Life history strategies of Calanus sinicus in the southern Yellow Sea in summer

Ecological and physiological features of the planktonic copepod Calanus sinicus in the southern Yellow Sea in summer were studied to reveal its life history strategy. From the coastal shallow waters to the central part of the southern Yellow Sea, a shift of the stage composition occurs from being dominated by the egg-nauplius stage to being dominated by the fifth copepodite (CV) stage. Most CVs reside in the Yellow Sea Cold Water Mass (YSCWM), where both temperature and food abundance are low. CVs in the YSCWM have longer body lengths, heavier body weights and higher carbon contents than those outside the YSCWM. Onboard incubations show that the development of CVs in the YSCWM is suspended. Energy conservation, development suspension and lack of diel vertical migration (DVM) behavior suggest a diapause status for the CVs in the YSCWM, although vertical distribution patterns indicate the CV individuals are not fully synchronous in physiology and development. This adaptive oversummering strategy would help C. sinicus to live through the warm and food-limited summer in the central part of the southern Yellow Sea; both low temperature and low food supply are necessary for CV to maintain the resting state in the YSCWM. Calanus sinicus exhibits different life history strategies in different regions of the southern Yellow Sea in summer.

Oceanic iron fertilization: one of strategies for sequestration atmospheric CO2

Carbon cycle is connected with the most important environmental issue of Global Change. As one of the major carbon reservoirs, oceans play an important part in the carbon cycle. In recent years, iron seems to give us a good news that oceanic iron fertilization could stimulate biological productivity as CO2 sink of human-produced CO2. Oceanic iron fertilization experiments have verified that adding iron into high nutrient low chlorophyll (HNLC) seawaters can increase phytoplankton production and export organic carbon, and hence increase carbon sink of anthropogenic CO2, to reduce global warming. In sixty days, the export organic carbon could reach 10 000 times for adding iron by model prediction and in situ experiment, i.e. the atmospheric CO2 uptake and inorganic carbon drawdown in upper seawaters also have the same magnitude. Therefore, oceanic iron fertilization is one of the strategies for increasing carbon sink of anthropogenic CO2. The paper is focused on the iron fertilization, especially in situ ocean iron experiments in order that the future research is more efficient.

多对一供应链零售商驱动型收入共享契约下的生产决策

针对多对一供应链结构中零售商具有较强议价能力的特点,建立了零售商为主方、制造商为从方的Stackelberg主从对策模型;给出在零售商提供契约条款的对称博弈中,制造商生产产品策略存在唯一最优解的证明;分析了零售商契约参数变量的决策问题;讨论了收入共享契约下分散供应链同集中供应链决策的关系.通过仿真实验,分析验证了契约参数及产品的可替代性对供应链绩效的影响。

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.

Strategies for surgically assisted rapid maxillary expansion according to the region of transverse maxillary deficiency

This study evaluated different techniques for surgically assisted rapid maxillary expansion (SARME) according to the type of transverse maxillary deficiency using computed tomography (CT). Six adult patients with bilateral transverse maxillary deficiencies underwent SARME. the patients were equally divided into three groups: Group I, maxillary atresia in both the anterior and posterior regions; Group II, greater maxillary atresia in the anterior region; and Group ill, increased maxillary atresia in the posterior region. in Group I, a subtotal Le Fort I osteotomy was used. in Group II, a subtotal Le Fort I osteotomy was used without pterygomaxillary suture disjunction. in Group III, a subtotal Le Fort I osteotomy was used with pterygomaxillary suture disjunction and fixation of the anterior nasal spine with steel wire. the midpalatal suture opening was evaluated preoperatively and immediately after the activation period using CT. for Group I, the opening occurred parallel to midpalatal suture; for Group II, the opening comprised a V-shape with a vertex on the posterior nasal spine; and for Group III, the opening comprised a V-shape with a vertex at the anterior nasal spine. the conclusion was that the SARME technique should be individualized according to the type of transverse maxillary deficiency.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Probabilistic abductive computation of evidence collection strategies in crime investigation

J. Keppens, Q. Shen and B. Schafer. Probabilistic abductive computation of evidence collection strategies in crime investigation. Proceedings of the 10th International Conference on Artificial Intelligence and Law, pages 215-225.

Debugging: the good, the bad, and the quirky -- a qualitative analysis of novices' strategies

Murphy, L., Lewandowski, G., McCauley, R., Simon, B., Thomas, L., and Zander, C. 2008. Debugging: the good, the bad, and the quirky -- a qualitative analysis of novices' strategies. SIGCSE Bull. 40, 1 (Feb. 2008), 163-167

Strategies that students use to trace code: an analysis based in grounded theory

Fitzgerald, S., Simon, B., and Thomas, L. 2005. Strategies that students use to trace code: an analysis based in grounded theory. In Proceedings of the First international Workshop on Computing Education Research (Seattle, WA, USA, October 01 - 02, 2005). ICER '05. ACM, New York, NY, 69-80

The paradox of using tacit and explicit knowledge: Strategies to face dilemnas

Jasimuddin, Sajjad, Klein, Jonathan, and Connell, Con, 'The paradox of using tacit and explicit knowledge: Strategies to face dilemnas', Management Decision (2005) 43(1) pp.102-112 RAE2008

Project Sanitarium: gaming TB: a serious game for a serious problem

Collaborative projects between Industry and Academia provide excellent opportunities for learning. Throughout the academic year 2014-2015 undergraduates from the School of Arts, Media and Computer Games at Abertay University worked with academics from the Infection Group at the University of St Andrews and industry partners Microsoft and DeltaDNA. The result was a serious game prototype that utilized game design techniques and technology to demystify and educate players about the diagnosis and treatment of one of the world's oldest and deadliest diseases, Tuberculosis (TB). Project Sanitarium is a game incorporating a mathematical model that is based on data from real-world drug trials. This paper discusses the project design and development, demonstrating how the project builds on the successful collaborative pedagogical model developed by academic staff at Abertay University. The aim of the model is to provide undergraduates with workplace simulation, wider industry collaboration and access to academic expertise to solve challenging and complex problems.

The game jam movement: disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art.

An impression of home: player nostalgia and the impulse to explore game worlds

This is the accepted version of the paper following peer review.

Demokratyzacja kultury współczesnej

Wydział Historyczny: Instytut Etnologii i Antropologii Kulturowej