Smart Traction Control Systems for Electric Vehicles Using Acoustic Road-type Estimation

The application of traction control systems (TCS) for electric vehicles (EV) has great potential due to easy implementation of torque control with direct-drive motors. However, the control system usually requires road-tire friction and slip-ratio values, which must be estimated. While it is not possible to obtain the first one directly, the estimation of latter value requires accurate measurements of chassis and wheel velocity. In addition, existing TCS structures are often designed without considering the robustness and energy efficiency of torque control. In this work, both problems are addressed with a smart TCS design having an integrated acoustic road-type estimation (ARTE) unit. This unit enables the road-type recognition and this information is used to retrieve the correct look-up table between friction coefficient and slip-ratio. The estimation of the friction coefficient helps the system to update the necessary input torque. The ARTE unit utilizes machine learning, mapping the acoustic feature inputs to road-type as output. In this study, three existing TCS for EVs are examined with and without the integrated ARTE unit. The results show significant performance improvement with ARTE, reducing the slip ratio by 75% while saving energy via reduction of applied torque and increasing the robustness of the TCS.Comment: Accepted to be published by IEEE Trans. on Intelligent Vehicles, 22 Jan 201

Principio y fundamento femenino del arte

1.- Arte performativo y arte descriptivo 2.- La creación de la comunidad. Danzas de los pigmeos Aka de África central. 3.- La posesión del cuerpo. Duncan, Bausch y Preljojac 4.- Folklore infantil femenino1.- Descriptive art and performance art. 2.- The Creation of community. Dance of the Aka Pygmies of Central Africa 3.- Possession of body. Duncan, Bausch and Preljojac. 4.- Female child Folklor

TV interpreting in Germany: the television broadcasting company ARTE in comparison to public broadcasting companies

TV interpreting is a special form of interpreting for several reasons. Not only the challenges interpreters are faced with, but also the expectations towards their performance as well as the technology involved differ greatly from conventional conference interpreting. Unlike public broadcasting companies in Germany, the European culture channel ARTE (Association Relative à la Télévision Européenne) works with interpreters on a regular basis and has its own language service. A comprehensive survey was conducted amongst TV interpreters working both for ARTE and other broadcasters. Additionally, editors and TV interpreters from public television in Germany were questioned. These studies as well as insights gained from ARTE staff paint a clear picture of interpreting for public television in Germany and highlight the differences between ARTE and other broadcasting companies

Feminist Disruptions in Mexican Art, 1975 - 1987

Between 1975 and 1987 feminism in the arts in Mexico delineated a unique situation, one without parallel in the panorama of Latin American art. In a group of exhibitions, works and texts, women's place in Mexican art was critically analyzed, unfolding a broad map of positions. Although a chronology and list of names of the artists who shaped this scenario have been established, the intervention that each work proposed in the debate on women's place and the feminine that gained visibility during those years has not yet been examined. Based on a situated analysis of these works, this article proposes to discuss these works' intervention in configuring how the debate on artistic feminism took shape during this period in Mexico.Fil: Giunta, Andrea Graciela. University of Texas at Austin; Estados Unidos. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentin

El río de la Memoria

Artistas participantes: José Cala Fontquernie, Frank-Joachim Grossmann, Karen Pullich, Alexander Pawlik, Andreina Scanu, Aiman HH, Ángeles de la Torre, Anna Jonnson, Arnaud Velten, David Toral, César Ripoll, Catherine Weber, Dieter Zurnieden, Elena Toral, Eva Guil, José Luzardo, Félix Hochreither, Fernando Navarro, Hecharry & Errera, Alias Lilo, Inmaculada Cunill, Iván Tovar, Jaime Gil Arévalo, Janette Fu, Jaime Rodríguez, Joe Quixote, José María Baena, Jeff Kunkle, Carmen Aparcero, Lourdes Murillo, María Cañas, Macarena Nieves Cáceres, María Rosa Hidalgo, Bruna Tovani, Paulina Munugarren, Emilio Sola, Paka Antúnez, Miguel Jiménez, Quique Macía, Reyes Muñoz, Kurt Keller, Rocío Arregui, Rinat Etshak, Tomás Cordero, Ùna Clancy, Eva María Espejo, Virginia López y Jesús Algov

Los inicios del videoarte feminista en España (1970-1980): antecedentes y estado de la cuestión

Centramos nuestro trabajo en los inicios del arte feminista puesto que consideramos fundamental revisar la producción artística feminista desde sus inicios debido al trabajo intenso que se hizo de usar el arte como medio de construir nuevas representaciones de lo femenino y lo masculino. Vamos a ver como el arte feminista de los años 70 se caracterizó por su vitalidad y fuerte implicación social, así como por la renovación en cuanto a soportes y técnicas (performance, acciones, instalaciones) donde el cuerpo fue vehículo de acción social y política. De interés especial resulta revisar los inicios del videoarte feminista por ser –por su objetivo fundamental: la comunicación- uno de los espacios más importantes de la acción alternativa y progresista que usan las artistas feministas para expresarse personal, social, cultural y políticamente. Su historiografía –escasa y poco difundida- es pieza clave para entender la evolución del arte feminista hasta la actualidad (Juhasz, 2001; Aliaga, 2003; Navarrete, Ruido y Vila, 2005)

Light-inducible transcriptomic and epigenomic changes underlying brain plasticity in honeybees

Dissertação de Mestrado apresentada à Faculdade de Letras da Universidade de Coimbra.Pretendemos, com esta dissertação, fundamentar a categorização como ritual laico da Arte como Veículo, propósito da última fase do trabalho de Jerzy Grotowski, discutindo os modos particulares dessa categorização. No primeiro capítulo expomos, resumidamente, o percurso artístico de Grotowski e as principais influências que marcaram o seu pensamento. Explicamos os conceitos fundamentais que estruturam a sua prática artística e ensaiamos uma definição para a Arte como Veículo. Finalizamos o capítulo com uma discussão sobre a categorização como ritual das criações performativas produzidas segundo este modelo. No segundo capítulo abordamos o ritual como performance e discutimos a origem ritual dos géneros estéticos performativos. Apresentamos definições operativas de ritual e performance e abordamos os principais aspectos do ritual enquanto performance, recorrendo sobretudo à Antropologia da Performance de Victor Turner. No final do capítulo exploramos a categorização da Arte como Veiculo como ritual, à luz da Antropologia da Performance. No terceiro capítulo fazemos um estudo sumário de um ritual tradicional, o culto dos Theyyams do Norte Malabar, na Índia. Contextualizamos e descrevemos o ritual e algumas das suas particularidades. Relatamos as impressões recolhidas durante um estudo de campo na região, à luz da experiência da Arte como Veículo e dos aspectos realçados pela Antropologia da Performance. Concluímos com a enumeração de resultados obtidos e a confrontação entre o que se apurou na investigação sobre a Arte como Veículo e as impressões recolhidas no estudo do Theyyam, apontando-se desenvolvimentos que possam futuramente confirmar ou reforçar os resultados agora apresentados.With this dissertation I intend to justify the categorization as a secular ritual of the Art as Vehicle, the last phase of Jerzy Grotowski's work, discussing the particular ways of this categorization. In the first chapter I briefly expose the artistic course of Grotowski and the main influences that marked his thought. I explain the fundamental concepts that structure his artistic practice and I essay a definition for Art as Vehicle. I end the chapter with a discussion of the categorization as a ritual of performing works created according to this model. In the second chapter I address the ritual as performance and briefly discuss the ritual origin of performative aesthetic genres. I propose operative definitions for ritual and performance and I enumerate the main aspects of ritual as performance, calling upon, mostly, the Anthropology of Performance from Victor Turner. At the end of the chapter I explore the categorization as ritual of Art as Vehicle at the light of the Anthropology of Performance. In the third chapter I make a summary study of a traditional ritual, the worship of Theyyams in the North Malabar, India. I contextualize and describe the ritual and some of its special features. I report the impressions gathered during a field study in the region, at the light of the experience of Art as Vehicle and of the aspects highlighted by the Anthropology of Performance. I conclude with an enumeration of results and the confrontation between what was found in the research on Art as Vehicle and the impressions gathered in the study of Theyyam, pointing out future developments that may confirm or strengthen the results now presented

The “return” of performance art from a glocal perspective

Various authors have characterized the contemporary world through the notion of "structural hybridization" (Pieterse 2001; Canclini 2001, among others). This notion refers to the mixing of different times and spaces that gives rise to "spatiotemporal" hybrid configurations. One of the factors of this process is usually translated by the term "hybrid cycles" (Stross 1999), through which a new cycle recovers historical and social characteristics of previous cycles, sometimes distant in time. Through this theoretical framework, which combines concepts such as hybridity, cyclicality, mimesis, reflexivity and performativity, this paper intends to problematize issues such as the so-called "social turn" (Bishop 2006)or "return to the real" (Foster 2001) in art or, more generally, the "performative turn" (Alexander 2006), with the aim of analyzing the cyclical dynamic of performance (social) art (an art that relies on notions of participation and even performative intervention in a public space) from a global perspective – from Portugal to the world and vice versa

El arte de acción en China : la producción artística como compromiso

El artículo presenta una aproximación al arte de acción en China, analizando cómo el acto artístico deviene un compromiso social y político. La performance se traduce en chino como el "arte del comportamiento", y bajo este prisma se ahondará en la dimensión ética de unos creadores que funden la experiencia vital con la artística. Las acciones simbólicas y rituales, ya sean individuales o colectivas, proponen una transferencia del cuerpo individual al social. Así, la creación se transforma en un instrumento tan poético como subversivo, subrayando la importancia del proceso y la necesidad de implicarse y de pasar a la acción.This article presents an approach to performance art in China, and analyzes how art performance becomes a social and political commitment. Performance translated into Chinese is the "art of behaviour", and from this perspective we will deal with the ethical dimension of artists that blend the vital with the artistic experience. Symbolic performances and rituals, whether individual or collective, propose a transference from the individual to the social body. Thus, creation becomes an instrument both poetic and subversive, highlighting the importance of the process and the need of implication and taking action