854 resultados para Process Design
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Pós-graduação em Design - FAAC
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Pós-graduação em Educação para a Ciência - FC
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This work aimed to compare the predictive capacity of empirical models, based on the uniform design utilization combined to artificial neural networks with respect to classical factorial designs in bioprocess, using as example the rabies virus replication in BHK-21 cells. The viral infection process parameters under study were temperature (34°C, 37°C), multiplicity of infection (0.04, 0.07, 0.1), times of infection, and harvest (24, 48, 72 hours) and the monitored output parameter was viral production. A multilevel factorial experimental design was performed for the study of this system. Fractions of this experimental approach (18, 24, 30, 36 and 42 runs), defined according uniform designs, were used as alternative for modelling through artificial neural network and thereafter an output variable optimization was carried out by means of genetic algorithm methodology. Model prediction capacities for all uniform design approaches under study were better than that found for classical factorial design approach. It was demonstrated that uniform design in combination with artificial neural network could be an efficient experimental approach for modelling complex bioprocess like viral production. For the present study case, 67% of experimental resources were saved when compared to a classical factorial design approach. In the near future, this strategy could replace the established factorial designs used in the bioprocess development activities performed within biopharmaceutical organizations because of the improvements gained in the economics of experimentation that do not sacrifice the quality of decisions.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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The current context is unique in relation to the teaching of evolution in Brazil and the population's perception of evolution. On the one hand, it is said often about Darwinism in various media, especially due to the relatively recent commemoration of the two hundred years of the birth of Charles Darwin and one hundred and fifty years of the launch of the book The Origin of Species. On the other hand, it is clear, in recent years, a timid movement, more worryingly, in favor of equitable approach of creationist and evolutionist theories in the classroom. This article is a part of a research whose goal is to raise the design that Brazilian respondents have about the Darwinian view (which disregards the divine influence in the evolution of the species). The instrument used for data collection is a questionnaire, type Likert scale, which consists of a series of statements in which respondents must express their degree of agreement or disagreement with each statement. In this study, we present the results of the statement. "The thought of Darwin, which does not consider God as a participant in the process of evolution, is...". Analysis correlated with data on religion and education of the respondents are also held. The results point to a tendency of respondents not to accept the Darwinian view that disregards God's interference in the evolutionary process. The data also show that respondents' choices are influenced by religion and education. The frequency of responses that tend to accept the Darwinian view (which disregards the divine participation in the evolution of the species) is higher among respondents with higher levels of education. Adherents to religions "evangelical" tend to deny this view more often than followers of other religions. Given the potential risks of inserting creationist approaches in school education, it is necessary a discussion of the possible impacts of this rejection of Darwin's thinking (which does not consider God as a participant in the evolutionary process), indicated here, in the teaching of evolution. This work was supported by FAPEMIG.
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A model for the joint economic design of X̄ and R control charts is developed. This model assumes that the process is subject to two assignable causes. One assignable cause shifts the process mean; the other shifts the process variance. The occurrence of the assignable cause of one kind does not block the occurrence of the assignable cause of another kind. Consequently, a second process parameter can go out-of-control after the first process parameter has gone out-of-control. A numerical study of the cost surface to the model considered has revealed that it is convex, at least in the interest region.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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Wood is a renewable material and has unique characteristics that stem from its orthotropic properties. The objective of this study was to develop and implement an informational Selection of Materials and Manufacturing Processes appropriate to the activity of Product Design - Woods. Composed of a Digital Information System, distributed, and an ordered collection of samples. The design of a product, carries with it the choice of material, and the choice of a manufacturing process. Information on materials and manufacturing processes are available with different content, media and interfaces. However, such information is not systematized so that they can be recovered, as the need for the designer, especially on wood. This set of methods is called the Selection of Materials and Manufacturing Processes. It is hoped through this study that the methodologies for SMPF are employed by product designers, architects and engineers in Brazil.
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Drawing an equivalence analogy between the subjects of style and the ornamentation, the study leans on Aloïs Riegl's theory in order to sketch an anthropological reflection for the appearance of the design and some of their respective confluences with the art. Enriched by the progresses that the psychology of the visual perception provided to the contemporary understanding for the artistic representation, and consequently of this historicity, breaks of the hypothesis that this appearance has given in a process naturally evolutionary, aiming at to supply an inherent human need.
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The Digital Age, with its new interactive and converging technologies, stimulates original forms of sociability, which are interconnected, intercommunicating and virtualized through hyperscreens. Another kind of interaction arises from the digitization and new speeds of contemporary communicative process. With the new order of knowledge, it is now possible to transgress the limits of physical space and linear time sequence, through the collective development of content through such telematics networks. Youth gives voice to a new type of user, or a social actor, whose thinking is connected to other communication habits, consolidating singular cultural standards, demanding new languages and skills. Here, we address the nature of this Design of new relations, interactions, behaviors and social systems that emerge in the so called Information Society.
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Although technological development has created several tools and techniques of graphic representation, we highlight here the importance of the manual drawing abilities for the design creative process. Freehand drawing is used to facilitate the development of projects and show them more quickly and efficiently, and is an essential technique for any designer, regardless is informational, product or fashion designer.
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Taking as a starting point the reflection on the ornament, is delineated an interpretative analysis of delimitation between art and design in the extent of the aesthetics. Presupposing the ornament as an elementary and universal form of the all aesthetics’ manifestations, trying to work, through recent contributions and in an unified way, concepts regarding the aesthetics in parallel with the phenomenon of the perception. The ornament as element previously “ordered” front to the organization need that the interpretation demands, it constitutes fertile philosophical instrument, for all the art forms and of design, which seeks to provide an aesthetic sensation. Returned to the thoughtful function, the ornament has as essential purpose to stimulate the aesthetic experimentation, capable to induce the perception to subtler states of conscience similar of to the ecstasy, where the spirit from whom contemplates, can live experiences of extreme freedom and intense pleasure. . Establishing semiotics foundations capable of evidencing a function anagogic-therapeutics in the action of conceiving and to meditating, alternately, an object with function strictly ornamental (aesthetics), also intending the reflection of moral stamp on the ornamental concept of the decency as conciliatory solution in the intersection between art and design, concerning the creativity of the formative process.