Planning and Teaching Compliant Motion Strategies

This thesis presents a new high level robot programming system. The programming system can be used to construct strategies consisting of compliant motions, in which a moving robot slides along obstacles in its environment. The programming system is referred to as high level because the user is spared of many robot-level details, such as the specification of conditional tests, motion termination conditions, and compliance parameters. Instead, the user specifies task-level information, including a geometric model of the robot and its environment. The user may also have to specify some suggested motions. There are two main system components. The first component is an interactive teaching system which accepts motion commands from a user and attempts to build a compliant motion strategy using the specified motions as building blocks. The second component is an autonomous compliant motion planner, which is intended to spare the user from dealing with "simple" problems. The planner simplifies the representation of the environment by decomposing the configuration space of the robot into a finite state space, whose states are vertices, edges, faces, and combinations thereof. States are inked to each other by arcs, which represent reliable compliant motions. Using best first search, states are expanded until a strategy is found from the start state to a global state. This component represents one of the first implemented compliant motion planners. The programming system has been implemented on a Symbolics 3600 computer, and tested on several examples. One of the resulting compliant motion strategies was successfully executed on an IBM 7565 robot manipulator.

An information system to exploit the use of metadata within film and television production

The television and film industries are used to working on large projects. These projects use media and documents of various types, ranging from actual film and videotape to items such as PERT charts for project planning. Some items, such as scripts, evolve over a period and go through many versions. It is often necessary to attach information to these “objects” in order to manage, track, and retrieve them. On large productions there may be hundreds of personnel who need access to this material and who in their turn generate new items which form some part of the final production. The requirements for this industry in terms of an information system may be generalized and a distributed software architecture built, primarily using the internet, to serve the needs of these projects. This architecture must enable potentially very large collections of objects to be managed in a secure environment with distributed responsibilities held by many working on the production. Copyright © 2005 by the Society of Motion Picture and Television Engineers, Inc.

Longing and (un)belonging: desire and displacement in the cinematic city

This paper explores the spatial conceptualisation of the themes of diaspora, displacement and desire in cinema, particularly in the work of Nuri Bilge Ceylan (Uzak) , Fatih Akin (Gegen Die Wand) and Michael Winterbottom (Code 46). All three directors explore the imagined cinematic city as a site of multiple (un)belongings and interrogate how notions of identity are displaced and disrupted by geopolitics, by the city and by cinema itself. Both Ceylan and Akin’s visions of Istanbul are haunted by Beyoglu, both as the site of Istanbul’s contemporary cultural regeneration and by unspoken histories repressed by the Republic’s offical rhetoric of Turkish identity. In contrast Akin and Winterbottom’s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities. This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen, or is it a non-place? Do the identities/ memories created there produce a ‘third space’? This paper uses Winnicot, Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?

Continuity - based and discontinuity - based segmentation in transparent and spatially segregated global motion

The mechanisms underlying the parsing of a spatial distribution of velocity vectors into two adjacent (spatially segregated) or overlapping (transparent) motion surfaces were examined using random dot kinematograms. Parsing might occur using either of two principles. Surfaces might be defined on the basis of similarity of motion vectors and then sharp perceptual boundaries drawn between different surfaces (continuity-based segmentation). Alternatively, detection of a high gradient of direction or speed separating the motion surfaces might drive the process (discontinuity-based segmentation). To establish which method is used, we examined the effect of blurring the motion direction gradient. In the case of a sharp direction gradient, each dot had one of two directions differing by 135°. With a shallow gradient, most dots had one of two directions but the directions of the remainder spanned the range between one motion-defined surface and the other. In the spatial segregation case the gradient defined a central boundary separating two regions. In the transparent version the dots were randomly positioned. In both cases all dots moved with the same speed and existed for only two frames before being randomly replaced. The ability of observers to parse the motion distribution was measured in terms of their ability to discriminate the direction of one of the two surfaces. Performance was hardly affected by spreading the gradient over at least 25% of the dots (corresponding to a 1° strip in the segregation case). We conclude that detection of sharp velocity gradients is not necessary for distinguishing different motion surfaces.

Censoring the 1970s: The BBFC and the Decade that Taste Forgot

This book is a study of the British Board of Film Censors in the 1970s. In permitting and refusing specific material to be shown on cinema screens the BBFC were dictating patterns of taste and helping shape and determine notions of acceptability. Contentious and controversial texts like A Clockwork Orange (1971), Straw Dogs (1971) The Devils (1971) and Life of Brian (1979) have been used to draw attention to the way in which the BBFC operated in the 1970s. While it is true to say that these films encountered major censorship problems, what of the hundreds of other films which were being classified at the same time? Did all films struggle with the British censors in this period, and can these famous examples be fitted into broader patterns of censorship policy and practice?

In studying over 250 film files from the BBFC archive, this work reveals how 1970s films such as Vampire Circus (1971), Confessions of a Window Cleaner (1974) and Carry on Emmannuelle (1978) also ran in to trouble with the film censor. This work explores the complex process of negotiation and compromise which affected all film submissions in the 1970s and the way in which the BBFC actively, and often sympathetically, negotiated with film directors, producers and distributors to assign the correct category to each film. The lack of any defined formal censorship policy in this period allowed the BBFC to work alongside the film industry and push cultural, social and artistic boundaries; however it also left the Board open to accusations of favouritism, subjectivity and personal bias.

This work is not simply a study of controversial films and contentious issues, but rather engages with wider issues of changing permission, legal struggles, the influence of the media and the legislative and governmental controls which both helped and hindered the BBFC in this important post-war decade. The approach used within this work focuses on historical and archival research, making it importantly inter-textual and offering a great deal to scholars from a number of associated disciplines, including history, social policy, media and communications and politics.

Personal and Public Involvement and its impact - Monitoring, measuring and evaluating the impact of Personal and Public Involvement (PPI) in Health and Social Care in Northern Ireland.

Introduction
This report details the findings from research conducted across Northern Ireland’s Health and Social Care Trusts during 2015 which examines the current state of Personal and Public Involvement (PPI). This is about how service users, carers and patients engage with staff, management and directors of statutory health and social care organisations. Most statutory health and social care organisations must, under legislation, meet the requirements of PPI. PPI has been part of health and social care policy in Northern Ireland since 2007 and became law two years later with the introduction of the Health and Social Care Reform Act (2009). It is, therefore, timely that PPI is now assessed in this systematic way in order to both examine the aspects which are working well and to highlight those areas where improvements need to be made. As far as possible, this Summary Report is written in an accessible way, avoiding jargon and explaining key research terms, so as to ensure it is widely understood. This is in keeping with established good practice in service user involvement research. This summary, therefore, gives a picture of PPI in Northern Ireland currently. There is also a fuller report which gives a lot more details about the research and findings. Information on this is available from the Public Health Agency and/or the Patient and Client Council.

The Impact of Thought Speed and Variability on Psychological State and Threat Perception: Further Exploration of the Theory of Mental Motion

Thought speed and variability are purportedly common features of specific psychological states, such as mania and anxiety. The present study explored the independent and combinational influence of these variables upon condition-specific symptoms and affective state, as proposed by Pronin and Jacobs’ (Perspect Psychol Sci, 3:461–485, 2008) theory of mental motion. A general population sample was recruited online (N = 263). Participants completed a thought speed and variability manipulation task, inducing a combination of fast/slow and varied/repetitive thought. Change in mania and anxiety symptoms was assessed through direct self-reported symptom levels and indirect, processing bias assessment (threat interpretation). Results indicated that fast and varied thought independently increased self-reported mania symptoms. Affect was significantly less positive and more negative during slow thought. No change in anxiety symptoms or threat interpretation was found between manipulation conditions. No evidence for the proposed combinational influence of speed and variability was found. Implications and avenues for therapeutic intervention are discussed.

Slackers, slashers and sticklers : Hollywood films and audience reception /

This thesis examines the processes through which identity is acquired and the processes that Hollywood :films employ to facilitate audience identification in order to determine the extent to which individuality is possible within postmodem society. Opposing views of identity formation are considered: on the one hand, that of the Frankfurt School which envisions the mass audience controlled by the culture industry and on the other, that of John Fiske which places control in the hands of the individual. The thesis takes a mediating approach, conceding that while the mass media do provide and influence identity formation, individuals can and do decode a variety of meanings from the material made available to them in accordance with the text's use-value in relation to the individual's circumstances. The analysis conducted in this thesis operates on the assumption that audiences acquire identity components in exchange for paying to see a particular film. Reality Bites (Ben Stiller 1994) and Scream (Wes Craven 1996) are analyzed as examples of mainstream 1990s films whose material circumstances encourage audience identification and whose popularity suggest that audiences did indeed identify with them. The Royal Tenenbaums (Wes Anderson 2001) is considered for its art film sensibilities and is examined in order to determine to what extent this film can be considered a counter example. The analysis consists of a combination of textual analysis and reception study in an attempt to avoid the problems associated with each approach when employed alone. My interpretation of the filmmakers' and marketers' messages will be compared with online reviews posted by film viewers to determine how audiences received and made use of the material available to them. Viewer-posted reviews, both unsolicited and unrestricted, as found online, will be consulted and will represent a segment of the popular audience for the three films to be analyzed.

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

Motion Segmentation And Meanshift Assisted Contour Refinement For Airborne Video

This paper presents methods for moving object detection in airborne video surveillance. The motion segmentation in the above scenario is usually difficult because of small size of the object, motion of camera, and inconsistency in detected object shape etc. Here we present a motion segmentation system for moving camera video, based on background subtraction. An adaptive background building is used to take advantage of creation of background based on most recent frame. Our proposed system suggests CPU efficient alternative for conventional batch processing based background subtraction systems. We further refine the segmented motion by meanshift based mode association.

Stereo and motion parallax cues in human 3D vision: can they vanish without a trace?

In an immersive virtual reality environment, subjects fail to notice when a scene expands or contracts around them, despite correct and consistent information from binocular stereopsis and motion parallax, resulting in gross failures of size constancy (A. Glennerster, L. Tcheang, S. J. Gilson, A. W. Fitzgibbon, & A. J. Parker, 2006). We determined whether the integration of stereopsis/motion parallax cues with texture-based cues could be modified through feedback. Subjects compared the size of two objects, each visible when the room was of a different size. As the subject walked, the room expanded or contracted, although subjects failed to notice any change. Subjects were given feedback about the accuracy of their size judgments, where the “correct” size setting was defined either by texture-based cues or (in a separate experiment) by stereo/motion parallax cues. Because of feedback, observers were able to adjust responses such that fewer errors were made. For texture-based feedback, the pattern of responses was consistent with observers weighting texture cues more heavily. However, for stereo/motion parallax feedback, performance in many conditions became worse such that, paradoxically, biases moved away from the point reinforced by the feedback. This can be explained by assuming that subjects remap the relationship between stereo/motion parallax cues and perceived size or that they develop strategies to change their criterion for a size match on different trials. In either case, subjects appear not to have direct access to stereo/motion parallax cues.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Dynamics of two satellites in the 2/1 Mean-Motion resonance: application to the case of Enceladus and Dione

The dynamics of a pair of satellites similar to Enceladus-Dione is investigated with a two-degrees-of-freedom model written in the domain of the planar general three-body problem. Using surfaces of section and spectral analysis methods, we study the phase space of the system in terms of several parameters, including the most recent data. A detailed study of the main possible regimes of motion is presented, and in particular we show that, besides the two separated resonances, the phase space is replete of secondary resonances.

Maximal isokinetic peak torque and EMG activity determined by shorter ranges of motion

Purpose. Isokinetic tests are often applied to assess muscular strength and EMG activity, however the specific ranges of motion used in testing (fully flexed or extended positions) might be constrictive and/or be painful for patients with injuries or under-going rehabilitation. The aim of this study was to examine the effects of different ranges of motion (RoM) when determining maximal EMG during isokinetic knee flexion and extension with different types of contractions and velocities. Methods. Eighteen males had EMG activity recorded on the vastus lateralis, vastus medialis, semitendinosus and biceps femoris muscles during five maximal isokinetic concentric and eccentric contractions for the knee flexors and extensors at 60° • s -1 and 180° • s -1. The root mean square of EMG was calculated at three different ranges of motion: (1) a full range of motion (90°-20° [0° = full knee extension]); (2) a range of motion of 20° (between 60°-80° and 40°-60° for knee extension and flexion, respectively) and (3) at a 10° interval around the angle where peak torque is produced. EMG measurements were statistically analyzed (ANOVA) to test for the range of motion, contraction velocity and contraction speed effects. Coefficients of variation and Pearson's correlation coefficients were also calculated among the ranges of motion. Results. Predominantly similar (p > 0.05) and well-correlated EMG results (r > 0.7, p ≤ 0.001) were found among the ranges of motion. However, a lower coefficient of variation was found for the full range of motion, while the 10° interval around peak torque at 180° • s -1 had the highest coefficient, regardless of the type of contraction. Conclusions. Shorter ranges of motion at around the peak torque angle provides a reliable indicator when recording EMG activity during maximal isokinetic parameters. It may provide a safer alternative when testing patients with injuries or undergoing rehabilitation.

O padrão de compressão de video MPEG moving picture experts group

This work focuses on the study of video compression standard MPEG. To this end, a study was undertaken starting from the basics of digital video, addressing the components necessary for the understanding of the tools used by the video coding standard MPEG. The Motion Picture Experts Group (MPEG) was formed in the late '80s by a group of experts in order to create international standards for encoding and decoding audio and video. This paper will discuss the techniques present in the video compression standard MPEG, as well as its evolution. Will be described in the MPEG-1, MPEG-2, MPEG-4 and H.264 (MPEG-4 Part 10), however, the last two will be presented with more emphasis, because the standards are present in most modern video technologies, as in HDTV broadcasts