Summary of Research 1994

The views expressed in this report are those of the authors and do not reflect the official policy or position of the Department of Defense or the U.S. Government.This report contains 359 summaries of research projects which were carried out under funding of the Naval Postgraduate School Research Program. A list of recent publications is also included which consists of conference presentations and publications, books, contributions to books, published journal papers, and technical reports. The research was conducted in the areas of Aeronautics and Astronautics, Computer Science, Electrical and Computer Engineering, Mathematics, Mechanical Engineering, Meteorology, National Security Affairs, Oceanography, Operations Research, Physics, and Systems Management. This also includes research by the Command, Control and Communications (C3) Academic Group, Electronic Warfare Academic Group, Space Systems Academic Group, and the Undersea Warfare Academic Group

Print and Screen, Muriel Cooper at MIT

Muriel Cooper (1925–94) worked at the Massachusetts Institute of Technology (MIT) for more than four decades as a graphic designer, an educator, and a researcher. Beginning in the early 1950s, she was the first designer in MIT’s Office of Publications, where she visualized the latest scientific research in print. In the late 1960s, she became the first Design and Media Director for the MIT Press, rationalizing its publishing protocols and giving form to some of the period’s most significant texts in the histories of art, design, and architecture, among other fields. In the mid-1970s, Cooper co-founded the Visible Language Workshop in MIT’s Department of Architecture. There she taught experimental printing and explored new imaging technologies in photography and video. And from the 1980s until her death, Cooper was a founding faculty member of the MIT Media Lab, where she turned her attention to the human-computer interface. Cooper helped cultivate a design culture at MIT. And before her premature death, she established some of the metaphors and mentored some of the designers that have shaped our contemporary digital landscape. Few 20th century designers have made significant contributions in both print and digital media, or helped to navigate the epochal transition between the two. Yet Cooper, in designing and redesigning roles for herself within new fields at MIT, did just that. Over her career and across multiple media, Cooper’s concerns remained quite consistent: She focused on developing both design tools and user experiences that would provide greater control and quicker feedback, eventually to be aided by machine intelligence. She sought to create experiences that were dynamic rather than static and simultaneous rather than linear, ones that engaged multiple media and a range of human senses. Cooper applied her knowledge of print design to software, and considered print and the process of its production as a prototype for the experiences that she would seek on screen. She also borrowed freely from media such as photography and film to inspire some of the effects she would later explore in new media. Cooper’s career traced an arc, in her practice and her pedagogy, from a focus on objects to one on systems. And her relationship to the digital evolved from a set of effects to be emulated in other media to seeing the computer at first as a tool, then as an assistant, and finally, as the medium itself. At the same time, she participated in a broader shift during this period from the paradigm of the humanist subject to the digitally augmented, “posthuman” condition of the present. In her interests and her achievements, Cooper exceeded any traditional definition of a graphic designer. At the same time, her work has defined the present state of the field. This dissertation, the first dedicated to Cooper, charts her pathbreaking career at MIT while also shedding new light on vital moments in the history of art, design, architecture, and media in postwar America

(at)america.jp: Identity, nationalism, and power on the Internet, 1969-2000

america.jp explores identity, nationalism, and power on the Internet between 1969 and 2000 through a cultural analysis of Internet code and the creative processes behind it. The dissertation opens with an examination of a real-time Internet Blues jam that linked Japanese and American musicians between Tokyo and Mississippi in 1999. The technological, cultural, and linguistic uncertainties that characterized the Internet jam, combined with the inventive reactions of the musicians who participated, help to introduce the fundamental conceptual question of the dissertation: is code a cultural product and if so can the Internet be considered a distinctly American technology?;A comparative study of the Internet\u27s origins in the United States and Japan finds that code is indeed a cultural entity but that it is a product not of one nation, but of many. A cultural critique of the Internet\u27s domain name conventions explores the heavily-gendered creation of code and the institutional power that supports it. An ethnography of the Internet\u27s managing organization, The Internet Corporation for Assigned Names and Numbers (ICANN), investigates conflicts and identity formation within and among nations at a time when new Internet technologies have blurred humans\u27 understanding of geographic boundaries. In the year 2000, an effort to prevent United States domination of ICANN produced unintended consequences: disputes about the definition of geographic regions and an eruption of anxiety, especially in China, that the Asian seat on the ICANN board would be dominated by Japan. These incidents indicate that the Internet simultaneously destabilizes identity and ossifies it. In this paradoxical situation, cultures and the people in them are forced to reconfigure the boundaries that circumscribe who they think they are

Continual improvement: A bibliography with indexes, 1992-1993

This bibliography lists 606 references to reports and journal articles entered into the NASA Scientific and Technical Information Database during 1992 to 1993. Topics cover the philosophy and history of Continual Improvement (CI), basic approaches and strategies for implementation, and lessons learned from public and private sector models. Entries are arranged according to the following categories: Leadership for Quality, Information and Analysis, Strategic Planning for CI, Human Resources Utilization, Management of Process Quality, Supplier Quality, Assessing Results, Customer Focus and Satisfaction, TQM Tools and Philosophies, and Applications. Indexes include subject, personal author, corporate source, contract number, report number, and accession number

Intertwingled: The Work and Influence of Ted Nelson

History of Computing; Computer Appl. in Arts and Humanities; Data Structures; User Interfaces and Human Computer Interactio

Seeing affect: knowledge infrastructures in facial expression recognition systems

Efforts to process and simulate human affect have come to occupy a prominent role in Human-Computer Interaction as well as developments in machine learning systems. Affective computing applications promise to decode human affective experience and provide objective insights into usersʼ affective behaviors, ranging from frustration and boredom to states of clinical relevance such as depression and anxiety. While these projects are often grounded in psychological theories that have been contested both within scholarly and public domains, practitioners have remained largely agnostic to this debate, focusing instead on the development of either applicable technical systems or advancements of the fieldʼs state of the art. I take this controversy as an entry point to investigate the tensions related to the classification of affective behaviors and how practitioners validate these classification choices. This work offers an empirical examination of the discursive and material repertoires ‒ the infrastructures of knowledge ‒ that affective computing practitioners mobilize to legitimize and validate their practice. I build on feminist studies of science and technology to interrogate and challenge the claims of objectivity on which affective computing applications rest. By looking at research practices and commercial developments of Facial Expression Recognition (FER) systems, the findings unpack the interplay of knowledge, vision, and power underpinning the development of machine learning applications of affective computing. The thesis begins with an analysis of historical efforts to quantify affective behaviors and how these are reflected in modern affective computing practice. Here, three main themes emerge that will guide and orient the empirical findings: 1) the role that framings of science and scientific practice play in constructing affective behaviors as “objective” scientific facts, 2) the role of human interpretation and mediation required to make sense of affective data, and 3) the prescriptive and performative dimensions of these quantification efforts. This analysis forms the historical backdrop for the empirical core of the thesis: semi-structured interviews with affective computing practitioners across the academic and industry sectors, including the data annotators labelling the modelsʼ training datasets. My findings reveal the discursive and material strategies that participants adopt to validate affective classification, including forms of boundary work to establish credibility as well as the local and contingent work of human interpretation and standardization involved in the process of making sense of affective data. Here, I show how, despite their professed agnosticism, practitioners must make normative choices in order to ʻseeʼ (and teach machines how to see) affect. I apply the notion of knowledge infrastructures to conceptualize the scaffolding of data practices, norms and routines, psychological theories, and historical and epistemological assumptions that shape practitionersʼ vision and inform FER design. Finally, I return to the problem of agnosticism and its socio-ethical relevance to the broader field of machine learning. Here, I argue that agnosticism can make it difficult to locate the technologyʼs historical and epistemological lineages and, therefore, obscure accountability. I conclude by arguing that both policy and practice would benefit from a nuanced examination of the plurality of visions and forms of knowledge involved in the automation of affect

Management: A bibliography for NASA managers

This bibliography lists 731 reports, articles and other documents introduced into the NASA Scientific and Technical Information System in 1990. Items are selected and grouped according to their usefulness to the manager as manager. Citations are grouped into ten subject categories: human factors and personnel issues; management theory and techniques; industrial management and manufacturing; robotics and expert systems; computers and information management; research and development; economics, costs and markets; logistics and operations management; reliability and quality control; and legality, legislation, and policy

Materials Presented at the MU-SPIN Eighth Annual User's Conference

The goal of NASA's many outreach programs is to promote to the general public an understanding of how NASA makes significant contributions to American education systems and to institutions dedicated to improving science literacy. This newsletter provides one vehicle for reporting how applications and hardware used for space science and other NASA research and development can be adapted for use by teachers and their students and by non-NASA organizations

Mudança digital no desenho arquitetónico: uma outra visão para a arquitetura paisagista

Mestrado em Arquitetura Paisagista - Instituto Superior de Agronomia - ULA presente dissertação procura traçar uma perspetiva histórica do desenho digital, em particular, nos processos arquitetónicos. O uso do computador e de métodos computacionais no desenho arquitetónico, por meio de programas específicos, tem sido estudado por vários autores no campo da Arquitetura, levando em consideração as mudanças no processo criativo e noutras formas de projetar. Contudo, não tem sido dado relevo à origem dessa mudança, tornando premente resgatar a memória histórica sobre o contexto e os protagonistas dessa transformação que tanto tem marcado a arquitetura do século XXI. Neste sentido, pretende-se evidenciar as origens do desenho digital e olhar para as alterações que o desenho arquitetónico sofreu com a utilização de meios digitais, primeiro nos círculos académicos, nas décadas de sessenta e setenta e depois com uma massificação dos programas CAD (desenho assistido por computador) nas décadas de oitenta e noventa. A elaboração da tese de doutoramento em 1963, Sketchpad: A man-machine graphical communication system de Ivan Sutherland marca começo do digital no desenho arquitetónico. É a capacidade visionária de alguns académicos, e em particular de Sutherland, que possibilita a criação do primeiro programa de CAD interativo que permite desenhar sem papel, num monitor, num tempo em que os computadores eram dispendiosos, enormes, mas com monitores de dimensão inferior a alguns smartphones. A dissertação tem como principal objetivo esboçar uma perspetiva histórica do desenho digital a nível internacional, através de pesquisa bibliográfica do trabalho de académicos e escolas relevantes para a revolução digital do século XX. A dissertação estrutura-se em três partes. Na primeira, o primeiro capítulo destaca os antecedentes e a ligação da arquitetura à ciência e da computação à indústria. A segunda parte, descreve o começo da mudança digital através do desenvolvimento dos primeiros sistemas CAD interativos e dos contributos de cinco pioneiros do desenho digital arquitetónico. A terceira parte consiste na descrição de um caso prático de aplicação dos meios digitais à renovação do espaço público urbanoN/