Multi-Dimensional Automata and Their Applications in Art

Táto práca sa zaoberá prepojením teoretickej informatiky a výtvarného umenia. Demonštruje silu a možnosti viacdimenzionálnych, najmä dvojdimenzionálnych, automatov v umení a to tak, že ich aplikuje na koláž, kde riadi pohyb jednotlivých prvkov.This thesis deals with interconnection of theoretical computer science and fine arts. It demonstrates power and possibilities of multidimensional, mainly two-dimensional, finite automata in fine arts by applying them to collage and controlling individual elements movement.

An industrial craft reinstated: A printmaker's perspective on tissue transferware

Underglaze tissue transfer printing, termed transferware, is a genre of industrial printmaking on ceramics. This genre was practiced inside the factory and is described in my doctoral study as an industrial craft. Much of the knowledge surrounding this craft has been lost as the pottery industries have closed or have replaced printing on ceramics with newer and more cost effective forms of decoration. Unlike many industrial forms of printmaking tissue transfer printing has never made the transition from industry to contemporary art practice. This doctoral research was conducted to unravel and interpret the industrial craft knowledge so that tissue transferware will become reinstated for contemporary printmaking practice. The foremost aim was to demonstrate its artistic value to artists working in the field of ceramics and print to enable it to become an open and accessible form of printmaking on ceramics in the future. The study begins with an appraisal of tissue transferware, through studying historical records. These records reveal much about the historical context and how transferware became one of England’s largest exports, peaking in around 1850. However, whilst historical records provide knowledge of the lineage, highlighting the main producers, very little accessible information exists about the methods of production. The literature review positions tissue transferware within the Industrial Revolution and the division of labour, finding that knowledge of the whole process is therefore concealed from the literature. Much of this knowledge is tacit and held within the individuals who worked in the potteries. Mass production of tissue transferware has finished and many of those individuals are now deceased. A multi-method research framework was used to gain insider knowledge of the methods of production. Oral history interviews documenting lived accounts from ex-pottery professionals have supported this investigation and enabled it to progress. This was reinforced with archival research which provided access to material relating to the production of tissue transferware. The printmaker’s scrutiny was at the forefront of this archival investigation, seeking evidence of insider knowhow, with an opportunity to observe, reflect and respond artistically. A demonstration of a new method of tissue transferware for artists is the principal contribution of this study. Furthermore, insider knowhow has been preserved for current and future interpretations before being locked inside a closed factory. Material making and reflection-in-action resulted in emergent knowledge linking traditional, autographic, and manual material practices with the digital and mechanical.The new method does not replace the original industrial craft but serves as a contemporary interpretation of it. In the concluding chapters the research has been materialised through a series of art works, produced with a palette of tools and materials familiar to artists working in the fields of printmaking and ceramics. This new method is open, accessible and within reach of future artists to realise its creative potential

General Undergraduate Catalog, 1989-1990

Marshall University Undergraduate Course Catalog for the 1989-1990 academic year.https://mds.marshall.edu/catalog_1980-1989/1009/thumbnail.jp

General Undergraduate Catalog, 1990-1991

Marshall University General Undergraduate Catalog for the 1990-1991 academic year.https://mds.marshall.edu/catalog_1990-1999/1008/thumbnail.jp

General Undergraduate Catalog, 1991-1992

Marshall University General Undergraduate Catalog for the 1991-1992 academic year.https://mds.marshall.edu/catalog_1990-1999/1000/thumbnail.jp

Fortress of the Soul

French Huguenots made enormous contributions to the life and culture of colonial New York during the seventeenth and eighteenth centuries. Huguenot craftsmen were the city's most successful artisans, turning out unrivaled works of furniture which were distinguished by unique designs and arcane details. More than just decorative flourishes, however, the visual language employed by Huguenot artisans reflected a distinct belief system shaped during the religious wars of sixteenth-century France.In Fortress of the Soul, historian Neil Kamil traces the Huguenots' journey to New York from the Aunis-Saintonge region of southwestern France. There, in the sixteenth century, artisans had created a subterranean culture of clandestine workshops and meeting places inspired by the teachings of Bernard Palissy, a potter, alchemist, and philosopher who rejected the communal, militaristic ideology of the Huguenot majority which was centered in the walled city of La Rochelle. Palissy and his followers instead embraced a more fluid, portable, and discrete religious identity that encouraged members to practice their beliefs in secret while living safely—even prospering—as artisans in hostile communities. And when these artisans first fled France for England and Holland, then left Europe for America, they carried with them both their skills and their doctrine of artisanal security.Drawing on significant archival research and fresh interpretations of Huguenot material culture, Kamil offers an exhaustive and sophisticated study of the complex worldview of the Huguenot community. From the function of sacred violence and alchemy in the visual language of Huguenot artisans, to the impact among Protestants everywhere of the destruction of La Rochelle in 1628, to the ways in which New York's Huguenots interacted with each other and with other communities of religious dissenters and refugees, Fortress of the Soul brilliantly places American colonial history and material life firmly within the larger context of the early modern Atlantic world

Two-dimensional Sgraffito automata

We present a new model of a two-dimensional computing device called Sgraffito automaton. In general, the model is quite simple, which allows a clear design of computations. When restricted to one-dimensional inputs, that is, strings, the Sgraffito automaton does not exceed the power of finite-state automata. On the other hand, for two-dimensional inputs, it yields a family of picture languages with good closure properties that strictly includes the class REC  of recognizable picture languages. The deterministic Sgraffito automata define a class of picture languages that includes the class of deterministic recognizable picture languages DREC, the class of picture languages that are accepted by four-way alternating automata, those that are accepted by deterministic one-marker automata, and the sudoku-deterministically recognizable picture languages, but the membership problem for the accepted languages is still decidable in polynomial time. In addition, the deterministic Sgraffito automata accept some unary picture languages that are outside of the class REC

Automata with cyclic move operations for picture languages

Here, we study the cyclic extensions of Sgraffito automata and of deterministic two-dimensional two-way ordered restarting automata for picture languages. Such a cyclically extended automaton can move in a single step from the last column (or row) of a picture to the first column (or row). For Sgraffito automata, we show that this cyclic extension does not increase the expressive power of the model, while for deterministic two-dimensional two-way restarting automata, the expressive power is strictly increased by allowing cyclic moves. In fact, for the latter automata, we take the number of allowed cyclic moves in any column or row as a parameter, and we show that already with a single cyclic move per column (or row) the deterministic two-dimensional extended two-way restarting automaton can be simulated. On the other hand, we show that two cyclic moves per column or row already give the same expressive power as any finite number of cyclic moves

Learning picture languages using restarting automata

There are many existing models of automata working on two-dimensional inputs (pictures), though very little work has been done on the subject of learning of these automata. In this thesis, we introduce a new model called two-dimensional limited context restarting automaton. Our model works similarly as the two-dimensional restarting tiling automaton, yet we show that it is equally powerful as the two-dimensional sgraffito automaton. We propose an algorithm for learning of such automata from positive and negative samples of pictures. The algorithm is implemented and subsequently tested with several basic picture languages. Powered by TCPDF (www.tcpdf.org