The simultaneous localization and mapping (SLAM):An overview

Positioning is a need for many applications related to mapping and navigation either in civilian or military domains. The significant developments in satellite-based techniques, sensors, telecommunications, computer hardware and software, image processing, etc. positively influenced to solve the positioning problem efficiently and instantaneously. Accordingly, the mentioned development empowered the applications and advancement of autonomous navigation. One of the most interesting developed positioning techniques is what is called in robotics as the Simultaneous Localization and Mapping SLAM. The SLAM problem solution has witnessed a quick improvement in the last decades either using active sensors like the RAdio Detection And Ranging (Radar) and Light Detection and Ranging (LiDAR) or passive sensors like cameras. Definitely, positioning and mapping is one of the main tasks for Geomatics engineers, and therefore it's of high importance for them to understand the SLAM topic which is not easy because of the huge documentation and algorithms available and the various SLAM solutions in terms of the mathematical models, complexity, the sensors used, and the type of applications. In this paper, a clear and simplified explanation is introduced about SLAM from a Geomatical viewpoint avoiding going into the complicated algorithmic details behind the presented techniques. In this way, a general overview of SLAM is presented showing the relationship between its different components and stages like the core part of the front-end and back-end and their relation to the SLAM paradigm. Furthermore, we explain the major mathematical techniques of filtering and pose graph optimization either using visual or LiDAR SLAM and introduce a summary of the deep learning efficient contribution to the SLAM problem. Finally, we address examples of some existing practical applications of SLAM in our reality

Hands-On with NE STEM 4U: For budding STEMers in grades 4-8

Character Biographies 5 Chemistry: The Crystal Tree 10 Biology: Fruitful DNA 15 • Honey Purity Test 22 • Human DNA Extraction 26 • Model Cell 32 • Stethoscopes and Heart Rate 36 Engineering: Build a Catapult 41 • Building Bridges 47 Physics: Battling Balloons 51 • Balloon Popping 57 • Divin\u27 Challenge 60 • Life Jackets and Buoyancy 65 • Simple Circuits 69 • Newton\u27s Tower 75 Geology: Aquifers and Artesian Wells 80 • The Center of the Earth 84 • Mapping and Location Intelligence 88 • Seismology and Earthquakes 92 • Volcanoes 98 Mathematics: Hexaflexagons 102 • Stick Puzzle 107 Stem EXTRAS: Cloud Formation 110 • Nervous about Neurons 113 • Constellations 118 • Fish Supply 128 • Ecology 143 • Genealogy 151 • Play Dough Liaisons 159 • NE STEM 4U FIND IT game 16

Cross Connections: Online Activism, Real World Outcomes

This research paper examines the role of the Internet as it relates to the development of social movements and political protest in the ‘physical’ world. It also analyses the role of independent media and reporting methodologies used by activists and net-artists. The emergence of online activism and an emphasis on collaboration, information sharing and open source tools also had a significant impact on new media arts discussions and aesthetics. The refugee activist movement in Australia is a key case study in this thesis, as it is an excellent example of how activists have used the Internet and WWW to garner support within the community and to engage people to come to protests. In addition, activists at the protests have reported these events on the WWW and this subject has also had a resounding impact within the context of contemporary and media arts. The implications of identity online is a major factor in constructing the arguments in this thesis, as the relationship between ‘real’ and ‘virtual’ space is explored in detail as it relates to personal identity and online community

Steps to an Ecology of Networked Knowledge and Innovation: Enabling new forms of collaboration among sciences, engineering, arts, and design

SEAD network White Papers ReportThe final White Papers (posted at http://seadnetwork.wordpress.com/white-paper- abstracts/final-white-papers/) represent a spectrum of interests in advocating for transdisciplinarity among arts, sciences, and technologies. All authors submitted plans of action and identified stakeholders they perceived as instrumental in carrying out such plans. The individual efforts led to an international scope. One of the important characteristics of this collection is that the papers do not represent a collective aim toward an explicit initiative. Rather, they offer a broad array of views on barriers faced and prospective solutions. In summary, the collected White Papers and associated Meta- analyses began as an effort to take the pulse of the SEAD community as broadly as possible. The ideas they generated provide a fruitful basis for gauging trends and challenges in facilitating the growth of the network and implementing future SEAD initiatives.National Science Foundation Grant No.1142510. Additional funding was provided by the ATEC program at the University of Texas at Dallas and the Institute for Applied Creativity at Texas A&M University

The Adoption of Children\u27s Mathematics Education in Public Libraries for Underserved Communities in the United States: An Exploratory Qualitative Study from a Critical Perspective

The purpose of this study was to explore the adoption of children’s mathematics education for underserved children in public libraries the United States from a critical perspective. This study specifically explored access and the role of power in the application of Rogers’ Diffusion of Innovations Theory (DoI) and the concept of culturally responsive mathematics instruction (CRMI) and utilized the critical exploratory research design that served to critique and challenge the notion that math education falls outside of the realm of library services and that math instruction is a culturally neutral activity. Application of the DoI theory to the phenomenon under study helped reveal how the factors that influenced adoption were characterized in the adoption of children’s math in public libraries, which has been slow to spread among public libraries despite the need and obvious advantages. The concept of culturally responsive mathematics instruction explained how the innovation, children’s math education for public libraries, was being communicated to those for whom it was designed to benefit.Participants were selected through a purposive and snowball sample of librarians who provided children’s mathematics education in public libraries to underserved children. This study utilized a theory/concept-driven deductive thematic analysis and a data driven inductive driven thematic analysis. A priori codes were identified based on concepts and constructs from Rogers’ DoI theory, and these codes were used to generate themes through a thematic analysis. In addition, deductive codes were drawn from the transcripts to further generate themes and build theory through a thematic analysis.Some of the themes that emerged from the theory-driven deductive coding process included: librarians are teachers, librarians connect with underserved families, decentralization of power, innovation enhanced and created better quality of service. The themes that emerged from the inductive coding process extended the constructs of the perceived attributes of Rogers’ DoI to include access to resources and access to the innovation. The emerging themes from the inductive coding also extended CRMI to include culturally responsive library-based mathematics instruction. Access and the role of power were expressed across concepts and constructs from Rogers’ DoI theory and in CRMI

Proceedings of the Fifth International Workshop on the History of Speech Communication Research Porto, May 28–29, 2022

UIDB/04209/2020 UIDP/04209/2020publishersversionpublishe

The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research.

This research addresses the current lack of opportunity within interdisciplinary arts practices for deep one-to-one relational encounters between creative practitioners operating in applied arts, performance, and workshop contexts with participant-subjects. This artistic problem is situated within the wider culture of pervasive social media, which continues to shape our interactions into forms that are characteristically faster, shorter, and more fragmented than ever before. Such dispersal of our attention is also accelerating our inability to deeply focus or relate for any real length of time. These modes of engaging within our technologically permeated, cosmopolitan and global society is escalating relational problems. Coupled with a constant bombardment of unrealistic visual images, mental health difficulties are also consequently rising, cultivating further issues such as identity ‘splitting’, (Lopez-Fernandez, 2019). In the context of the arts, this thesis proposes that such relational lack cannot be solved by one singular art form, one media modality, one existing engagement approach, or within a short participatory timeframe. Key to the originality of my thesis is the deliberate embodiment of a maternal experience. Feminist Lise Haller-Ross’ proposes that there is a ‘mother shaped hole in the art world’ and that, ‘as with the essence of the doughnut – we don’t need another hole for the doughnut, we need a whole new recipe’ (conference address, 2015). Indeed, her assertion encapsulates a need for different types of artistic and relational ingredients to be found. I propose these can be discovered within particular forms of maternal love; nurture; caring, and through conceptual relational states of courtship; intercourse; gestation, and birth. Furthermore, my maternal emphasis builds on: feminist, artist, and psychotherapist Bracha Ettinger’s (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaa’s (2012) views on sensing and feeling; child psychoanalyst Donald Winnicott’s (1971) thoughts on transitional phenomena and perceptions of holding. Such psychotherapeutic and phenomenological theories are imbricated in-action within my multimodal arts processes. Additionally, by deliberately not privileging the ocular, I engage all my project participants senses and distil their multimodal data through an extended form of somatic and artistic Interpretive Phenomenological Analysis (IPA), (Smith, Flowers, and Larkin, 2009). IPA usefully focuses on the importance of the thematic and idiographic in terms of new knowledge generation, with an analytical focus on lived experience. Indeed, whilst the specifics of the participants in my minor and major projects are unique, my research activates and makes valid, findings that are collectively beneficial to the disciplines of applied and interdisciplinary arts; the field of practice-based research, and beyond. My original contribution to new knowledge as argued by this thesis, comprises both this text exposition and my practice. This sees the final generation of a new multimodal arts Participatory Practice-Based Framework (PartPb). Through this framework, the researcher-practitioner is seen to adopt a maternal role to gently guide project participants through four phases of co-created multimodal artwork generation. The four participatory ‘Phases’ are: Phase 1: Courtship – Digital Dialogues; Phase 2: Intercourse – Performative Encounters; Phase 3: Gestation – Screen Narratives; Phase 4: Birth – Relational Artworks. The framework also contains six researcher-only ‘Stages’: Stage 1: Participant Selection; Stage 2: Checking Distilled Themes; Stage 3: Location and Object Planning; Stage 4: Noticing, Logging, Sourcing; Stage 5: Collaboration and Construction; Stage 6: Releasing, Gifting, Recruiting. This new PartPb framework, is realised within a series of five practice-based (Pb) artworks called, ‘Minor Projects 1-5’, (2015-16) and Final Major Project, ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), (2018). These projects are likewise shaped through action-research processes of iterative testing, as developed from Candy and Edmonds (2010) Practice-based Research (PbR) trajectory. In my new PartPb framework, Candy, and Edmonds’ PbR processes are originally combined with a form of Fritz and Laura Perl’s Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of ‘Feeling Architecture,’ which is procedurally proven to hold and carry both researcher and participants alike, safely, ethically, and creatively through all Phases and Stages of artefact generation. Specifically, my new multimodal PartPb framework offers new knowledge to the field of Practice-Based Research (PbR) and practitioners working in multimodal arts and applied performance contexts. Due to its participatory focus, I develop on the term Practice-Based Research, (Candy and Edmonds, 2010) to coin the term Participatory Practice-Based Research, (PartPbR). The unique combination of multimodal arts and social-psychological methodologies underpinning my framework also has the potential to contribute to broader Arts, Well-Being, and Creative Health agendas, such as the UK government’s Social Prescribing and Arts and Health initiatives. My original framework offers future researchers’ opportunities to further develop, enhance and enrich individual and community well-being through its application to their own projects, and, in doing so, also starts to challenge unhelpful art binaries that still position community arts practices as somehow lesser to higher art disciplines

The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research

The reading of this textual exegesis is deepened in conjunction with viewing the practice-based artefacts referenced within the text. These are contained within an accompanying Multi-Media resource (MMR). Elements from the MMR can also be accessed (or requested) from my website at www.alicecharlottebell.com and on Vimeo at Dr Alice Charlotte Bell https://vimeo.com/user161523908 and on You Tube at Alice Charlotte Bell https://youtube.com/playlist?list=PLnqD-anWUT3U5gIBP2KIR7tkDdrXUAhIBThis research addresses the current lack of opportunity within interdisciplinary arts practices for deep one-to-one relational encounters between creative practitioners operating in applied arts, performance, and workshop contexts with participant-subjects. This artistic problem is situated within the wider culture of pervasive social media, which continues to shape our interactions into forms that are characteristically faster, shorter, and more fragmented than ever before. Such dispersal of our attention is also accelerating our inability to deeply focus or relate for any real length of time. These modes of engaging within our technologically permeated, cosmopolitan and global society is escalating relational problems. Coupled with a constant bombardment of unrealistic visual images, mental health difficulties are also consequently rising, cultivating further issues such as identity ‘splitting’, (Lopez-Fernandez, 2019). In the context of the arts, this thesis proposes that such relational lack cannot be solved by one singular art form, one media modality, one existing engagement approach, or within a short participatory timeframe. Key to the originality of my thesis is the deliberate embodiment of a maternal experience. Feminist Lise Haller-Ross’ proposes that there is a ‘mother shaped hole in the art world’ and that, ‘as with the essence of the doughnut – we don’t need another hole for the doughnut, we need a whole new recipe’ (conference address, 2015). Indeed, her assertion encapsulates a need for different types of artistic and relational ingredients to be found. I propose these can be discovered within particular forms of maternal love; nurture; caring, and through conceptual relational states of courtship; intercourse; gestation, and birth. Furthermore, my maternal emphasis builds on: feminist, artist, and psychotherapist Bracha Ettinger’s (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaa’s (2012) views on sensing and feeling; child psychoanalyst Donald Winnicott’s (1971) thoughts on transitional phenomena and perceptions of holding. Such psychotherapeutic and phenomenological theories are imbricated in-action within my multimodal arts processes. Additionally, by deliberately not privileging the ocular, I engage all my project participants senses and distil their multimodal data through an extended form of somatic and artistic Interpretive Phenomenological Analysis (IPA), (Smith, Flowers, and Larkin, 2009). IPA usefully focuses on the importance of the thematic and idiographic in terms of new knowledge generation, with an analytical focus on lived experience. Indeed, whilst the specifics of the participants in my minor and major projects are unique, my research activates and makes valid, findings that are collectively beneficial to the disciplines of applied and interdisciplinary arts; the field of practice-based research, and beyond. My original contribution to new knowledge as argued by this thesis, comprises both this text exposition and my practice. This sees the final generation of a new multimodal arts Participatory Practice-Based Framework (PartPb). Through this framework, the researcher-practitioner is seen to adopt a maternal role to gently guide project participants through four phases of co-created multimodal artwork generation. The four participatory ‘Phases’ are: Phase 1: Courtship – Digital Dialogues; Phase 2: Intercourse – Performative Encounters; Phase 3: Gestation – Screen Narratives; Phase 4: Birth – Relational Artworks. The framework also contains six researcher-only ‘Stages’: Stage 1: Participant Selection; Stage 2: Checking Distilled Themes; Stage 3: Location and Object Planning; Stage 4: Noticing, Logging, Sourcing; Stage 5: Collaboration and Construction; Stage 6: Releasing, Gifting, Recruiting. This new PartPb framework, is realised within a series of five practice-based (Pb) artworks called, ‘Minor Projects 1-5’, (2015-16) and Final Major Project, ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), (2018). These projects are likewise shaped through action-research processes of iterative testing, as developed from Candy and Edmonds (2010) Practice-based Research (PbR) trajectory. In my new PartPb framework, Candy, and Edmonds’ PbR processes are originally combined with a form of Fritz and Laura Perl’s Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of ‘Feeling Architecture,’ which is procedurally proven to hold and carry both researcher and participants alike, safely, ethically, and creatively through all Phases and Stages of artefact generation. Specifically, my new multimodal PartPb framework offers new knowledge to the field of Practice-Based Research (PbR) and practitioners working in multimodal arts and applied performance contexts. Due to its participatory focus, I develop on the term Practice-Based Research, (Candy and Edmonds, 2010) to coin the term Participatory Practice-Based Research, (PartPbR). The unique combination of multimodal arts and social-psychological methodologies underpinning my framework also has the potential to contribute to broader Arts, Well-Being, and Creative Health agendas, such as the UK government’s Social Prescribing and Arts and Health initiatives. My original framework offers future researchers’ opportunities to further develop, enhance and enrich individual and community well-being through its application to their own projects, and, in doing so, also starts to challenge unhelpful art binaries that still position community arts practices as somehow lesser to higher art disciplines.Fully funded scholarship in Contemporary Performance from De Montfort University. Final PbR output in the form of the exhibition ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), sponsored by Design Alliance Ltd. www.designalliance.c