomenologisten kirjoitusten avulla. Tilallisuus ja liike ovat immersiivisten kokemusten ytimessä. Jaettuna ruumiillisena kokemuksena immersiivinen taide ilmentää materiaalisesti fenomenologisia katsojuuden, ruumiillisuuden, liikkeessä olemisen, huokoisuuden, kiasman ja kohtaamisen käsitteitä.
Olen valinnut joukon eri sukupolvia edustavia suomalaistaiteilijoita hahmot-taakseni mediataiteen ja erityisesti immersiivisen mediataiteen kansainvälisiä kehityskulkuja. Heihin lukeutuvat Eija-Liisa Ahtila, Lauri Astala, Laura Beloff, Hanna Haaslahti, Tuomas A. Laitinen, Erkka Nissinen ja Marjatta Oja. Käsittelen fenomenologian saapumista Suomeen sekä siihen 1990-luvulla videotaiteen tilallistumisen ja immersion esiin nousun yhteydessä uudelleen virinnyttä mielenkiintoa. Tarkastelen myös Nykytaiteen museo Kiasman perustamista ja sen vaikutusta suomalaiseen kulttuuriin, samoin kuin vastikään avattua Amos Rex -taidemuseota, joka on rakennettu erityisesti immersiivisiä näyttelyitä silmällä pitäen.
Analysoin muutoksia taidekokoelmien ja näyttelyiden esillepanossa, taidemuseoiden uudenlaisia sitoumuksia ja mediataiteen kuratoinnin uutta luovia suuntia suhteessa mediataiteen nopeasti muuttuvaan luonteeseen. Painottamalla performatiivisuutta ja hetkellisyyttä nostan immersiivisen taiteen analyysissani näkyville sen ympäristöystävällisiä ja kestäviä ulottuvuuksia
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