Kinect is the de facto standard for real-time depth sensing and motion capture cameras. The sensor is here proposed for exploiting body tracking during driving operations. The motion capture system was developed taking advantage of the Microsoft software development kit (SDK), and implemented for real-time monitoring of body movements of a beginner and an expert tractor drivers, on different tracks (straight and with curves) and with different driving conditions (manual and assisted steering). Tests show how analyses can be done not only in terms of absolute movements, but also in terms of relative shifts, allowing for quantification of angular displacements or rotations.
The notion of the hero is often accompanied by myth; in Gramsci’s work we see the crushing of this theory because it is tied to a nationalist and, therefore, repressive horizon. In his Prison Notebooks, Gramsci tackles this problem with originality, critically defining the concept of heroism as anti-collective. The power of the struggling community acts incisively if it renounces charismatic leadership. This results in a leaderless collectivity made up of bodies and brains politically in action. The centrality of this aspect that is not dealt with in Gramsci’s work can shed new light on the work of the Sardinian thinker and philosopher, particularly from a contemporary point of view, partly due to the numerous nationalist regressions (the return of racist ideologies and formations in Europe and in the US). Gramsci’s work has an avant-garde meaning even in current events. The collectivity can become that specific universal-singular capable of instituting a real counter-power. The article investigates the rejection of heroism in a transversal reading of Prison Notebooks.
This paper relates the philosophical theme of the wall and barriers with musicality. In various ages, music has had a progressive political significance, whereas the contemporary world expresses its regressive nature in commercial musical forms and sound marketing. The closed and obsessive forms of the technological universe appear to be universes of expressive freedom while, on the contrary, the language of harmonic forms has become impoverished and is often characterized by repetitive rhythms with strong identity repercussions. For this reason, the present essay analyses the theme of the wall referring to music as an expressive and artistic form born for the community and in itself open. Often today, though, music is used for marketing strategies or as a vehicle for racial suprematism, discrimination, xenophobia. Starting from the analysis of common idioms such as “if walls could speak” or “walls have ears too” this paper focuses on the difference between music used as a democracy/open space and as an instrument for a strong and closed identity regression.
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