Ground Systems Development Environment (GSDE) interface requirements analysis

A set of procedural and functional requirements are presented for the interface between software development environments and software integration and test systems used for space station ground systems software. The requirements focus on the need for centralized configuration management of software as it is transitioned from development to formal, target based testing. This concludes the GSDE Interface Requirements study. A summary is presented of findings concerning the interface itself, possible interface and prototyping directions for further study, and results of the investigation of the Cronus distributed applications environment

Cloud animation

Clouds are animate forms, shifting and evanescent, mutable and always in movement. They have also long been a subject of imagery, especially painting, because paint, most notably watercolour, as John Constable knew, seeped into thick drawing papers much as a cloud seeped itself through the sky. The drama of clouds in the 20th century was seized by film and it is striking to note that many Hollywood Studio logos use clouds. Clouds from Constable to the Hollywood logos are Romantic clouds. They drift and float, produce ambience and mood, along with weather. But the cloud appears in the digital age too, in more ways than one. Clouds have been constituted digitally by commercial animation studios and used as main characters in cartoons; they are available in commercial applications, such as architecture and landscaping packages; they have been made and represented by art animators. This body of work, kitsch and dumb as some of it is, is treated in this article as emblematic of an age in which the digital cloud looms as a new substance. The cloud in the digital age is a source of form, like a 3D printer, a source of any imaginable form. As such it comes to be less a metaphor of something else and more a generator of a metaphor that is itself. Now we live alongside – and even inside - a huge cloud metaphor that is The Cloud. In what ways do the clouds in the sky speak across to the platform and matter that is called The Cloud? What is at work in the digitalising of clouds in animation, and the production of animation through the technologies of the Cloud? Are we witnessing the creation of a synthetic heaven into which all production has been relocated and the digital clouds make all the moves? Keywords Cloud, day-dreaming, dust, digital, metaphor, Romanticis

The City of Collective Melancholy: Revisiting Pamuk’s Istanbul

This essay looks back upon Orhan Pamuk’s non-fiction book, Istanbul: Memories of a City (2003), and unpacks its multi-layered representation of the city as landscape. It is here that Pamuk pursues most overtly “the quest for the melancholic soul of his native city” which won him the 2006 Nobel Prize for Literature. Weaving personal memoir and historical essay into a unique narrative tapestry, Pamuk’s book explores a series of tensions that define the city’s image and identity; insider/outsider and East/West polarities, in particular, are tirelessly deconstructed. The essay examines Pamuk’s poetics and politics of memory in relation to works by other authors, notably Walter Benjamin. In conclusion, the new edition of Istanbul (2015) is discussed against the background of the social and spatial changes that have beset Turkey’s cultural capital in the interim

Quality and Time-to-Market Trade-offs when There Are Multiple Product Generations

We extend previous work evaluating the quality versus time-to-market trade-off for a single product generation to the case of multiple generations. While a single generation framework is appropriate when either the technology is not extendable or when additional launch costs outweigh benefits, we find that it is important to recognize whether a technology is extendable and explicitly consider the potential for multiple generations. We evaluate the factors determining optimal development-cycle length and intensity using a forward-looking model that allows for multiple product generations. Comparisons are made with restricted versions of the model that reflect pure single generation and sequential single generation approaches. Against an active competitor, the multiple generation approach is much more profitable, with the greatest differences in fast-moving industries. More total time is spent in development when a multiple generation model is used. Further, this time is dedicated to the more frequent introduction of improved product generations---a "rapid inch-up" strategy---resulting in more, higher quality products over time. Factors affecting optimal time-to-market differ substantially for the single versus multiple generation approaches. A key difference is that faster rates of quality improvement lead to longer development cycles for the single and sequential single generation models, but shorter cycles with the forward-looking multiple generation model. With a single generation, variable costs have the biggest impact on cycle length (higher costs shorten cycles), but with multiple generations, fixed costs have the biggest impact on cycle length (higher costs lead to longer cycles).New Product Development, Development-Cycle Time, Development Intensity

Pre-Raphaelitism, Science, and the Arts in The Germ

This article demonstrates for the first time how dense the references to science are within the Pre-Raphaelite periodical 'The Germ' (1850). By reading the essays from this magazine together, as they were first published, it is possible to see how thoroughly the Pre-Raphaelites theorised their artistic project in terms of a particular mid-Victorian ideal of science. At the same time, the magazine became a forum in which the question of how far the arts ought to take account of science could be debated. In this debate, the competing visions of Pre-Raphaelitism discussed in Holman Hunt’s later accounts of the movement can be seen emerging at a very early stage in its history

Imitation and representational development in young children with Down syndrome

Competence in object search and pretend play are argued to reflect young children's representational abilities and appear delayed in children with Down syndrome relative to social and imitative skills. This paper explores the effects on object search and play of this social strength in children with Down syndrome. Three experiments compared performance on traditional tasks with modified tasks designed to assess the role of imitation in object search and pretend play. Children with Down syndrome, relative to typically-developing children, were able and willing to imitate hiding actions when no object was hidden (Experiment 1). When imitation was prevented in object search, children with Down syndrome searched less effectively than typically-developing children (Experiment 2). In play, children with Down syndrome expressed more willingness to imitate a counter-functional action, modelled by the experimenter, despite apparent competence in spontaneous functional play (Experiment 3). These findings indicate that object search and play behaviours of children with Down syndrome rely more heavily on imitation than is the case for typically-developing children. The implications for the development of children with Down syndrome and models of representational development are discussed