Two Alternatives for Mathematical Expression of Triangular Strands in Six Strand Ropes

2014 ◽  
Vol 683 ◽  
pp. 66-70
Author(s):  
Eva Stanová ◽  
Gabriel Fedorko
Keyword(s):  
Computer Model ◽  
Mathematical Expression ◽  
Wire Axis ◽  
The Core ◽  
First Case ◽  
The Creation ◽  
Two Alternatives ◽  
Mathematical Interpretation

The creation of computer model of triangular rope strand needs mathematical interpretation of individual wires. It can be based on different assumptions in its derivation. The paper presents two options. In the first case, it is known the number of wires and the size of their diameters in the first layer of the strand, in the second case it is known number of wires and the diameter wires forming the core of strand. The parametric equations of wire axis are derived for both cases. The geometrical models of the strands are generated on the base of these equations.

Systematicity and Normative Justification

2017 ◽  
Author(s):  
Kevin Thompson
Keyword(s):  
Political Philosophy ◽  
Unique Form ◽  
The Core ◽  
The Creation ◽  
Normative Justification ◽  
The Way

This chapter examines systematicity as a form of normative justification. Thompson’s contention is that the Hegelian commitment to fundamental presuppositionlessness and hence to methodological immanence, from which his distinctive conception of systematicity flows, is at the core of the unique form of normative justification that he employs in his political philosophy and that this is the only form of such justification that can successfully meet the skeptic’s challenge. Central to Thompson’s account is the distinction between systematicity and representation and the way in which this frames Hegel’s relationship to the traditional forms of justification and the creation of his own distinctive kind of normative argumentation.

PERANCANGAN IDENTITAS VISUAL REBRANDING CITRA PERUSAHAAN CEMARA CERAMICS (DESIGN OF CEMARA CERAMICS VISUAL REBRANDING IDENTITY)

2021 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Anak Agung Ngurah Gede Marhendra ◽  
Agung Eko Budiwaspada ◽  
Sangayu Ketut Laksemi Nilotama
Keyword(s):  
Design Thinking ◽  
Corporate Identity ◽  
Corporate Image ◽  
Visual Design ◽  
Stage Design ◽  
The Core ◽  
Visual Identity ◽  
The Creation ◽  
Strategy Design ◽  
Core Problem

<p>Abstract Design of Cemara Ceramics Visual Rebranding Identity aims to produce a concept strategy and visual rebranding of the Cemara Ceramics company and produce a Cemara Ceramics rebranding visual identity design in order to encourage the creation of a new identity image. The method in this design uses a 5-stage Design Thinking approach, namely Empathize, Define, Ideate, Prototype and Test. The result achieved is the design of the new Cemara Ceramics corporate identity. With the use of the design thinking method in this research, various problems related to the company image of Cemara Ceramics can be found. The core problem obtained is how to design a strategy and concept of visual identity rebranding to encourage the creation of a new corporate image of Cemara Ceramics.</p><p>Keywords: visual rebranding identity, concept strategy, design thinking</p><p>Abstrak Perancangan Identitas Visual Rebranding Citra Perusahaan Cemara Ceramics ini bertujuan untuk menghasilkan strategi konsep dan visual rebranding perusahaan Cemara Ceramics serta menghasilkan rancangan identitas visual rebranding Cemara Ceramics dalam rangka mendorong terciptanya citra identitas yang baru. Metode dalam perancangan ini menggunakan pendekatan 5 tahapan Design Thinking yaitu Empathize, Define, Ideate, Prototype dan Test. Hasil yang dicapai yaitu rancangan corporate identity Cemara Ceramics yang baru. Dengan adanya penggunaan metode design thinking pada penelitian ini dapat menemukan berbagai permasalahan terkait citra perusahaan Cemara Ceramics. Permasalahan inti yang didapat yaitu mengenai bagaimana merancang strategi dan konsep identitas visual rebranding untuk mendorong terciptanya citra baru perusahaan Cemara Ceramics.</p><p>Kata kunci: identitas visual rebranding, strategi konsep dan visual, design thinking</p>

scholarly journals Creativity as a Methodological dimension of Social Research between Quantity and Quality

2019 ◽  
Vol 9 (1) ◽  
pp. e049
Author(s):  
Francesco Sacchetti
Keyword(s):  
Social Research ◽  
Quantitative Approach ◽  
Creative Processes ◽  
Methodological Choices ◽  
Personal Involvement ◽  
Qualitative Approaches ◽  
First Case ◽  
Qualitative Work ◽  
The Creation ◽  
A Performance

In this work I address creativity in the process of social sciences research, comparing quantitative and qualitative approaches. In discussing creativity I go back to Chomsky and his distinction between rule-governed and rule-changing creativity. In my analysis I suggest that the quantitative approach is characterized by rule-governed creativity, the qualitative one by rule-changing creativity: these are two models of creativity that the Chomskian vision links to a set of rules. Thus in the first case the creation of the tools by which the researcher collects information is submitted to a set of rules related to substantial and procedural competences. In the second case the creative phase does not have a place in the creation of a tool, but rather in a performance. The idea of performance as a constitutive part in qualitative research is analysed on a substantial basis, revealing the implications of distinct creative processes under different methodological choices. Whilst a quantitative approach requires using procedural and substantial competences, I suggest that in a qualitative enquiry the researcher’s fieldwork is considered as a ‘performance’ because of its adaptive character. The researcher is constantly confronted with unforeseen situations, surrounded by an unknown environment. Also, this use of the notion of ‘performance’ comprehends both elements of the process as well as of the outcome of fieldwork, as it recalls peculiar characteristics of qualitative work: action and interaction, personal involvement and, above all, orientation to a purpose (in this context, the teleological purpose of knowledge production).

The design(ing) of language

2020 ◽  
pp. 69-85
Author(s):  
Grant Goodall
Keyword(s):  
Case Studies ◽  
Inflectional Morphology ◽  
Human Language ◽  
The Third ◽  
First Case ◽  
Design Property ◽  
The Creation ◽  
John Wilkins ◽  
Fundamental Design

Courses on invented languages can do much more than just introduce students to linguistics. Through three case studies, it is shown that as students learn how to design a language, they also learn about the design of human language in a way that is unlikely to occur in other courses. The first case study involves the creation of a lexicon, in relation to John Wilkins’ invented language of 1668 and to Saussurean arbitrariness, commonly regarded as a fundamental design property of human language. The second case study concerns phonemic inventories. By designing their own from scratch, students see the competing pressures that phonemic inventories must satisfy in all languages. The third case study concerns inflectional morphology and the pressures that determine the form of particular morphemes. All of these case studies are accessible to students and help them engage with important aspects of the design properties of human language.

Strategic Capital Capacity and Capability Management of IS/IT

2009 ◽  
pp. 230-249
Author(s):  
Teay Shawyun
Keyword(s):  
Traditional Approach ◽  
Capabilities Approach ◽  
Capacity Management ◽  
Successful Implementation ◽  
Implementation Model ◽  
The Core ◽  
Organizational Issues ◽  
It Implementation ◽  
Management Of Technology ◽  
The Creation

As IS/IT are technology enablers in the creation and delivery of the value, it is contended that all the core processes enabled by its technology should be aligned through the “ways and means” and the “what and how” value is added through the IT enabled processes. The management and implementation of the IT is dependant on the capacity and capability of the firm, and these are human and organizational based, that ultimately defines the firm’s competency affecting successful implementation and utilization of the IS/IT. This chapter proposes a “capacity and capability” model based on the management of technology approach (the management of its Technoware, Humanware, Inforware and Orgaware) and its technology capabilities approach to manage its human, information and organization capitals critical to the successful IS/IT implementation and utilization. The “capacity and capability” model is the base of the integrated strategic capability driven implementation model that is contended to address the key implementation issues in a more integrated and comprehensive way. The capability and capacity management of the IS/IT is contended to better address the utilization success based on the inter-twined THIO that addresses the human and organizational issues as compared to the traditional approach of having the MIS resources.

scholarly journals Professionalization of a Nonstate Actor: A Case Study of the Provisional IRA

2017 ◽  
Vol 45 (2) ◽  
pp. 349-367 ◽  
Author(s):  
Patrick Finnegan
Keyword(s):  
The State ◽  
Nonstate Actors ◽  
Irish Republican Army ◽  
The Troubles ◽  
The Core ◽  
Nonstate Actor ◽  
The Creation

Can nonstate militants professionalize? That is the core question of this piece. Discussions of professionalism have spread to the state military from civilian professions such as education, medicine, and law. This piece examines whether nonstate actors exhibit the same fundamental processes found within these state-based organizations. These fundamentals are the creation of a recognized internal ethos, which acts as a collective standard for those involved. A commitment to expertise and the punishment of those who do not reach these collective expectations reinforce this ethos. To answer this question, this piece examines the development of the Provisional Irish Republican Army (PIRA) during the Troubles. It highlights consistencies and inconsistencies with traditional forces and argues that groups like the PIRA can professionalize and increase their effectiveness in doing so. This widens the field of professionalism studies and provides an additional lens through which to examine nonstate groups.

scholarly journals CORES OF SYMMETRIC GRAPHS

2008 ◽  
Vol 85 (2) ◽  
pp. 145-154 ◽  
Author(s):  
PETER J. CAMERON ◽  
PRISCILA A. KAZANIDIS
Keyword(s):  
Semigroup Theory ◽  
Finite Geometry ◽  
Transitive Graph ◽  
Induced Subgraph ◽  
The Core ◽  
Spanning Subgraph ◽  
Vertex Transitive ◽  
Edge Transitive ◽  
Vertex Transitive Graph ◽  
Two Alternatives

AbstractThe core of a graph Γ is the smallest graph Δ that is homomorphically equivalent to Γ (that is, there exist homomorphisms in both directions). The core of Γ is unique up to isomorphism and is an induced subgraph of Γ. We give a construction in some sense dual to the core. The hull of a graph Γ is a graph containing Γ as a spanning subgraph, admitting all the endomorphisms of Γ, and having as core a complete graph of the same order as the core of Γ. This construction is related to the notion of a synchronizing permutation group, which arises in semigroup theory; we provide some more insight by characterizing these permutation groups in terms of graphs. It is known that the core of a vertex-transitive graph is vertex-transitive. In some cases we can make stronger statements: for example, if Γ is a non-edge-transitive graph, we show that either the core of Γ is complete, or Γ is its own core. Rank-three graphs are non-edge-transitive. We examine some families of these to decide which of the two alternatives for the core actually holds. We will see that this question is very difficult, being equivalent in some cases to unsolved questions in finite geometry (for example, about spreads, ovoids and partitions into ovoids in polar spaces).

How Jazz Musicians Improvise

2002 ◽  
Vol 19 (3) ◽  
pp. 415-442 ◽  
Author(s):  
P. N. Johnson-Laird
Keyword(s):  
Working Memory ◽  
Real Time ◽  
Division Of Labor ◽  
Computer Model ◽  
Jazz Improvisation ◽  
Computational Power ◽  
Computational Load ◽  
Chord Sequence ◽  
The Creation ◽  
Intermediate Results

This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.

On the determination of the size of the Earth’s core from observations of the geomagnetic secular variation

1981 ◽  
Vol 374 (1756) ◽  
pp. 15-33 ◽  
Keyword(s):  
Magnetic Field ◽  
Secular Variation ◽  
Magnetic Data ◽  
Time Interval ◽  
Perfect Conductor ◽  
Geomagnetic Secular Variation ◽  
The Core ◽  
First Case ◽  
Fractional Error ◽  
The Magnetic Field

When the magnetic field of a planet is due to self-exciting hydromagnetic dynamo action in an electrically conducting fluid core surrounded by a poorly-conducting ‘mantle', a recently proposed method (Hide 1978,1979) can in principle be used to find the radius r c of the core from determinations of secular changes in the magnetic field B in the accessible region above the surface of the planet, mean radius r s , with a fractional error in r c of the order of, but somewhat larger than, the reciprocal of the magnetic Reynolds number of the core. It will be possible in due course to apply the method to Jupiter and other planets if and when magnetic measurements of sufficient accuracy and detail become available, and a preliminary analysis of Jovian data (Hide & Malin 1979) has already given encouraging results. The ‘magnetic radius’ ̄r̄ c of the Earth’s molten iron core has been calculated by using one of the best secular variation models available (which is based on magnetic data for the period 1955-75), and compared with the ‘seismological’ value of the mean core radius, r c = 3486 ± 5 km. Physically plausible values of r̄ c are obtained when terms beyond the centred dipole ( n = 1) and quadrupole ( n = 2) in the series expansion in spherical harmonics of degree n = 1,..., ^ n ,..., n * are included in the analysis (where 2 ≼ ^ n ≼ n *≼ ∞). Typical values of the fractional error ( r̄ c - r c ) / r c amount to between 0.10 and 0.15. Somewhat surprisingly, this error apparently depends significantly on the value of the small time interval considered; the error of 2% found in the first case considered, for which ^ n — n * = 8 and for the time interval 1965-75, is untypically low. These results provide observational support for theoretical models of the geomagnetic secular variation that treat the core as an almost perfect conductor to a first approximation except within a boundary layer of typical thickness much less than 1 km at the core-mantle interface.

scholarly journals Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film

2014 ◽  
Vol 2 (1) ◽  
pp. 76-95
Author(s):  
Martin Oja
Keyword(s):  
Film Studies ◽  
Theoretical Background ◽  
External Information ◽  
Art Cinema ◽  
The Core ◽  
The Creation ◽  
Art Film ◽  
Creating Meaning ◽  
Core Problem

Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, although not always a major factor in the creation of subjectivity, accompanies the core problem both directly and metaphorically: what happens to the viewer when external information is absent? I will look at the subjectivity- inducing devices in the films of two Estonian directors, Sulev Keedus and Veiko Õunpuu. For the theoretical background, I rely mostly on Torben Grodal’s idea about the subjective mode as a main characteristic of art film, and the disruption of character simulation as the basis for the film viewer’s subjectivity.

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