Case based design of knitwear

In the developed world we are surrounded by man-made objects, but most people give little thought to the complex processes needed for their design. The design of hand knitting is complex because much of the domain knowledge is tacit. The objective of this thesis is to devise a methodology to help designers to work within design constraints, whilst facilitating creativity. A hybrid solution including computer aided design (CAD) and case based reasoning (CBR) is proposed. The CAD system creates designs using domain-specific rules and these designs are employed for initial seeding of the case base and the management of constraints. CBR reuses the designer's previous experience. The key aspects in the CBR system are measuring the similarity of cases and adapting past solutions to the current problem. Similarity is measured by asking the user to rank the importance of features; the ranks are then used to calculate weights for an algorithm which compares the specifications of designs. A novel adaptation operator called rule difference replay (RDR) is created. When the specifications to a new design is presented, the CAD program uses it to construct a design constituting an approximate solution. The most similar design from the case-base is then retrieved and RDR replays the changes previously made to the retrieved design on the new solution. A measure of solution similarity that can validate subjective success scores is created. Specification similarity can be used as a guide whether to invoke CBR, in a hybrid CAD-CBR system. If the newly resulted design is suffciently similar to a previous design, then CBR is invoked; otherwise CAD is used. The application of RDR to knitwear design has demonstrated the flexibility to overcome deficiencies in rules that try to automate creativity, and has the potential to be applied to other domains such as interior design

Intertextual Readings of the Nyāyabhūṣaṇa on Buddhist Anti-Realism

This two-part dissertation has two goals: 1) a close philological reading of a 50-page section of a 10th-century Sanskrit philosophical work (Bhāsarvajña's Nyāyabhūṣaṇa), and 2) the creation and assessment of a novel intertextuality research system (Vātāyana) centered on the same work. The first half of the dissertation encompasses the philology project in four chapters: 1) background on the author, work, and key philosophical ideas in the passage; 2) descriptions of all known manuscript witnesses of this work and a new critical edition that substantially improves upon the editio princeps; 3) a word-for-word English translation richly annotated with both traditional explanatory material and novel digital links to not one but two interactive online research systems; and 4) a discussion of the Sanskrit author's dialectical strategy in the studied passage. The second half of the dissertation details the intertextuality research system in a further four chapters: 5) why it is needed and what can be learned from existing projects; 6) the creation of the system consisting of curated textual corpus, composite algorithm in natural language processing and information retrieval, and live web-app interface; 7) an evaluation of system performance measured against a small gold-standard dataset derived from traditional philological research; and 8) a discussion of the impact such new technology could have on humanistic research more broadly. System performance was assessed to be quite good, with a 'recall@5' of 80%, meaning that most previously known cases of mid-length quotation and even paraphrase could be automatically found and returned within the system's top five hits. Moreover, the system was also found to return a 34% surplus of additional significant parallels not found in the small benchmark. This assessment confirms that Vātāyana can be useful to researchers by aiding them in their collection and organization of intertextual observations, leaving them more time to focus on interpretation. Seventeen appendices illustrate both these efforts and a number of side projects, the latter of which span translation alignment, network visualization of an important database of South Asian prosopography (PANDiT), and a multi-functional Sanskrit text-processing web application (Skrutable).:Preface (i) Table of Contents (ii) Abbreviations (v) Terms and Symbols (v) Nyāyabhūṣaṇa Witnesses (v) Main Sanskrit Editions (vi) Introduction (vii) A Multi-Disciplinary Project in Intertextual Reading (vii) Main Object of Study: Nyāyabhūṣaṇa 104–154 (vii) Project Outline (ix) Part I: Close Reading (1) 1 Background (1) 1.1 Bhāsarvajña (1) 1.2 The Nyāyabhūṣaṇa (6) 1.2.1 Ts One of Several Commentaries on Bhāsarvajña's Nyāyasāra (6) 1.2.2 In Modern Scholarship, with Focus on NBhū 104–154 (8) 1.3 Philosophical Context (11) 1.3.1 Key Philosophical Concepts (12) 1.3.2 Intra-Textual Context within the Nyāyabhūṣaṇa (34) 1.3.3 Inter-Textual Context (36) 2 Edition of NBhū 104–154 (39) 2.1 Source Materials (39) 2.1.1 Edition of Yogīndrānanda 1968 (E) (40) 2.1.2 Manuscripts (P1, P2, V) (43) 2.1.3 Diplomatic Transcripts (59) 2.2 Notes on Using the Edition (60) 2.3 Critical Edition of NBhū 104–154 with Apparatuses (62) 3 Translation of NBhū 104–154 (108) 3.1 Notes on Translation Method (108) 3.2 Notes on Outline Headings (112) 3.3 Annotated Translation of NBhū 104–154 (114) 4 Discussion (216) 4.1 Internal Structure of NBhū 104–154 (216) 4.2 Critical Assessment of Bhāsarvajña's Argumentation (218)   Part II: Distant Reading with Digital Humanities (224) 5 Background in Intertextuality Detection (224) 5.1 Sanskrit Projects (225) 5.2 Non-Sanskrit Projects (228) 5.3 Operationalizing Intertextuality (233) 6 Building an Intertextuality Machine (239) 6.1 Corpus (Pramāṇa NLP) (239) 6.2 Algorithm (Vātāyana) (242) 6.3 User Interface (Vātāyana) (246) 7 Evaluating System Performance (255) 7.1 Previous Scholarship on NBhū 104–154 as Philological Benchmark (255) 7.2 System Performance Relative to Benchmark (257) 8 Discussion (262) Conclusion (266) Works Cited (269) Main Sanskrit Editions (269) Works Cited in Part I (271) Works Cited in Part II (281) Appendices (285) Appendix 1: Correspondence of Joshi 1986 to Yogīndrānanda 1968 (286) Appendix 1D: Full-Text Alignment of Joshi 1986 to Yogīndrānanda 1968 (287) Appendix 2: Prosopographical Relations Important for NBhū 104–154 (288) Appendix 2D: Command-Line Tool “Pandit Grapher” (290) Appendix 3: Previous Suggestions to Improve Text of NBhū 104–154 (291) Appendix 4D: Transcript and Collation Data for NBhū 104–154 (304) Appendix 5D: Command-Line Tool “cte2cex” for Transcript Data Conversion (305) Appendix 6D: Deployment of Brucheion for Interactive Transcript Data (306) Appendix 7: Highlighted Improvements to Text of NBhū 104–154 (307) Appendix 7D: Alternate Version of Edition With Highlighted Improvements (316) Appendix 8D: Digital Forms of Translation of NBhū 104–154 (317) Appendix 9: Analytic Outline of NBhū 104–154 by Shodo Yamakami (318) Appendix 10.1: New Analytic Outline of NBhū 104–154 (Overall) (324) Appendix 10.2: New Analytic Outline of NBhū 104–154 (Detailed) (325) Appendix 11D: Skrutable Text Processing Library and Web Application (328) Appendix 12D: Pramāṇa NLP Corpus, Metadata, and LDA Modeling Info (329) Appendix 13D: Vātāyana Intertextuality Research Web Application (330) Appendix 14: Sample of Yamakami Citation Benchmark for NBhū 104–154 (331) Appendix 14D: Full Yamakami Citation Benchmark for NBhū 104–154 (333) Appendix 15: Vātāyana Recall@5 Scores for NBhū 104–154 (334) Appendix 16: PVA, PVin, and PVSV Vātāyana Search Hits for Entire NBhū (338) Appendix 17: Sample Listing of Vātāyana Search Hits for Entire NBhū (349) Appendix 17D: Full Listing of Vātāyana Search Hits for Entire NBhū (355) Overview of Digital Appendices (356) Zusammenfassung (Thesen Zur Dissertation) (357) Summary of Results (361

Case based design of knitwear

In the developed world we are surrounded by man-made objects, but most people give little thought to the complex processes needed for their design. The design of hand knitting is complex because much of the domain knowledge is tacit. The objective of this thesis is to devise a methodology to help designers to work within design constraints, whilst facilitating creativity. A hybrid solution including computer aided design (CAD) and case based reasoning (CBR) is proposed. The CAD system creates designs using domain-specific rules and these designs are employed for initial seeding of the case base and the management of constraints. CBR reuses the designer's previous experience. The key aspects in the CBR system are measuring the similarity of cases and adapting past solutions to the current problem. Similarity is measured by asking the user to rank the importance of features; the ranks are then used to calculate weights for an algorithm which compares the specifications of designs. A novel adaptation operator called rule difference replay (RDR) is created. When the specifications to a new design is presented, the CAD program uses it to construct a design constituting an approximate solution. The most similar design from the case-base is then retrieved and RDR replays the changes previously made to the retrieved design on the new solution. A measure of solution similarity that can validate subjective success scores is created. Specification similarity can be used as a guide whether to invoke CBR, in a hybrid CAD-CBR system. If the newly resulted design is suffciently similar to a previous design, then CBR is invoked; otherwise CAD is used. The application of RDR to knitwear design has demonstrated the flexibility to overcome deficiencies in rules that try to automate creativity, and has the potential to be applied to other domains such as interior design.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Dance, performance and technology : a discourse in seven chapters and seven choreographic works

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Dissolving Borders: The Integration of Writing into a Movement Practice

A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor of Philosophy.This thesis theorises the practice of three female British dance artists, Miranda Tufnell, Helen Poynor and Hilary Kneale. It engages with the central idea that a combined practice of creative writing and movement improvisation enhances the artist's articulation and assimilation of the experience of dance, consequently developing a deeper connection to the experiences of the body in relation to one's environment. Refuting common perception that the inadequacy of language fails to embody the experience of dance, I argue that the approaches used by these women contribute to a distillation of experience thus revealing the essence of movement. Importantly, it focuses on practices that have been born of the feminist consciousness that facilitated the development of both British postmodern dance and women's writing since 1970. As a result, I utilise Elizabeth Grosz's notions of freedom and writing otherwise, and David Abram's Merleau-Pontian ideas on participation to underpin theoretical endeavours. Fieldwork, in the form of interviews and the participation in/observation of various performances, workshops and training programmes, run by each of the dance artists studied, is presented. The development of my own practice resulting from these enquires is documented, analysed and appraised throughout the thesis. The Introduction outlines research questions addressed and methodological approaches undertaken before considering the historical context of each artist's unique practice. Each case study is preceded by a chapter that identifies biographical circumstances, creative choices, and socio-political conditions that have influenced the careers of these dance artists. The function of writing as a bridge between the subjective embodied experience and objective analysis of that experience is examined alongside an assessment of the scope of each practice as a method of harvesting a [re]connection with nature and its power to generate self-affirming stories. Finally, the conclusion offers thoughts on the difficulties of such an endeavour within the framework of contemporary thought that maintains its stance on the split between [body]dance and [mind]written language

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference