11,135 research outputs found

    Key technologies for safe and autonomous drones

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    Drones/UAVs are able to perform air operations that are very difficult to be performed by manned aircrafts. In addition, drones' usage brings significant economic savings and environmental benefits, while reducing risks to human life. In this paper, we present key technologies that enable development of drone systems. The technologies are identified based on the usages of drones (driven by COMP4DRONES project use cases). These technologies are grouped into four categories: U-space capabilities, system functions, payloads, and tools. Also, we present the contributions of the COMP4DRONES project to improve existing technologies. These contributions aim to ease drones’ customization, and enable their safe operation.This project has received funding from the ECSEL Joint Undertaking (JU) under grant agreement No 826610. The JU receives support from the European Union’s Horizon 2020 research and innovation programme and Spain, Austria, Belgium, Czech Republic, France, Italy, Latvia, Netherlands. The total project budget is 28,590,748.75 EUR (excluding ESIF partners), while the requested grant is 7,983,731.61 EUR to ECSEL JU, and 8,874,523.84 EUR of National and ESIF Funding. The project has been started on 1st October 2019

    Comedians without a Cause: The Politics and Aesthetics of Humour in Dutch Cabaret (1966-2020)

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    Comedians play an important role in society and public debate. While comedians have been considered important cultural critics for quite some time, comedy has acquired a new social and political significance in recent years, with humour taking centre stage in political and social debates around issues of identity, social justice, and freedom of speech. To understand the shifting meanings and political implications of humour within a Dutch context, this PhD thesis examines the political and aesthetic workings of humour in the highly popular Dutch cabaret genre, focusing on cabaret performances from the 1960s to the present. The central questions of the thesis are: how do comedians use humour to deliver social critique, and how does their humour resonate with political ideologies? These questions are answered by adopting a cultural studies approach to humour, which is used to analyse Dutch cabaret performances, and by studying related materials such as reviews and media interviews with comedians. This thesis shows that, from the 1960s onwards, Dutch comedians have been considered ‘progressive rebels’ – politically engaged, subversive, and carrying a left-wing political agenda – but that this image is in need of correction. While we tend to look for progressive political messages in the work of comedians who present themselves as being anti-establishment rebels – such as Youp van ‘t Hek, Hans Teeuwen, and Theo Maassen – this thesis demonstrates that their transgressive and provocative humour tends to protect social hierarchies and relationships of power. Moreover, it shows that, paradoxically, both the deliberately moderate and nuanced humour of Wim Kan and Claudia de Breij, and the seemingly past-oriented nostalgia of Alex Klaasen, are more radical and progressive than the transgressive humour of van ‘t Hek, Teeuwen and Maassen. Finally, comedians who present absurdist or deconstructionist forms of humour, such as the early student cabarets, Freek de Jonge, and Micha Wertheim, tend to disassociate themselves from an explicit political engagement. By challenging the dominant image of the Dutch comedian as a ‘progressive rebel,’ this thesis contributes to a better understanding of humour in the present cultural moment, in which humour is often either not taken seriously, or one-sidedly celebrated as being merely pleasurable, innocent, or progressively liberating. In so doing, this thesis concludes, the ‘dark’ and more conservative sides of humour tend to get obscured

    Message Journal, Issue 5: COVID-19 SPECIAL ISSUE Capturing visual insights, thoughts and reflections on 2020/21 and beyond...

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    If there is a theme running through the Message Covid-19 special issue, it is one of caring. Of our own and others’ resilience and wellbeing, of friendship and community, of students, practitioners and their futures, of social justice, equality and of doing the right thing. The veins of designing with care run through the edition, wide and deep. It captures, not designers as heroes, but those with humble views, exposing the need to understand a diversity of perspectives when trying to comprehend the complexity that Covid-19 continues to generate. As graphic designers, illustrators and visual communicators, contributors have created, documented, written, visualised, reflected, shared, connected and co-created, designed for good causes and re-defined what it is to be a student, an academic and a designer during the pandemic. This poignant period in time has driven us, through isolation, towards new rules of living, and new ways of working; to see and map the world in a different light. A light that is uncertain, disjointed, and constantly being redefined. This Message issue captures responses from the graphic communication design community in their raw state, to allow contributors to communicate their experiences through both their written and visual voice. Thus, the reader can discern as much from the words as the design and visualisations. Through this issue a substantial number of contributions have focused on personal reflection, isolation, fear, anxiety and wellbeing, as well as reaching out to community, making connections and collaborating. This was not surprising in a world in which connection with others has often been remote, and where ‘normal’ social structures of support and care have been broken down. We also gain insight into those who are using graphic communication design to inspire and capture new ways of teaching and learning, developing themselves as designers, educators, and activists, responding to social justice and to do good; gaining greater insight into society, government actions and conspiracy. Introduction: Victoria Squire - Coping with Covid: Community, connection and collaboration: James Alexander & Carole Evans, Meg Davies, Matthew Frame, Chae Ho Lee, Alma Hoffmann, Holly K. Kaufman-Hill, Joshua Korenblat, Warren Lehrer, Christine Lhowe, Sara Nesteruk, Cat Normoyle & Jessica Teague, Kyuha Shim. - Coping with Covid: Isolation, wellbeing and hope: Sadia Abdisalam, Tom Ayling, Jessica Barness, Megan Culliford, Stephanie Cunningham, Sofija Gvozdeva, Hedzlynn Kamaruzzaman, Merle Karp, Erica V. P. Lewis, Kelly Salchow Macarthur, Steven McCarthy, Shelly Mayers, Elizabeth Shefrin, Angelica Sibrian, David Smart, Ane Thon Knutsen, Isobel Thomas, Darryl Westley. - Coping with Covid: Pedagogy, teaching and learning: Bernard J Canniffe, Subir Dey, Aaron Ganci, Elizabeth Herrmann, John Kilburn, Paul Nini, Emily Osborne, Gianni Sinni & Irene Sgarro, Dave Wood, Helena Gregory, Colin Raeburn & Jackie Malcolm. - Coping with Covid: Social justice, activism and doing good: Class Action Collective, Xinyi Li, Matt Soar, Junie Tang, Lisa Winstanley. - Coping with Covid: Society, control and conspiracy: Diana Bîrhală, Maria Borțoi, Patti Capaldi, Tânia A. Cardoso, Peter Gibbons, Bianca Milea, Rebecca Tegtmeyer, Danne Wo

    Interview with Wolfgang Knauss

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    An oral history in four sessions (September 2019–January 2020) with Wolfgang Knauss, von Kármán Professor of Aeronautics and Applied Mechanics, Emeritus. Born in Germany in 1933, he speaks about his early life and experiences under the Nazi regime, his teenage years in Siegen and Heidelberg during the Allied occupation, and his move to Pasadena, California, in 1954 under the sponsorship of a local minister and his family. He enrolled in Caltech as an undergraduate in 1957, commencing a more than half-century affiliation with the Institute and GALCIT (today the Graduate Aerospace Laboratories of Caltech). He recalls the roots of his interest in aeronautics, his PhD solid mechanics studies with his advisor, M. Williams, and the GALCIT environment in the late 1950s and 1960s at the dawn of the Space Age, including the impact of Sputnik and classes with NASA astronauts. He discusses his experimental and theoretical work on materials deformation, dynamic fracture, and crack propagation, including his solid-propellant fuels research for NASA and the US Army, wide-ranging programs with the US Navy, and his pioneering micromechanics investigations and work on the time-dependent fracture of polymers in the 1990s. He offers his perspective on GALCIT’s academic culture, its solid mechanics and fluid mechanics programs, and its evolving administrative directions over the course of five decades, as well as its impact and reputation both within and beyond Caltech. He describes his work with Caltech’s undergraduate admissions committee and his scientific collaborations with numerous graduate students and postdocs and shares his recollections of GALCIT and other Caltech colleagues, including C. Babcock, D. Coles, R.P. Feynman, Y.C. Fung, G. Neugebauer, G. Housner, D. Hudson, H. Liepmann, A. Klein, G. Ravichandran, A. Rosakis, A. Roshko, and E. Sechler. Six appendices contributed by Dr. Knauss, offering further insight into his life and career, also form part of this oral history and are cross-referenced in the main text

    Translating erasure: Proposing auto-theory as a practice for artistic enquiry and analysis while comprehending personal grief

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    Erasure as an artistic technique has developed in my moving image work after my father's passing. I export videos into sequences of thousands of images and erase outlines of the targeted objects in each frame. The repetitive and low conscious labour is a way to ease the agony and to grieve my father. Hours compressed into thousands of frames, turning into a glimpse of illusion and leaving a ghostly emptiness on the images. Both its visual presentation and making reflect the life events and encounters I've experienced in the UK and Taiwan in the past years. I consider an artwork embodies interconnected relationships between one's personal impulses and artistic training. As an art student, I have found it challenging to describe such a creative process with conventional academic writing. Within a construct that inclines to present thoughts as reasonable and rational arguments, my personal experiences and the intensity of feeling seem out of place. Within an academic framework, how can I make an argument out of how I have developed the erasure in my artwork to perform the grief, fading memories of a loved one, existential crisis and what's in-between? Through auto-theoretical approaches to writing and making of moving image work, this research aims to build a structure that can express both the intimate and intellectual aspects of an art practice. This writing up process interweaves my personal stories that motivate my artistic expression into art theories. The memories about my late father, my relationship with languages, and my lives between the UK and Taiwan meet with different artists' uses of erasure. As the conversations between the introspections and theoretical analysis accumulate, my writing and moving image work unravel an art journey that encompasses the nuances and struggles I've experienced as an international student. Within the search for an ideal model to illustrate an art practice, this research further generates profound understandings of memory, grief, loss, language, conflicted identities and cultural belonging

    A preliminary research to identify the biomimetic entities for generating novel wave energy converters

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    Biomimetics and creatures could contribute to novel design inspirations for wave energy converter as to other engineering branches since we have seen numerous examples in engineering applications. But how to obtain valuable biological entities or bionic design cases that could produce inspirations for novel designs may be challenging for the designers of wave energy converters (WECs). This research work carries out a preliminary research on acquiring the biological entities for designers, so to obtain the innovative bio-inspired ideas for designing novel WECs. In the proposed method, the first step is to draw out the engineering terminologies based on the functions, structures and energy extraction principles of existing WECs. Then by applying ‘WordNet’, the candidate biological terminologies can be obtained. Next, using ‘AskNature’ and through manual selection and filtering, the biological terminologies can be acquired. Lastly, to use the biological terminologies to establish the reference biological entities and the information and knowledge so for designing an innovative WEC. Using the proposed methodology, a novel WEC was conceived and verified

    'Exarcheia doesn't exist': Authenticity, Resistance and Archival Politics in Athens

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    My thesis investigates the ways people, materialities and urban spaces interact to form affective ecologies and produce historicity. It focuses on the neighbourhood of Exarcheia, Athens’ contested political topography par excellence, known for its production of radical politics of discontent and resistance to state oppression and eoliberal capitalism. Embracing Exarcheia’s controversial status within Greek vernacular, media and state discourses, this thesis aims to unpick the neighbourhoods’ socio-spatial assemblage imbued with affect and formed through the numerous (mis)understandings and (mis)interpretations rooted in its turbulent political history. Drawing on theory on urban spaces, affect, hauntology and archival politics, I argue for Exarcheia as an unwavering archival space composed of affective chronotopes – (in)tangible loci that defy space and temporality. I posit that the interwoven narratives and materialities emerging in my fieldwork are persistently – and perhaps obsessively – reiterating themselves and remaining imprinted on the neighbourhood’s landscape as an incessant reminder of violent histories that the state often seeks to erase and forget. Through this analysis, I contribute to understandings of place as a primary ethnographic ‘object’ and the ways in which place forms complex interactions and relationships with social actors, shapes their subjectivities, retains and bestows their memories and senses of historicity

    Investigating the mechanism of human beta defensin-2-mediated protection of skin barrier in vitro

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    The human skin barrier is a biological imperative. Chronic inflammatory skin diseases, such as Atopic Dermatitis (AD), are characterised by a reduction in skin barrier function and an increased number of secondary infections. Staphyloccocus aureus (S. aureus) has an increased presence on AD lesional skin and contributes significantly to AD pathology. It was previously demonstrated that the damage induced by a virulence factor of S. aureus, V8 protease, which causes further breakdown in skin barrier function, can be reduced by induction of human β- defensin (HBD)2 (by IL-1β) or exogenous HBD2 application. Induction of this defensin is impaired in AD skin. This thesis examines the mechanism of HBD2-mediated barrier protection in vitro; demonstrating that in this system, HBD2 was not providing protection through direct protease inhibition, nor was it altering keratinocyte proliferation or migration, or exhibiting specific localisation within the monolayer. Proteomics data demonstrated that HBD2 did not induce expression of known antiproteases but suggested that HBD2 stimulation may function by modulating expression of extracellular matrix proteins, specifically collagen- IVα2 and Laminin-β-1. Alternative pathways of protection initiated by IL-1β and TNFα stimulation were also investigated, as well as their influence over generalised wound healing. Finally, novel 3D human skin epidermal models were used to better recapitulate the structure of human epidermis and examine alterations to skin barrier function in a more physiological system. These data validate the barrier-protective properties of HBD2 and extended our knowledge of the consequences of exposure to this peptide in this context

    Conscience and Consciousness: British Theatre and Human Rights.

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    This research project investigates a paradigm of human rights theatre. Through the lens of performance and theatre-making, this thesis explores how we came to represent, speak about, discuss, and own human rights in Britain. My framework of ‘human rights theatre’ proposes three distinctive features: firstly, such works dramatise real-world issues and highlights the role of the state in endangering its citizens; secondly, ethical ruptures are encountered within and without the drama, and finally, these performances characteristically aspire to produce an activist effect on the collective behaviours of the audience. This thesis interrogates the strategies theatre-makers use to articulate human rights concerns or to animate human rights intent. The selected case-studies for this investigation are ice&fire’s testimonial project, Actors for Human Rights; Badac Theatre; Jonathan Holmes’ work as director of Jericho House; Cardboard Citizens’ youth participation programme, ACT NOW; and Tony Cealy’s Black Men’s Consortium. Deliberately selecting companies and performance events that have received limited critical attention, my methodology constellates case-studies through original interviews, durational observation of creative working methods and proximate descriptions of practice. The thesis is interested in the experience of coming to ‘consciousness’ through human rights theatre, an awakening to the impacts of rights infringements and rights claiming. I explore consciousness as a processual, procedural, and durational happening in these performance events. I explore the ‘æffect’ of activist art and examine the ways in which makers of human rights theatre aim to amplify both affective and effective qualities in their work. My thesis also considers the articulation of activist purpose and the campaigning intent of the selected theatre-makers and explores how their activism is animated in their productions. Through the rich seam of discussion generated by the identification and exploration of the traits of a distinctive human rights theatre, I affirm the generative value of this typological enquiry
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