Giordano Bruno, the June 1975 Meteoroid Storm, Encke, and Other Taurid Complex Objects

Icarus ◽  
1993 ◽  
Vol 104 (2) ◽  
pp. 280-290 ◽  
Author(s):  
Jack B. Hartung
1995 ◽  
Vol 68 (1-3) ◽  
pp. 155-164 ◽  
Author(s):  
D. J. Asher ◽  
D. I. Steel

2016 ◽  
Vol 11 (2) ◽  
pp. 179-205 ◽  
Author(s):  
Cliff Mak

This piece explores the multitude of animal figures in Joyce, especially with regards to his engagement with the classical moral mode of the beast fable. Drawing from a number of texts throughout Joyce's corpus – from his early essays on Dante and Defoe to the fables in Finnegans Wake – I show how a young Joyce's poetics of boredom (as derived from Giordano Bruno) informs his later work through the figure of the animal. Granting his animal figures a certain amount of agency, Joyce uses them to subvert the didacticism of fables, the colonial instrumentalization associated with this didacticism, and even the cultural authority of modernism itself, his own work included.


Author(s):  
D. N. Radnaev ◽  
Yu. А. Sergeev ◽  
А. А. Abiduev ◽  
S. V. Petunov

Currently, agricultural science and practice has a large amount of experimental data that need to be taken into account in the development of new technological processes and working bodies. Therefore, there is a need to design technical processes in order to identify their effectiveness. In this regard, the use of methods of synthesis of technological processes based on the characteristics of tillage, seeding and production system of the economy, in which it is necessary to implement the projected process. In the General statement of the problem, the design of technological processes is one of the complex problems with the following characteristic feature: lack of knowledge about the methods of designing technological processes, suitable for system - structural modeling and algorithmization of design processes. To overcome this incompleteness, a systematic approach is needed. The system approach proceeds from the fact that the specificity of complex objects and processes is not limited to the features of its constituent parts and elements, but lies in the nature of relationships and relationships between them. In this paper, the design methodology is based on the formulated fundamental assumptions and principles of the whole system of more specific statements, revealing the structure and content of design operations, the synthesis of the choice of solutions. The principles of technological compatibility and emergence suitable for system-structural analysis of complex technical means and technological processes, consisting of statements having a hierarchical structure, where the degree of detail of the goals from level to level increases, and the approval of the last level determines the direction of the search for the optimal solution to the problem.


2020 ◽  
Author(s):  
Anna Nowakowska ◽  
Alasdair D F Clarke ◽  
Jessica Christie ◽  
Josephine Reuther ◽  
Amelia R. Hunt

We measured the efficiency of 30 participants as they searched through simple line segment stimuli and through a set of complex icons. We observed a dramatic shift from highly variable, and mostly inefficient, strategies with the line segments, to uniformly efficient search behaviour with the icons. These results demonstrate that changing what may initially appear to be irrelevant, surface-level details of the task can lead to large changes in measured behaviour, and that visual primitives are not always representative of more complex objects.


2019 ◽  
Author(s):  
Michiru Makuuchi

Symbolic behaviours such as language, music, drawing, dance, etc. are unique to humans and are found universally in every culture on earth1. These behaviours operate in different cognitive domains, but they are commonly characterised as linear sequences of symbols2,3. One of the most prominent features of language is hierarchical structure4, which is also found in music5,6 and mathematics7. Current research attempts to address whether hierarchical structure exists in drawing. When we draw complex objects, such as a face, we draw part by part in a hierarchical manner guided by visual semantic knowledge8. More specifically, we predicted how hierarchical structure emerges in drawing as follows. Although the drawing order of the constituent parts composing the target object is different amongst individuals, some parts will be drawn in succession consistently, thereby forming chunks. These chunks of parts would then be further integrated with other chunks into superordinate chunks, while showing differential affinity amongst chunks. The integration of chunks to an even higher chunk level repeats until finally reaching the full object. We analysed the order of drawing strokes of twenty-two complex objects by twenty-five young healthy adult participants with a cluster analysis9 and demonstrated reasonable hierarchical structures. The results suggest that drawing involves a linear production of symbols with a hierarchical structure. From an evolutionary point of view, we argue that ancient engravings and paintings manifest Homo sapiens’ capability for hierarchical symbolic cognition.


XVII-XVIII ◽  
2004 ◽  
Vol 58 (1) ◽  
pp. 43-55
Author(s):  
Christine Sukic
Keyword(s):  

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