The Experts below are selected from a list of 2166 Experts worldwide ranked by ideXlab platform
Gábor Soós - One of the best experts on this subject based on the ideXlab platform.
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Supporting Digital Production, Product Lifecycle and Supply Chain Management in Industry 4.0 by the Arrowhead Framework – a Survey
2019 IEEE 17th International Conference on Industrial Informatics (INDIN), 2019Co-Authors: Dániel Kozma, Pál Varga, Gábor SoósAbstract:While Industry 4.0 targets are theoretically set from various aspects, the approaches for covering some of its key areas are heterogeneous. The main pillars for Productive4.0 - a European research initiative with the industrial drive - are Digital Production, Product Lifecycle Management and Supply Chain Management. These are also key areas for Industry 4.0, and so far handled with heterogeneous approaches, toolsets - and success, indeed.This paper has two aims. First, to provide an overview of the state-of-the-art concepts regarding these three areas, filtered through the actual industrial requirements. Second, to survey the Arrowhead Framework concerning these areas, and suggest a homogeneous approach that can support not only the main vision of these three domains but the actual design-time and operational-time tasks needed to make the vision of Industry 4.0 reality.
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INDIN - Supporting Digital Production, Product Lifecycle and Supply Chain Management in Industry 4.0 by the Arrowhead Framework – a Survey
2019 IEEE 17th International Conference on Industrial Informatics (INDIN), 2019Co-Authors: Dániel Kozma, Pál Varga, Gábor SoósAbstract:While Industry 4.0 targets are theoretically set from various aspects, the approaches for covering some of its key areas are heterogeneous. The main pillars for Productive4.0 – a European research initiative with the industrial drive – are Digital Production, Product Lifecycle Management and Supply Chain Management. These are also key areas for Industry 4.0, and so far handled with heterogeneous approaches, toolsets – and success, indeed.This paper has two aims. First, to provide an overview of the state-of-the-art concepts regarding these three areas, filtered through the actual industrial requirements. Second, to survey the Arrowhead Framework concerning these areas, and suggest a homogeneous approach that can support not only the main vision of these three domains but the actual design-time and operational-time tasks needed to make the vision of Industry 4.0 reality.
Jen Schradie - One of the best experts on this subject based on the ideXlab platform.
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The Gendered Digital Production Gap: Inequalities of Affluence
Communication and Information Technologies Annual, 2015Co-Authors: Jen SchradieAbstract:How does gender equity fare in the Digital public sphere(s)? To understand the mechanism of the gender gap, this study analyzes the interaction of gender with class, age, and parenthood. With American national survey data, this research compares different types of online content Production practices in this blurred Digital public sphere(s). Findings show differences between men and women in five of six Digital content creation activities. Women are more likely to consume online content; men are more likely to produce it. From more public blogging to more private chatting, inequality persists. Interactions with gender show (1) women from higher educational levels face more inequality compared to their male counterparts than do women from lower educational levels; (2) age is not a factor in the gender gap; and (3) generally, parental status fails to explain the Production divide. Understanding the gender gap and its mechanisms can help ameliorate inequalities. Some argue that the Internet is a more egalitarian public platform for women while others find gender inequality. But neither body of research has attended to the blurring of the public and private spheres on the Internet.
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THE Digital Production GAP IN GREAT BRITAIN
Information Communication & Society, 2013Co-Authors: Jen SchradieAbstract:In the iCS article, ‘Who Creates Content?’ (April 2013), Blank contends that Digital Production inequality depends on the type of online content in question. Using 2010 survey data from the UK, he uses a principle component analysis to cluster content activities into three types and conducts a logistic regression analysis with an eye toward social class. He finds some levels of inequality but also finds parity with two of his content categories. These findings differ from a substantial body of literature from the United States. Rather than explaining these differences between Britain and the United States with substantive and theoretical reasons, Blank attempts to find fault with the methodology of this existing literature. In this comment, the author shows how Blank's analysis does not reveal as much Digital Production equality as he claims it does because of his misinterpretation of causal paths of inequality, as well as problems with his operationalization of online content, which conflates Internet ac...
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the Digital Production gap the Digital divide and web 2 0 collide
Poetics, 2011Co-Authors: Jen SchradieAbstract:Abstract How does class intersect with claims of Digital democracy? Most Digital inequality research focuses on Digital consumption or participation, but this study uses a Production lens to examine who is creating Digital content for the public sphere. My results point to a class-based gap among producers of online content. A critical mechanism of this inequality is control of Digital tools and an elite Internet-in-practice and information habitus to use the Internet. Using survey data of American adults, I apply a logit analysis of 10 Production activities—from Web sites and blogs to discussion forums and social media sites. Even among people who are already online, a Digital Production gap challenges theories that the Internet creates an egalitarian public sphere. Instead, Digital Production inequality suggests that elite voices still dominate in the new Digital commons.
Dániel Kozma - One of the best experts on this subject based on the ideXlab platform.
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Supporting Digital Production, Product Lifecycle and Supply Chain Management in Industry 4.0 by the Arrowhead Framework – a Survey
2019 IEEE 17th International Conference on Industrial Informatics (INDIN), 2019Co-Authors: Dániel Kozma, Pál Varga, Gábor SoósAbstract:While Industry 4.0 targets are theoretically set from various aspects, the approaches for covering some of its key areas are heterogeneous. The main pillars for Productive4.0 - a European research initiative with the industrial drive - are Digital Production, Product Lifecycle Management and Supply Chain Management. These are also key areas for Industry 4.0, and so far handled with heterogeneous approaches, toolsets - and success, indeed.This paper has two aims. First, to provide an overview of the state-of-the-art concepts regarding these three areas, filtered through the actual industrial requirements. Second, to survey the Arrowhead Framework concerning these areas, and suggest a homogeneous approach that can support not only the main vision of these three domains but the actual design-time and operational-time tasks needed to make the vision of Industry 4.0 reality.
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INDIN - Supporting Digital Production, Product Lifecycle and Supply Chain Management in Industry 4.0 by the Arrowhead Framework – a Survey
2019 IEEE 17th International Conference on Industrial Informatics (INDIN), 2019Co-Authors: Dániel Kozma, Pál Varga, Gábor SoósAbstract:While Industry 4.0 targets are theoretically set from various aspects, the approaches for covering some of its key areas are heterogeneous. The main pillars for Productive4.0 – a European research initiative with the industrial drive – are Digital Production, Product Lifecycle Management and Supply Chain Management. These are also key areas for Industry 4.0, and so far handled with heterogeneous approaches, toolsets – and success, indeed.This paper has two aims. First, to provide an overview of the state-of-the-art concepts regarding these three areas, filtered through the actual industrial requirements. Second, to survey the Arrowhead Framework concerning these areas, and suggest a homogeneous approach that can support not only the main vision of these three domains but the actual design-time and operational-time tasks needed to make the vision of Industry 4.0 reality.
Hyeong-seok Ko - One of the best experts on this subject based on the ideXlab platform.
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Digital Heritage (1) - Digital Production of traditional costumes
2013 Digital Heritage International Congress (DigitalHeritage), 2013Co-Authors: Yeonkyung Kang, Sehee Wu, Young-a Ko, Kathi Martin, Hyeong-seok KoAbstract:The role of the museum has changed from a "one-sided information delivery" system focusing on exhibition and education to “community as culture”. Creating richly detailed digitized reProductions of museum holdings can stimulate the social media dialogue between museum and visitor. The purpose of this study is to determine the feasibility of reproducing traditional costumes using Digital technology. For this experiment, we selected a woman's robe and a man's ensemble of the Rococo era of the 18th century. Using historical reference material we first analyzed the design features of the silhouette, and the fabrics, hairdos and accessories of the period. This paper details the application of 3D technologies, DC Suite and Maya Qualoth, to reconstruct them.
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Digital Production of traditional costumes
2013 Digital Heritage International Congress (DigitalHeritage), 2013Co-Authors: Yeonkyung Kang, Sehee Wu, Young-a Ko, Kathi Martin, Hyeong-seok KoAbstract:The role of the museum has changed from a "one-sided information delivery" system focusing on exhibition and education to “community as culture”. Creating richly detailed digitized reProductions of museum holdings can stimulate the social media dialogue between museum and visitor. The purpose of this study is to determine the feasibility of reproducing traditional costumes using Digital technology. For this experiment, we selected a woman's robe and a man's ensemble of the Rococo era of the 18th century. Using historical reference material we first analyzed the design features of the silhouette, and the fabrics, hairdos and accessories of the period. This paper details the application of 3D technologies, DC Suite and Maya Qualoth, to reconstruct them.
John Kundert-gibbs - One of the best experts on this subject based on the ideXlab platform.
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ITiCSE - The role of computer science in Digital Production arts
Proceedings of the 11th annual SIGCSE conference on Innovation and technology in computer science education - ITICSE '06, 2006Co-Authors: Timothy A. Davis, John Kundert-gibbsAbstract:Special effects Production is a rapidly expanding field in the film, television, and gaming industries. The educational goals and requirements for Digital artists in these fields vary widely, and tend to change dramatically over short spans of time. Several years ago, we began a new graduate program at Clemson University to train students in this field. Though the impetus to develop the program originated in the computer science department, the department was not suited to cover all of the topics necessary, even with the addition of several new courses. Accordingly, the program was established as interdisciplinary, with major components in computer science and art. The computer science portion of the curriculum emphasizes basic computing concepts, especially programming. The program has evolved from a somewhat disparate collection of courses into a tighter, more integrated, educational experience, with a high graduate placement in the industry each year.
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ACM Southeast Regional Conference - Digital Production arts: coming soon to a college near you!
Proceedings of the 42nd annual Southeast regional conference on - ACM-SE 42, 2004Co-Authors: S. Wang, Timothy A. Davis, Robert Geist, James Westall, John Kundert-gibbsAbstract:In 1999, Clemson University established a new, graduate degree program that bridges the arts and the sciences. The Master of Fine Arts in Digital Production Arts is a two-year program that is aimed at producing Digital artists who carry a solid foundation in computer science and thus can expect to find employment in the rapidly expanding special effects industry for entertainment and advertising. After four years of operation and three graduating classes, a retrospective is offered. A description of the program is provided that includes a discussion of the numerous obstacles encountered in establishing the program, techniques used to circumvent the obstacles, program successes, program failures, and suggestions for preparatory undergraduate curricula.