Motion analysis report

Human motion analysis is the task of converting actual human movements into computer readable data. Such movement information may be obtained though active or passive sensing methods. Active methods include physical measuring devices such as goniometers on joints of the body, force plates, and manually operated sensors such as a Cybex dynamometer. Passive sensing de-couples the position measuring device from actual human contact. Passive sensors include Selspot scanning systems (since there is no mechanical connection between the subject's attached LEDs and the infrared sensing cameras), sonic (spark-based) three-dimensional digitizers, Polhemus six-dimensional tracking systems, and image processing systems based on multiple views and photogrammetric calculations

The architectures of media power: editing, the newsroom, and urban public space

This paper considers the relation of the newsroom and the city as a lens into the more general relation of production spaces and mediated publics. Leading theoretically from Lee and LiPuma’s (2002) notion of ‘cultures of circulation’, and drawing on an ethnography of the Toronto Star, the paper focuses on how media forms circulate and are enacted through particular practices and material settings. With its attention to the urban milieus and orientations of media organizations, this paper exhibits both affinities with but also differences to current interests in the urban architectures of media, which describe and theorize how media get ‘built into’ the urban experience more generally. In looking at editing practices situated in the newsroom, an emphasis is placed on the phenomenological appearance of media forms both as objects for material assembly as well as more abstracted subjects of reflexivity, anticipation and purposiveness. Although this is explored with detailed attention to the settings of the newsroom and the city, the paper seeks to also provide insight into the more general question of how publicness is material shaped and sited

Friendly chimeras: the evolution of critical creative practice in exhibition design

This paper aims to develop and articulate an historical perspective on the relationships between exhibition design, academic endeavour in the humanities and professional development. It reflects on design culture and educational philosophy and traces the recent history of curriculum development in exhibition design. The exhibition design course at University of Lincoln has a sixty-year history. Reviewing the way its philosophy has evolved reveals a consistently dynamic reflection of real-world interests. This has involved a pragmatic and somewhat eclectic appropriation of theory, particularly from the expanding field of museology, and its integration into an increasingly critical mode of creative practice. When the course became an undergraduate honours degree in 1991 the �project rationale� was introduced as an alternative to the traditional undergraduate dissertation. The principle of integrating theory and practice proved enormously successful and now applies throughout the curriculum. Discourse analysis is applied to articles and course documents from the period 1970 to 1999. Bibliographical survey is also used to analyse the range and type of literature used to support students� studies. This is set against a background of influences on the exhibition design curriculum. These include contemporary changes in design practice, the growth of research into and for design, and changes in the national and institutional frameworks for course development. The paper concludes with an evaluation of the role of the humanities in exhibition design creativity and highlights outstanding issues in the discipline

Family of 2-simplex cognitive tools and their application for decision-making and its justifications

Urgency of application and development of cognitive graphic tools for usage in intelligent systems of data analysis, decision making and its justifications is given. Cognitive graphic tool "2-simplex prism" and examples of its usage are presented. Specificity of program realization of cognitive graphics tools invariant to problem areas is described. Most significant results are given and discussed. Future investigations are connected with usage of new approach to rendering, cross-platform realization, cognitive features improving and expanding of n-simplex family.Comment: 14 pages, 6 figures, conferenc

Hardware-accelerated interactive data visualization for neuroscience in Python.

Large datasets are becoming more and more common in science, particularly in neuroscience where experimental techniques are rapidly evolving. Obtaining interpretable results from raw data can sometimes be done automatically; however, there are numerous situations where there is a need, at all processing stages, to visualize the data in an interactive way. This enables the scientist to gain intuition, discover unexpected patterns, and find guidance about subsequent analysis steps. Existing visualization tools mostly focus on static publication-quality figures and do not support interactive visualization of large datasets. While working on Python software for visualization of neurophysiological data, we developed techniques to leverage the computational power of modern graphics cards for high-performance interactive data visualization. We were able to achieve very high performance despite the interpreted and dynamic nature of Python, by using state-of-the-art, fast libraries such as NumPy, PyOpenGL, and PyTables. We present applications of these methods to visualization of neurophysiological data. We believe our tools will be useful in a broad range of domains, in neuroscience and beyond, where there is an increasing need for scalable and fast interactive visualization

Rethinking authenticity in digital art preservation

In this paper I am discussing the repositioning of traditional conservation concepts of historicity, authenticity and versioning in relation to born digital artworks, upon findings from my research on preservation of computer-based artifacts. Challenges for digital art preservation and previous work in this area are described, followed by an analysis of digital art as a process of components interaction, as performance and in terms of instantiations. The concept of dynamic authenticity is proposed, and it is argued that our approach to digital artworks preservation should be variable and digital object responsive, with a level of variability tolerance to match digital art intrinsic variability and dynamic authenticity