A video featuring a digital human was created for a booth at Dutch Design Week as part of the Regiodeal project. The production utilized Vicon motion capture technology and Unreal Engine.
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Within the context of the Iliad project, the authors present technical challenges and the first results of having valid 3D scenes of (non-)existing offshore wind farms procedurally and automatically generated within either the Unreal or Unity game engine. The Iliad – Digital Twins of the Ocean project (EU Horizon 2020) aims to develop a ‘system of systems’ for creating cutting-edge digital twins of specific sea and ocean areas for diverse purposes related to their sustainable use and protection. One of the Iliad pilots addresses the topic of offshore floating wind farm construction or maintenance scenario testing and validation using the Unity 3D game engine. This work will speed up the development of these scenarios by procedurally and automatically creating the Unity 3D scene rather than manually (which is done at present). The main technical challenges concern the data-driven approach, in which a JSON configuration file drives the scene creation. The first results show a base wind farm running in Unreal 5.1. The final product will be able to handle environmental conditions, biological conditions, and specific human activities as input parameters.
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Reading a novel about a dying person and the people attending the dying, one can not only reflect upon the moral involvement between the literary characters depicted, but also upon the way in which the reader takes the position of a “bystander” in this scene. In two novels, The Death of Ivan Ilyich by Tolstoy and The Big Ward by the Dutch author Jacoba van Velde, this moral involvement can be interpreted as a form of “compassion”. Martha Nussbaum’s concept of “compassionate imagination” offers a perspective on the way in which the reader can be involved in this literary depiction of the dying. However, the Aristotelian criteria that Nussbaum proposes for the rational judgement of compassion and her ambitions that literature can “raise society’s floor” by developing “compassionate imagination” in readers, are difficult to apply to these specific cases. In comparing both novels, it is exactly the differences between them – the historical context and social classes depicted - that bring to light a problematic presupposition in Nussbaum, namely the a-historical universality in the compassionate involvement. A re-interpretation of one of the Aristotelian criteria for compassion leaves room for a “compassionate imagination” not based on a rational judgement but on a sense of shared vulnerability that is precisely evoked by the literary depiction of the dying.
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The objective was to create a video clip of 60-90 seconds in which Mai was presented during the opening of MindLabs building. Mai had to convey MindLabs message: "Helping to address societal challenges using human-centered AI and technology and connecting researchers, developers, students, entrepreneurs, social institutions, and governments for this purpose."
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In November 2019, scholars and practitioners from ten higher education institutions celebrated the launch of the iKudu project. This project, co-funded by Erasmus [1], focuses on capacity development for curriculum transformation through internationalisation and development of Collaborative Online International Learning (COIL) virtual exchange. Detailed plans for 2020 were discussed including a series of site visits and face-to-face training. However, the realities of the COVID-19 pandemic disrupted the plans in ways that could not have been foreseen and new ways of thinking and doing came to the fore. Writing from an insider perspective as project partners, in this paper we draw from appreciative inquiry, using a metaphor of a mosaic as our identity, to first provide the background on the iKudu project before sharing the impact of the pandemic on the project’s adapted approach. We then discuss how alongside the focus of iKudu in the delivery of an internationalised and transformed curriculum using COIL, we have, by our very approach as project partners, adopted the principles of COIL exchange. A positive impact of the pandemic was that COIL offered a consciousness raising activity, which we suggest could be used more broadly in order to help academics think about international research practice partnerships, and, as in our situation, how internationalised and decolonised curriculum practices might be approached. 1. KA2 Erasmus+ Cooperation for innovation and the exchange of good practices (capacity building in the field of Higher Education)
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The environment of the(Dutch) building industry is increasingly turbulent. There are many cges for the building industry. Innovative tendering, better marketing, openness and transparency are examples of this. A strong reduction in failure costs (estimated at between 10 and 25% of the total costs) and an increase in quality are also necessary. Lastly, the declining inflow of young people has to be mentioned. The image of the building industry is not particularly good and students prefer to choose other industries. The building industry therefore has to change and, so far, everyone agrees. Evidently both the building industry and its environment are very keen to change; the sincere will is there, and money and energy are available, but it seems that efforts are not proceeding in a very planned or coordinated manner at present. And this is causing fragmentation and, therefore, sub optimisation. How does sectoral change proceed and how is this process to be managed? That is the central question in this paper.
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Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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