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RISS 인기검색어
- 검색키워드
- 저자 : Fiorelli, Edward A (검색결과 2 건)
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Cooperative vehicle control, feature tracking and ocean sampling
Fiorelli, Edward A Princeton University 2005 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
This dissertation concerns the development of a feedback control framework for coordinating multiple, sensor-equipped, autonomous vehicles into mobile sensing arrays to perform adaptive sampling of observed fields. The use of feedback is central; it maintains the array, i.e. regulates formation position, orientation, and shape, and directs the array to perform its sampling mission in response to measurements taken by each vehicle. Specifically, we address how to perform autonomous gradient tracking and feature detection in an unknown field such as temperature or salinity in the ocean. Artificial potentials and virtual bodies are used to coordinate the autonomous vehicles, modelled as point masses (with unit mass). The virtual bodies consist of linked, moving reference points called virtual leaders. Artificial potentials couple the dynamics of the vehicles and the virtual bodies. The dynamics of the virtual body are then prescribed allowing the virtual body, and thus the vehicle group, to perform maneuvers that include translation, rotation and contraction/expansion, while ensuring that the formation error remains bounded. This methodology is called the Virtual Body and Artificial Potential (VBAP) methodology. We then propose how to utilize these arrays to perform autonomous gradient climbing and front tracking in the presence of both correlated and uncorrelated noise. We implement various techniques for estimation of gradients (first-order and higher), including finite differencing, least squares error minimization, averaging, and Kalman filtering. Furthermore, we illustrate how the estimation error can be used to optimally choose the formation size. To complement our theoretical work, we present an account of sea trials performed with a fleet of autonomous underwater gliders in Monterey Bay during the Autonomous Ocean Sampling Network (AOSN) II project in August 2003. During these trials, Slocum autonomous underwater gliders were coordinated into triangle formations, and various orientation schemes and inter-vehicle spacing sequences were explored. The VBAP methodology, modified for implementation on Slocum underwater gliders, was utilized. Various operational issues such as speed constraints, external currents, communication constraints, asynchronous surfacings and intermittent feedback were addressed. The work contained in this thesis was conducted under the advisement of Naomi Ehrich Leonard at Princeton University.
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What movies show: Realism, perception and truth in film
Fiorelli, Lindsey University of Pennsylvania 2016 해외박사(DDOD)
소속기관이 구독 중이 아닌 경우 오후 4시부터 익일 오전 9시까지 원문보기가 가능합니다.
Film-viewing is a unique aesthetic experience, and it seems to possess a unique sort of tension. On the one hand, a film's story seems to just be there before us: we're directly presented with sights and sounds and can perceive the objects, people, and places depicted in the same sort of way we perceive things in the world. On the other hand, there's an important sort of constructedness in film. Film-viewers have to cognize what's represented by a film's perceptual prompts; we have to bring our awareness of convention to understand shot-transitions and montage; and we have to extrapolate from what's shown in order to pick up on what's implied by the shots we see. These two aspects---perceptual immediacy and constructedness---seem opposed. And theorists typically treat them as opposed, with cinematic realists focusing on film's perceptual content, semioticians focusing on how movies communicate, and narrative theorists focusing on how we cognize a film's fiction, and each of them engaging in those analyses independent of the others. In this dissertation, I argue for nuanced ways in which what we see and hear, what we know, and what we imagine interact throughout film-viewing. I argue that film's perceptual content and representational content entwine insofar as we perceive a film's fictional world. I argue that because movies show (in ways that other art forms, like novels, cannot), they have an epistemic directness---they present their fictional truths immediately. I argue that movies communicate, in a roughly Gricean way, and that they do so partly through showing---with their perceptual content helping imply certain fictional truths. My analyses pave the way for a full theory of film meaning that does not treat as separate different, intertwining layers of meaning. I use and apply concepts from philosophy of perception, philosophy of language, and epistemology in order to clarify what precisely goes on when we watch movies and to motivate ties between philosophy of film and other areas of philosophy.
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