Models: the fourth dimension of computer science

Models are a universal instrument in science, technology, and daily life. They function as instruments in almost every scenario. Any human activity can be (and is) supported by models, e.g. reason, explain, design, act, predict, explore, communicate, collaborate, interact, orient, direct, guide, socialises, perceive, reflect, develop, making sense, teach, learn, imagine, etc. This universal suitability is also the basis for a wide use of models and modelling in Computer Science and Engineering. We claim that models form the fourth dimension in Computer Science. This paper sketches and systematises the main ingredients of the study model and modelling.

Dinamika Pergeseran Identitas Kramadangsa Menuju Identitas Manusia Tanpa Ciri

The character of Ki Ageng Suryomentaram's teachings is considered unique because it is full of local wisdom values. His thinking departs from the results of internalization as well as behavior in Javanese culture which is shown in the taste at the highest level of taste that exists in humans, namely Kawruh Jiwa. He equates the Soul with Rasa, in which all inner movements include feelings, ideas, and desires. In this teaching, to reach the point of Kawruh Jiwa, one must pass the fourth dimension approach with four dimensions; the note taker dimension, the emotional dimension, the kradamangsa identity dimension, and the featureless identity dimension.This study specifically discusses these four dimensions as steps taken to arrive at the point of Raos psychology. Given that raos becomes social integration that can affect the degree or quality of interaction in society. Besides that, it also discusses the differences in the concepts of Ki Ajeng Suryomentaram's teachings with concepts from the West to determine the specification of thinking centered between taste and ratio. West places more emphasis on reason/rationality, while Suryomentaram focuses more on feeling or spirituality. Karakter ajaran Ki Ageng Suryomentaram dianggap unik karena sarat dengan nilai-nilai kearifan lokal. Pemikirannya berangkat dari hasil internalisasi sekaligus laku dalam budaya jawa yang ditunjukkan dalam rasa pada level tertinggi rasa yang ada dalam diri manusia, yaitu Kawruh Jiwa. Ia menyamakan Jiwa dengan Rasa, yang mana segala gerak dalam batin meliputi perasaan, gagasan, dan keinginan. Dalam ajaran tersebut, untuk mencapai pada titik Kawuruh Jiwa harus melewati pendekatan ukuran keempat dengan empat dimensi; dimensi juru catat, dimensi emosi, dimensi identitas kradamangsa, dan dimensi identitas tanpa ciri. Kajian ini secara spesifik membahas empat dimensi tersebut sebagai langkah yang ditempuh untuk sampai pada titik psikologi raos. Mengingat bahwa raos menjadi integrasi sosial yang dapat mempenagaruhi derajat atau kualitas interaksi dalam masyarakat. Selain itu juga dibahas tentang perbedaan konsep ajaran Ki Ajeng Suryomentaram dengan konsep dari Barat untuk mengetahui spesifikasi pemikiran yang berpusat antara rasa dan rasio. Barat lebih menekankan pada akal/rasionalitas, sedangkan Suryomentaram lebih kepada rasa atau spiritualitas.

Printing People. Heterogeneous Multi-Property Printing of Humanoid Anatomics

<p>Film and television (TV) have been a way to view unthinkable worlds for many years. Physical props are a fundamental part of many films as they help to portray the story in the real world, which results in a more believable experience for the audience. The technology used in the production of props and creatures has evolved with the changes in the manufacturing process to allow for more computer-controlled designs. This begs the question; what could multi-property, 3D/4D printing bring to the way the film prop manufacturing industry creates physical props? Printing in the fourth dimension (dynamic) is a relatively new concept and is being researched by leading 3D printing companies. This area of study has yet to apply the four-dimensional (4D) capabilities of multi-property printing to the creation of heterogeneous humanoid anatomic’s. Heterogeneous 3D printing is the combination of multiple elements and material qualities in one print, which is possible by using the Stratasys J750 Polyjet printer. This printer allows for both hard and soft components to be incorporated into one design by blending the full-colour hard Vero material with soft, translucent Agilus material. The final humanoid objects have varying material hardness throughout the design, representing the different densities and materiality that is found in the finger joint. By taking the basic parameters of a section of human anatomy, the ability to create a creature by merely changing the size, colour, or the number of joints is achievable. With this technology, the ability to rapidly produce and easily edited final on-screen props is possible.</p>

Printing People. Heterogeneous Multi-Property Printing of Humanoid Anatomics

<p>Film and television (TV) have been a way to view unthinkable worlds for many years. Physical props are a fundamental part of many films as they help to portray the story in the real world, which results in a more believable experience for the audience. The technology used in the production of props and creatures has evolved with the changes in the manufacturing process to allow for more computer-controlled designs. This begs the question; what could multi-property, 3D/4D printing bring to the way the film prop manufacturing industry creates physical props? Printing in the fourth dimension (dynamic) is a relatively new concept and is being researched by leading 3D printing companies. This area of study has yet to apply the four-dimensional (4D) capabilities of multi-property printing to the creation of heterogeneous humanoid anatomic’s. Heterogeneous 3D printing is the combination of multiple elements and material qualities in one print, which is possible by using the Stratasys J750 Polyjet printer. This printer allows for both hard and soft components to be incorporated into one design by blending the full-colour hard Vero material with soft, translucent Agilus material. The final humanoid objects have varying material hardness throughout the design, representing the different densities and materiality that is found in the finger joint. By taking the basic parameters of a section of human anatomy, the ability to create a creature by merely changing the size, colour, or the number of joints is achievable. With this technology, the ability to rapidly produce and easily edited final on-screen props is possible.</p>

Kazimir Malevich: Approaching The New System

This dissertation examines Kazimir Malevich’s art and writing with a view to establishing that they combine a strain of strict methodological reductionism with an equally well-marked esotericism. It strives to prove that although this feature of Malevich’s work was common among vanguard artists and thinkers, there are also highly idiosyncratic qualities in the way Malevich reconciled these two threads. An ensuing goal of this work is to propose how to complete an unfinished 1927 film script by Kazimir Malevich titled “Artistic and Scientific Film—Painting and Architectural Concerns—Approaching the New Plastic Architectural System.” <div>The question regarding the confluence of science and mysticism in Malevich’s work— the primary concern of this dissertation—requires tracing in the artist’s art and writings the presence of ideas belonging to these worldviews traditionally considered to be antithetical to each other. This dissertation establishes Malevich’s relationship with mysticism and strains of thought that resemble scientific content and approach. Among the latter, this work investigates Malevich’s interest in the geometry of the fourth dimension, draws parallels between the artist’s concern for visualizing infinity and the problems of set theory, and examines the role of imaginary numbers in Malevich’s worldview. To complete the analysis of Malevich’s exploration of the concept of space prominent in the aforementioned mathematical themes, this dissertation examines the artist’s interest in investigating the space of the cosmos. It also establishes that Malevich’s ideas were not only influenced by the scientific advancements in electromagnetism but also by the theories of thermodynamics, which together with the former relay a view of the world where all processes, organic and inorganic, are understood as the product of the transformation of energy. In Cubism and Futurism: Spiritual Machines and the Cinematic Effect, R. Bruce Elder draws attention to the early twentieth-century thinkers’ view of cinema as an electromagnetic machine. This dissertation examines Malevich’s relationship with the cinematic art and its reception in Russia during Malevich’s most productive years. This work concludes with having satisfied its larger objective: to envision a possible scenario of how Malevich’s unfinished script could unfold. It contains the copy of the original script, its proposed finale, and an essay that outlines how my investigation of Malevich’s intellectual landscape informed the decisions involved in inferring the concluding shot sequences of the artist’s only cinematic work.<br></div>

Kazimir Malevich: Approaching The New System

This dissertation examines Kazimir Malevich’s art and writing with a view to establishing that they combine a strain of strict methodological reductionism with an equally well-marked esotericism. It strives to prove that although this feature of Malevich’s work was common among vanguard artists and thinkers, there are also highly idiosyncratic qualities in the way Malevich reconciled these two threads. An ensuing goal of this work is to propose how to complete an unfinished 1927 film script by Kazimir Malevich titled “Artistic and Scientific Film—Painting and Architectural Concerns—Approaching the New Plastic Architectural System.” <div>The question regarding the confluence of science and mysticism in Malevich’s work— the primary concern of this dissertation—requires tracing in the artist’s art and writings the presence of ideas belonging to these worldviews traditionally considered to be antithetical to each other. This dissertation establishes Malevich’s relationship with mysticism and strains of thought that resemble scientific content and approach. Among the latter, this work investigates Malevich’s interest in the geometry of the fourth dimension, draws parallels between the artist’s concern for visualizing infinity and the problems of set theory, and examines the role of imaginary numbers in Malevich’s worldview. To complete the analysis of Malevich’s exploration of the concept of space prominent in the aforementioned mathematical themes, this dissertation examines the artist’s interest in investigating the space of the cosmos. It also establishes that Malevich’s ideas were not only influenced by the scientific advancements in electromagnetism but also by the theories of thermodynamics, which together with the former relay a view of the world where all processes, organic and inorganic, are understood as the product of the transformation of energy. In Cubism and Futurism: Spiritual Machines and the Cinematic Effect, R. Bruce Elder draws attention to the early twentieth-century thinkers’ view of cinema as an electromagnetic machine. This dissertation examines Malevich’s relationship with the cinematic art and its reception in Russia during Malevich’s most productive years. This work concludes with having satisfied its larger objective: to envision a possible scenario of how Malevich’s unfinished script could unfold. It contains the copy of the original script, its proposed finale, and an essay that outlines how my investigation of Malevich’s intellectual landscape informed the decisions involved in inferring the concluding shot sequences of the artist’s only cinematic work.<br></div>

The Comparative Estimation of Primary Students’ Programming Outcomes Based on Traditional and Distance Out-of-School Extracurricular Informatics Education in Electronics Courses during the Challenging COVID-19 Period

The authors decided to investigate the impact of the lockdown period and the resulting limitations in informatics education, especially programming, in out-of-school electronics courses using traditional and distance learning modes in primary school COVID-19 pandemic settings. Two extracurricular courses were held successively; the first electronics course was performed in a traditional out-of-school learning mode using Arduino kits, while the other was held using the TinkerCad circuits virtual environment in distance learning mode. A structured questionnaire was administered to students to map their knowledge of programming. The questionnaire consists of three emotional dimensions: enjoyment, satisfaction and motivation. The fourth dimension was dedicated to the students’ programming outcomes. Three emotional dimensions were addressed to primary school students, while the fourth dimension was addressed to the tutors’ observations toward the students’ programming outcomes. The obtained results revealed that learning modes have no significant impact on students perceiving the programming issues. However, three emotional dimensions revealed a significant difference in the students’ enjoyment, satisfaction and motivation in favor of the traditional learning mode. Our findings are of particular interest in light of possible crisis-prompted distance education in the future but can also serve to inform government institutions and policymakers seeking to develop effective concepts for successful distance learning.

DICTIONARY TYPOLOGY OF VALERY V. MORKOVKIN IN THE ASPECT OF MODERN LEXICOGRAPHY

Статья преследует цель дополнения и расширения словарной типологии В.В. Морковкина с учетом активных процессов в современной лексикографии. В ней рассматриваются словари, появившиеся за последние 30 лет, и предпринимается попытка органично вписать их в намеченную ученым модель лексикографического пространства. Автор вводит четвертое измерение классификации («кто»-основание) и предлагает ряд новых параметров для оценки словарных продуктов (природа рассматриваемого в словаре объекта, метаязык словарного описания, стиль подачи информации, носитель информации, исходные материалы и др.). Обсуждаемые в статье противопоставления словарей (бумажные – электронные, картотечные – корпусные, вербальные – поликодовые, авторские – волонтерские – партнерские и мн. др.) развивают идеи В.В. Морковкина и способствуют их актуализации. The article aims to supplement and expand the dictionary typology of V.V. Morkovkin, taking into account the active processes in the modern lexicography. There considered dictionaries appeared over the past 30 years, and attempted to organically fit them into the model of lexicographic space planned by the scientist. The author introduces the fourth dimension of classification (“who”-the basis) and offers several new parameters for evaluating dictionary products (the nature of the object considered in the dictionary, the metalanguage of the dictionary description, the style of information presentation, the information carrier, source materials, etc.). The contrasts of dictionaries discussed in the article (paper – electronic, card – case, verbal – polycode, author's – volunteer – partner, etc.) develop ideas of V.V. Morkovkin and contribute to their actualization.

The geometry of artistic space in the works by Valentin Louis Georges Eugène Marcel Proust

The article considers the peculiarities of the artistic system in the works by the French writer of the turn of the 19th–20th centuries, VLGE Marcel Proust. The foundations of his aesthetic views, which are manifested primarily at the level of the structural organisation in the novel cycle “In Search of Lost Timeˮ are studied. The specificity of the narrative, where the main role is played by involuntary memory, allows us to speak about the special geometry of the artistic space in this work. It happens due to Proust's rejection of “plane psychologyˮ in favour of “psychology in time”. It is shown how on such a basis, thanks to the mnemonic mechanism, a complex connection of spontaneously arising spatial fragments with the temporal moments of existence arises and the chronotopic structure of the novel, built on the principle of relativity, is constructed where time becomes, in fact, the fourth dimension of space.

Archaeology of a Quantification Device: Quantification, Policies and Politics in French Higher Education

This paper follows a quantification device – French higher education performance indicators – from its birth through its construction to its uses. It differentiates three levels of analysis. First, the bedrock level: a calculative device is grounded in a founding vision. Second, the intermediate level: a quantification device contains a conception of the “raisons d’être” of the entity that is quantified. Third, the level of the micro-conventions of calculation which can give a particular orientation. However, the device is part of a larger configuration which constitutes the fourth dimension of our analytical grid. Levels and context are the fruit of socio-historical processes which can, but must not, lead to maximum coherence. Here, the device is not a very integrated assemblage, which explains its limited effects.