191 research outputs found
Design and analysis of robust controllers for directional drilling tools
Directional drilling is a very important tool for the development of oil and gas deposits.
Attitude control which enables directional drilling for the efficient placement of the directional drilling tools in petroleum producing zones is reviewed along with the various
engineering requirements or constraints. This thesis explores a multivariable attitude governing plant model as formulated in Panchal et al. (2010) which is used for developing
robust control techniques. An inherent input and measurement delay which accounts for
the plant's dead-time is included in the design of the controllers. A Smith Predictor controller is developed for reducing the effect of this dead-time. The developed controllers
are compared for performance and robustness using structured singular value analysis and
also for their performance indicated by the transient response of the closed loop models. Results for the transient non-linear simulation of the proposed controllers are also
presented. The results obtained indicate that the objectives are satisfactorily achieved
3rd Many-core Applications Research Community (MARC) Symposium. (KIT Scientific Reports ; 7598)
This manuscript includes recent scientific work regarding the Intel Single Chip Cloud computer and describes approaches for novel approaches for programming and run-time organization
Emerging research directions in computer science : contributions from the young informatics faculty in Karlsruhe
In order to build better human-friendly human-computer interfaces,
such interfaces need to be enabled with capabilities to perceive
the user, his location, identity, activities and in particular his interaction
with others and the machine. Only with these perception capabilities
can smart systems ( for example human-friendly robots or smart environments) become posssible. In my research I\u27m thus focusing on the
development of novel techniques for the visual perception of humans and
their activities, in order to facilitate perceptive multimodal interfaces,
humanoid robots and smart environments. My work includes research
on person tracking, person identication, recognition of pointing gestures,
estimation of head orientation and focus of attention, as well as
audio-visual scene and activity analysis. Application areas are humanfriendly
humanoid robots, smart environments, content-based image and
video analysis, as well as safety- and security-related applications. This
article gives a brief overview of my ongoing research activities in these
areas
The augmented tonoscope towards a deeper understanding of the interplay between sound and image in visual music
This thesis presents the theoretical, technical and aesthetic concerns in realising
a harmonic complementarity and more intimate perceptual connection between
music and moving image. It explores the inspirations and various processes
involved in creating a series of artistic works - attached as a portfolio and produced
as the research. This includes the Cymatic Adufe (v1.1) - a sound-responsive,
audiovisual installation; Stravinsky Rose (v2.0) - an audiovisual short in Dome
format; and the live performance works of Whitney Triptych (v1.2), Moiré Modes
(v1.1) and Stravinsky Rose (v3.0).
The thesis outlines an approach towards realising a deeper understanding of
the interplay between sound and image in Visual Music - through applying: the
Differential Dynamics of pioneering, computer-aided, experimental animator John
Whitney Sr.; alternate musical tunings based on harmonic consonance and the
Pythagorean laws of harmony; and sound’s ability to induce physical form and flow
via Cymatics - the study of wave phenomena and vibration - a term coined by Dr.
Hans Jenny for his seminal research into these effects in the 1960s and 70s, using
a device of his own design - the ʻtonoscopeʼ.
The thesis discusses the key method for this artistic investigation through the
design, fabrication and crafting of a hybrid analogue/digital audiovisual instrument
- a contemporary version of Jenny’s sound visualisation tool - The Augmented
Tonoscope. It details the developmental process which has realised a modular
performance system integrating sound making, sound analysis, analogue outputs,
virtual systems, musical interface and recording and sequencing.
Finally, the thesis details the impact of this system on creating audiovisualisation
of a distinct quality through: a formalist, minimal, decluttered aesthetic; a direct,
elemental and real-time correspondence between sound and image; a mirroring
of music’s innate movement and transition within the visual domain; and an
underlying concord or harmony between music and moving image
Embodied interaction with guitars: instruments, embodied practices and ecologies
In this thesis I investigate the embodied performance preparation practices of guitarists to design and develop tools to support them. To do so, I employ a series of human-centred design methodologies such as design ethnography, participatory design, and soma design. The initial ethnographic study I conducted involved observing guitarists preparing to perform individually and with their bands in their habitual places of practice. I also interviewed these musicians on their preparation activities. Findings of this study allowed me to chart an ecology of tools and resources employed in the process, as well as pinpoint a series of design opportunities for augmenting guitars, namely supporting (1) encumbered interactions, (2) contextual interactions, and (3) connected interactions.
Going forward with the design process I focused on remediating encumbered interactions that emerge during performance preparation with multimedia devices, particularly during instrumental transcription. I then prepared and ran a series of hands-on co-design workshops with guitarists to discuss five media controller prototypes, namely, instrument-mounted controls, pedal-based controls, voice-based controls, gesture-based controls, and “music-based” controls. This study highlighted the value that guitarists give to their guitars and to their existing practice spaces, tools, and resources by critically reflecting on how these interaction modalities would support or disturb their existing embodied preparation practices with the instrument.
In parallel with this study, I had the opportunity to participate in a soma design workshop (and then prepare my own) in which I harnessed my first-person perspective of guitar playing to guide the design process. By exploring a series of embodied ideation and somatic methods, as well as materials and sensors across several points of contact between our bodies and the guitar, we collaboratively ideated a series of design concepts for guitar across both workshops, such as a series of breathing guitars, stretchy straps, and soft pedals. I then continued to develop and refine the Stretchy Strap concept into a guitar strap augmented with electronic textile stretch sensors to harness it as an embodied media controller to remediate encumbered interaction during musical transcription with guitar when using secondary multimedia resources.
The device was subsequently evaluated by guitarists at a home practicing space, providing insights on nuanced aspects of its embodied use, such as how certain media control actions like play and pause are better supported by the bodily gestures enacted with the strap, whilst other actions, like rewinding the play back or setting in and out points for a loop are better supported by existing peripherals like keyboards and mice, as these activities do not necessarily happen in the flow of the embodied practice of musical transcription.
Reflecting on the overall design process, a series of considerations are extracted for designing embodied interactions with guitars, namely, (1) considering the instrument and its potential for augmentation, i.e., considering the shape of the guitar, its material and its cultural identity, (2) considering the embodied practices with the instrument, i.e., the body and the subjective felt experience of the guitarist during their skilled embodied practices with the instrument and how these determine its expert use according to a particular instrumental tradition and/or musical practice, and (3) considering the practice ecology of the guitarist, i.e., the tools, resources, and spaces they use according to their practice
Embodied interaction with guitars: instruments, embodied practices and ecologies
In this thesis I investigate the embodied performance preparation practices of guitarists to design and develop tools to support them. To do so, I employ a series of human-centred design methodologies such as design ethnography, participatory design, and soma design. The initial ethnographic study I conducted involved observing guitarists preparing to perform individually and with their bands in their habitual places of practice. I also interviewed these musicians on their preparation activities. Findings of this study allowed me to chart an ecology of tools and resources employed in the process, as well as pinpoint a series of design opportunities for augmenting guitars, namely supporting (1) encumbered interactions, (2) contextual interactions, and (3) connected interactions.
Going forward with the design process I focused on remediating encumbered interactions that emerge during performance preparation with multimedia devices, particularly during instrumental transcription. I then prepared and ran a series of hands-on co-design workshops with guitarists to discuss five media controller prototypes, namely, instrument-mounted controls, pedal-based controls, voice-based controls, gesture-based controls, and “music-based” controls. This study highlighted the value that guitarists give to their guitars and to their existing practice spaces, tools, and resources by critically reflecting on how these interaction modalities would support or disturb their existing embodied preparation practices with the instrument.
In parallel with this study, I had the opportunity to participate in a soma design workshop (and then prepare my own) in which I harnessed my first-person perspective of guitar playing to guide the design process. By exploring a series of embodied ideation and somatic methods, as well as materials and sensors across several points of contact between our bodies and the guitar, we collaboratively ideated a series of design concepts for guitar across both workshops, such as a series of breathing guitars, stretchy straps, and soft pedals. I then continued to develop and refine the Stretchy Strap concept into a guitar strap augmented with electronic textile stretch sensors to harness it as an embodied media controller to remediate encumbered interaction during musical transcription with guitar when using secondary multimedia resources.
The device was subsequently evaluated by guitarists at a home practicing space, providing insights on nuanced aspects of its embodied use, such as how certain media control actions like play and pause are better supported by the bodily gestures enacted with the strap, whilst other actions, like rewinding the play back or setting in and out points for a loop are better supported by existing peripherals like keyboards and mice, as these activities do not necessarily happen in the flow of the embodied practice of musical transcription.
Reflecting on the overall design process, a series of considerations are extracted for designing embodied interactions with guitars, namely, (1) considering the instrument and its potential for augmentation, i.e., considering the shape of the guitar, its material and its cultural identity, (2) considering the embodied practices with the instrument, i.e., the body and the subjective felt experience of the guitarist during their skilled embodied practices with the instrument and how these determine its expert use according to a particular instrumental tradition and/or musical practice, and (3) considering the practice ecology of the guitarist, i.e., the tools, resources, and spaces they use according to their practice
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