PDF Archive: PDF Search

RobotiMobili (2) 100%

Obtaining the desired trajectory The first object of the Mobile Robot Simulator Agenda • • • • • • • The big picture Searching A* Algorithm Using the A* for trajectory planning Finishing the trajectory Case study Matlab program THE BIG PICTURE NAVIGATION Trajectory Comparator Controller Filter Sensor LOCALISATION Car Model

https://www.pdf-archive.com/2018/05/11/robotimobili-2/

11/05/2018 www.pdf-archive.com

pepsi-arnell-021109 95%

BREAKING THE CODE FOR INNOVATION From Convention to Innovation BREATHTAKING Trajectory of Innovation A.

https://www.pdf-archive.com/2016/01/24/pepsi-arnell-021109/

24/01/2016 www.pdf-archive.com

Cosmic inflation and hidden thermodynamics 94%

From [1], we conclude the maximum consumption of information happens on the trajectory of least action.

https://www.pdf-archive.com/2016/10/12/cosmic-inflation-and-hidden-thermodynamics/

12/10/2016 www.pdf-archive.com

output 92%

New Shepard's trajectory brings it up and back down with only two burns:

https://www.pdf-archive.com/2015/12/23/output/

23/12/2015 www.pdf-archive.com

CAAL 2018 Handout Ashley R Moore 92%

• When students join an unfamiliar class (inbound trajectory), they make do with makeshift indicators—who people are— to cautiously gauge the level of sexual literacy and queer acceptance of those around them.

https://www.pdf-archive.com/2018/05/29/caal-2018-handout-ashley-r-moore/

29/05/2018 www.pdf-archive.com

TheStateofCU0315 90%

w THETO STATE OF COOPER UNION WHERE WE ARE, THE PATH FORWARD, AND A FINANCIAL TRAJECTORY THE COOPER UNION COMMUNITY FROM JAMSHED BHARUCHA PRESIDENT THE STATE OF COOPER UNION I would like to report on WHERE WE ARE, THE PATH FORWARD, AND A FINANCIAL TRAJECTORY that includes a retrospective of Cooper’s finances leading up to my arrival in 2011 as well as our future direction under the new plan.

https://www.pdf-archive.com/2015/03/22/thestateofcu0315/

22/03/2015 www.pdf-archive.com

Zeroing in on JFK's Fatal Head Shot 89%

Its upward trajectory, based on the position and forward tilt of the President and the limousine on the down slope of Elm Street.

https://www.pdf-archive.com/2018/04/03/zeroing-in-on-jfk-s-fatal-head-shot/

03/04/2018 www.pdf-archive.com

Low Energy Nuclar Reactions Presentation Appendix 2 88%

Kuhn has argued – with extensive historical evidence – a clear trajectory for the adoption or rejection of new scientific paradigms.

https://www.pdf-archive.com/2014/03/22/low-energy-nuclar-reactions-presentation-appendix-2/

22/03/2014 www.pdf-archive.com

HERB Task Planning 86%

Finding a Trajectory Simulation Searching for Trajectory RRT Planner REFERENCES Siddhartha S.

https://www.pdf-archive.com/2015/09/27/herb-task-planning/

27/09/2015 www.pdf-archive.com

bodies invisible 78%

¯ is A semi-infinite broken line l ⊂ Rd \ B with the endpoint at O ∈ Rd \ B called a billiard trajectory emanating from O, if the endpoints of its segments (except for O) are regular points of the body boundary ∂B and the outer normal to ∂B at any such point is the bisector of the angle formed by the segments adjoining the point.

https://www.pdf-archive.com/2017/03/05/bodies-invisible/

05/03/2017 www.pdf-archive.com

PlayerScript2D 78%

+ GetComponent<Rigidbody2D>().velocity);  GetComponent<Rigidbody2D>().angularVelocity = 0.05f;  //}      // Remove this if you want to keep the line(Trajectory Points) shown  if (trajectoryPoints.Count == 0)  {  for (int i = 0;

https://www.pdf-archive.com/2017/12/12/playerscript2d/

12/12/2017 www.pdf-archive.com

Home Racers Sample 76%

The game-play mechanics are based on selecting the right gear for the right trajectory.

https://www.pdf-archive.com/2016/04/04/home-racers-sample/

04/04/2016 www.pdf-archive.com

REPORT - SpaceX explosion Response 76%

The statement about being impressed about amount of work done by the author referred to the unknown object's trajectory and the calculations involving it.

https://www.pdf-archive.com/2017/07/31/report-spacex-explosion-response/

31/07/2017 www.pdf-archive.com

Beer Die 76%

Marble Madness taught me how to incorporate iOS 10’s built in physics Project Report 5 engine, which was utilized for the calculations used to emulate a lobbed die trajectory.

https://www.pdf-archive.com/2017/03/27/beer-die/

27/03/2017 www.pdf-archive.com

EC 18 Feasible Approximate Planning Appendix 74%

(17) Treat every trajectory tree as a random variable X i and we have m trajectory trees.

https://www.pdf-archive.com/2018/02/21/ec-18-feasible-approximate-planning-appendix/

21/02/2018 www.pdf-archive.com

huddle participant guide summer2015 74%

But this next year will change the trajectory of your own life and the lives of people around you (not to mention the trajectory of our city and beyond.) Think ripple effect.

https://www.pdf-archive.com/2017/01/09/huddle-participant-guide-summer2015/

09/01/2017 www.pdf-archive.com

Asteroid impact avoidance 74%

It has been estimated that a velocity change of just 3.5/t × 10−2 m·s−1 (where t is the number of years until potential impact) is needed to successfully deflect a body on a direct collision trajectory.

https://www.pdf-archive.com/2017/11/20/asteroid-impact-avoidance/

20/11/2017 www.pdf-archive.com

TimeandLightAlienationinContemporarySpace 74%

Time and Light: Alienation in Contemporary Space Traditional spaces serve to facilitate movement and commerce1, simplifying life through efficient design. The mall, casinos, airports, and other commoditycentres function to encourage a numbing alienation and propagate consumption. Alternative, nontraditional spaces undermine these aims, instead providing a space for selfreflection and repositioning away from the capitalist trajectory of space, and therefore the mechanics of the everyday through their manipulation of time and light. A synartetic, or nonhistorical, approach to the analysis of these alternative spaces provides an avenue that cannot be periodized or folded back into the more traditional narratives of space. Benjamin’s arcades and the shopping mall participate in the traditional trajectories of capital, commerce and space. In this traditional narrative, spaces function to serve us by facilitating movement and commerce through their architectural makeup. Benjamin references An Illustrated Guide to Paris in his seminal Passagenwerk: These arcades, a recent invention of industrial luxury, are glassroofed, marblepaneled corridors extending through whole blocks of buildings, whose owners have joined together for such enterprises. Lining both sides of these corridors, which get their light from above, are the most elegant shops, so that the passage is a city, a world in miniature2 These enclosed microcosms, with their monumental facades and wide array of consumer options, parallel the 1960s American mall in both form and purpose. Victor Gruen, a prominent shoppingplaza designer, believed that suburban malls could become the epicenter of suburban 1 Here I mean commerce as a signifier of the implicit narrative of traditional spaces. Benjamin, Walter, and Rolf Tiedemann. The Arcades Project . Cambridge, MA: Belknap, 1999. Print. 2 social interactions.3 The community sphere Benjamin detected in the Arcades was perhaps fully realized by the American mall.4 This traditional trajectory directs us towards spaces that facilitate commerce and movement. Space is treated as an engine of capital, chained to an insatiable desire for goods and services. Although overlooked by this narrative, there is a rich history of nonconsumable spaces in the 20th century. These spaces resist us: they are non indexical, serving to neither facilitate commerce or movement. These spaces manipulate time and light in order to motivate selfreflection; through them we examine the positioning of our bodies in the contemporary environment. Unlike in the mall, within the alternative spaces we are faced with an introspective experience that unveils (rather than obscures) the true nature of alienation in the contemporary environment. For instance, James Turrell’s A Frontal Passage (Figure 1) transforms the passivity of light into an active force by endowing it with a physical presence as the singular artistic medium utilized in the work. This manipulation increases the awareness of one’s own body, and therefore one’s positioning in the space. Light becomes a marker of the existential moment in that to become aware of one’s body and its temporal limitations is the feeling of existentialism. The properties of light, when manipulated through structures, forces a reorientation that is symptomatic of an experience with existential questions5. This existential moment hinges on 3 Davidson, Ronald A.. “Parks, Malls, and the Art of War”. Yearbook of the Association of Pacific Coast Geographers 73 (2011): 27–51. Web... 4 I think it is important to note here the furthest articulation of this spatial impulse: ecommerce. However, this conclusion of the narrative seems to function more to implode the dialogue in on itself rather than furthering it. In this way, ecommerce becomes the ouroboros. By shedding it’s locus, ecommerce distances itself from a discourse on physical structures or site and moves towards one regarding modes of consumption. 5 These existential questions, and the experience attached therefore, mark a new sublime differing from the historical sublime in form and function. The sublime is no longer an individual experience, instead it is marked by a collective existential experience. Furthermore, the new sublime is no longer strictly attached to “art space” or feats of god, instead it is extended into commodity space and the everyday. manmade structures with alienation as a key determinant of the contemporary experience. The selfreflexive manipulation of time and light open the body to the feeling of existentialism and causes a subsequent repositioning in the contemporary landscape. Turrell's work provides us a lens through which to examine the intersection of time, space, and light as mechanics of the new social existentialism. As the catalogue establishes: “ Instead of diffusing freely from one side of this wall to the other, the light ends abruptly in space, as if it had density. The power of the work lies in this paradox, in which nothingness gains physical presence.”6 The physical presence of nothingness, manifested through the physicality of light, confronts us with our own finitude. In other words, we disappoint the desire to fill space undefined, as light can. Therefore, disappointing the accompanying wish for immortality. As one moves around the work, the work itself changes. The positioning of the body to the piece transforms it from a mere light show to an expansive view of the abyss. Our body’s relationship to the piece is therefore of tantamount importance. The experience of becoming reaware of the limitations of our body is in fact the experience of existentialism. Light, space, and time function in the work to trigger a new awareness of our body in the space. Our awareness of our body in this space then triggers an awareness of our body in the contemporary environment. This repositioning is symptomatic of the new social existentialism. This new understanding of the contemporary environment includes an acknowledgement (or a purposeful unacknowledgment) of our own alienation from other bodies and space itself. Publication excerpt from The Museum of Modern Art, MoMA Highlights , New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 343 6 Shopping malls and casinos are designed to encourage naive alienation; their windowless facades obscure natural light, and the passing of time. Naive alienation encourages an acceptance of our positioning and a continuation of the rhythm of neoliberalism through a shrouding of the potential for collectivity. If we are all individual consumers, then we are alone and must consume products to bridge the gap between ourselves and others. Alternatives to these traditional structures, such as Isamu Noguchi’s California Scenario ( Figure 2) , use light as a physical force to express a revelatory alienation. Revelatory alienation functions to unveil our positioning, allowing for self reflection and a radical repositioning. Revelatory alienation tears down the constructed individualism of neoliberalism. In its place emerges a collective existentialism experienced through the body's relationship to space. Noguchi’s work is symptomatic of this type of unveiling. Nestled in between the largest mall in California, several office centres, and a parking lot, California Scenario is a dramatic pause in the monotony of the everyday7. Light in Noguchi’s work is as present as the sculptural elements, arguably becoming a sculptural object in itself. Standing in California Scenario feels similar to standing on a sundial one becomes aware of the passing of time as a physical presence. During the afternoon, the sun bouncing off the neighboring parking lot causes the space to become so bright and hot that it is physically overpowering for many viewers.8 The heat and light reflecting off the adjacent parking garages dramatically changes the environment. It is through this heat that light becomes a texture in the work; this heat makes it uncomfortable to be within the space and therefore 7 Ironically, in reading the Yelp reviews of the California Scenario it becomes clear that (when not reflected upon) the work often becomes an elaborate stage for the everyday. Vivian A. writes “ My friends and I took our prom pictures here (...) It was an impeccable place to take pictures at; nice, quiet and may I add, very clean too! Although it's a quite a small space, there's a lot of different artsy backgrounds you can choose from, which made it the perfect photo spot!” 8 Yelp user Tilla L. writes “ I came around 2 pm which was so hot that day so it could have a huge impact based on my experience here.” changes how one composes their body within the space. Compare this to the florescent lights of an office building or mall, lights within these structures pass as neutral and unremarkable. They work to neutralize the space, anesthetizing the aesthetic experience of existing within them and therefore distancing us from a real awareness of our bodies and the passing of time. Light within California Scenario functions as the only real temporal marker. The piece does not change; the landscape and sculptures are constantly preserved as to appear atemporal and unchanging. Even in just moving across the plaza, one can observe how light is utilized as haptic and dynamic. Approaching the forested area of the plaza feels like approaching a mirage, the heat reflecting off the stone ground contrasts the lush grass and temperate shade (Figure 3). The transitioning between the two environments within the larger scenario shocks the body into a revelatory alienation. Using this experience as a key; one can then reconsider the positioning of their body outside California Scenario instead of naively accepting the conditions of their positioning in the world. Naive alienation, or acceptance, suggests an abstraction or denial of space. To follow Worringer’s Abstraction and Empathy to its conclusion would be to admit that to productively exist in the contemporary environment one must mentally abstract space. Completely absorbing the myriad of hyperreal contemporary spaces would be overwhelming to an individual. Worringer elaborates; While the tendency of empathy has as its condition a happy pantheistic relation of confidence between man and the phenomena of the external world, the tendency to abstraction is the result of a great inner conflict between man and his surroundings, and

https://www.pdf-archive.com/2015/12/29/timeandlightalienationincontemporaryspace/

29/12/2015 www.pdf-archive.com

2012 devinli biophysj 74%

All native contact analyses were performed under VMD (36) using the root mean-square deviation trajectory tool enhanced with a native contact plug-in.

https://www.pdf-archive.com/2012/12/13/2012-devinli-biophysj/

13/12/2012 www.pdf-archive.com

Portugal reaction to the launch of sputnik 70%

The other two major newspapers in Portugal at the time, the “Diário de Noticias” and “Século” reported that USSR had launched the first satellite and that it had a transmitter, describing the trajectory orbiting the Earth.

https://www.pdf-archive.com/2011/09/08/portugal-reaction-to-the-launch-of-sputnik/

08/09/2011 www.pdf-archive.com

B correction 67%

For r(t) = [x(t), y(t), z(t)] and v(t) = r˙ (t), the particle’s trajectory satisfies:

https://www.pdf-archive.com/2013/06/09/b-correction/

09/06/2013 www.pdf-archive.com

Untitleddocument 67%

exgirlfriend is a diverse group of emerging, mid, and established artists, curators, gallerists, and writers which form “us”, or more understandably, exgirlfriend’s initial curatorial board. We ourselves are proposing an amorphous, residencyish, transitory form. Our curatorial committee will continue to change and grow as our network grows, thinking of the gallery as being only one initial “space" to materialise ourselves as a body. Like other networks in their inception, this makes us not easily definable. Best described as an internet in it’s infancy and pre imagery, we rely on participation from our current shared networks to start a trajectory that can be pushed along or shoved against. Every artist that exhibits in the space will have an opportunity to serve on the curatorial board, if desired, for as long or as little as they want. A list of the individuals participating in the current manifestation of the committee will soon be made available to the public in order to help inform or complicate the question of "who are we and what are we doing?”. When it comes to the "ethos" or "mission" of the gallery, we aim to function more like an online message thread gone awry than a traditional gallery space. Dialogues created can go in depth, shift, or be interjected at any moment. all the best EXG

https://www.pdf-archive.com/2016/05/19/untitleddocument/

19/05/2016 www.pdf-archive.com