Poli[Papers] (Universitat Politècnica de València)
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Colaboración y autonomía creativa: IA en el proceso de creación en arte y diseño
Full text linkThis article investigates the role of Artificial Intelligence (AI) as a collaborator in the creative process in art and design, especially in computational generative creation. With the advancement in the complexity of AI tools, the possibility of machine-human co-authorship arises, where the code actively participates in creative decisions and directly impacts the result. We explore how AI and programming tools can act beyond technical support, taking on a more autonomous role and offering new paths for creation. The study also considers ChatGPT as an auxiliary tool for learning and solving problems in creative programming, highlighting its potential and limitations. It is important to highlight that Artificial Intelligence will be used during the process of developing and editing programming codes and not as an image creation agent itself. Therefore, important questions about the appropriation of artists' images and identities by AI will be discussed at another time. The research, developed in the Postgraduate Program in Design at Anhembi Morumbi University seeks to expand understanding of the relationships between art, technology and creative autonomy, contributing to the interdisciplinary debate in the field of contemporary design.Este artículo investiga el papel de la Inteligencia Artificial (IA) como colaboradora en el proceso creativo en arte y diseño, especialmente en la creación generativa computacional. Con el avance en la complejidad de las herramientas de IA, surge la posibilidad de una coautoría máquina-humano, en la que el código participa activamente en las decisiones creativas y repercute directamente en el resultado. Exploramos cómo la IA y las herramientas de programación pueden actuar más allá del soporte técnico, asumiendo un papel más autónomo y ofreciendo nuevas vías para la creación. El estudio también considera ChatGPT como una herramienta auxiliar para el aprendizaje y la resolución de problemas en la programación creativa, destacando su potencial y sus limitaciones. Es importante destacar que la Inteligencia Artificial será utilizada durante el proceso de desarrollo y edición de códigos de programación y no como un agente de creación de imágenes en sí mismo. Por lo tanto, las cuestiones importantes sobre la apropiación de imágenes e identidades de artistas por parte de la IA se discutirán en otro momento. La investigación, desarrollada en el Programa de Postgrado en Diseño de la Universidad Anhembi Morumbi, pretende ampliar la comprensión de las relaciones entre arte, tecnología y autonomía creativa, contribuyendo al debate interdisciplinar en el campo del diseño contemporáneo
Improving expected shortage estimations in the base-stock policy by accounting for undershoots
Full text linkShortage events are inevitable random phenomena in inventory systems when dealing with real demand. For inventory managers, knowing the size of these shortages becomes crucial to deciding the optimal policy for the inventory system. Therefore, the Expected Shortage per Replenishment Cycle, ESPCR, is an essential indicator in inventory management for several reasons. On the one hand, it gives information about the number of units not served in each cycle, and on the other hand, it is fundamental in determining service levels or shortage costs. Therefore, ESPCR estimation for the continuous review base-stock policy (s, S) is traditionally based on the assumption that inventory levels reach exactly the reorder point, i.e., inventory levels are never below the reorder point, and undershoots are not considered. This paper shows that the traditional estimation based on neglecting undershoots is biased and proposes a new and unbiased approximation, ESPCRW. This approach is based on estimating the probability vector of the stock levels at the reorder point considering the presence of undershoots. Results of this paper show that our approach outperforms the biased nature of the traditional approximation, which may have significant practical implications for the inventory systems
Reconstrucción gráfica de un patrimonio arquitectónico desaparecido: la Puerta de la Carne en Sevilla
Full text linkSeville was at the height of its commercial prosperity in the 16th century. It was then decided to renovate the gates of its walled enclosure using a Renaissance architectural language, following a report by the architect Hernán Ruiz II from 1560. The Puerta de la Carne was located near the Judería district and close to the city’s slaughterhouse. Asencio de Maeda directed the work execution around 1577. After being deemed an urban obstacle, the gate was demolished in 1864. For its graphic reconstruction, the 2006 London Charter, the 2012 Seville Principles, and other bibliographic references have been considered. To document and illustrate significant architectural and urban transformations, important historical images have been gathered and analysed for the first time: Bambrilla (1585–1588), Hoefnagel (1598), Olavide (1771), Hurtado (1786), an anonymous oil painting (c. 1800), Ford (1831), Domínguez Bécquer (1838), and Vigier (1851), among others. A photograph commercialised by Gaudin Frères (c. 1855) served as the basis for the 3D graphic reconstruction. Treatises on 16th-century architecture have been consulted to sketch the architectural details of its composition, which was similar to the Puerta Real, attributed to Hernán Ruiz II. A plan of urban alignments from the late 19th century has helped to determine its position, supported by the 3D scanning of the current environment. Game-engine rendering technology was used to integrate and visualise all these data. Thus, the aim is to highlight the Puerta de la Carne, an important sample of vanished architectural heritage. This research will facilitate debate regarding its potential material reconstruction as a symbol of identity and a source of progress for the city.Sevilla se encontraba en el siglo XVI en pleno apogeo comercial. Se decidió entonces renovar las puertas de su recinto amurallado con un lenguaje arquitectónico renacentista, siguiendo un informe de 1560 del arquitecto Hernán Ruiz II. La Puerta de la Carne se ubicaba junto al barrio de la Judería y cerca del matadero de la ciudad. Asencio de Maeda dirigió la ejecución de la obra hacia 1577. Tras ser considerada como un obstáculo urbano, fue demolida en 1864. Para su reconstrucción gráfica se han considerado la Carta de Londres de 2006, los Principios de Sevilla de 2012 y otras referencias bibliográficas. Para documentar e ilustrar destacadas transformaciones arquitectónicas y urbanas se han reunido y analizado por primera vez importantes imágenes históricas: Bambrilla (1585-1588), Hoefnagel (1598), Olavide (1771), Hurtado (1786), un óleo anónimo (h. 1800), Ford (1831), Domínguez Bécquer (1838) y Vigier (1851), entre otras. Una fotografía comercializada por Gaudin Frères (h. 1855) ha servido como base para la reconstrucción gráfica en 3D. Se han consultado tratados de arquitectura del siglo XVI para croquizar los detalles arquitectónicos de su composición, que era similar a la Puerta Real, atribuida a Hernán Ruiz II. Un plano de alineaciones urbanas de finales del XIX ha permitido precisar su posición con el respaldo del escaneado 3D del entorno actual. Para integrar y visualizar todos estos datos, se han usado técnicas de motor gráfico de videojuegos. De este modo, se trata de poner en valor la Puerta de la Carne, un importante patrimonio arquitectónico desaparecido. A partir de esta investigación podrá debatirse su futura reconstrucción material como símbolo de identidad y fuente de progreso para la ciudad
"I Fregi del Ceppo”: cuando la inteligencia artificial y la geomática se encuentran en el teatro
Full text linkHighlights:
The reuse of 3D reality-based digital data in theatre productions supports the cross-valorisation of cultural activities.
The frieze of the Ospedale del Ceppo: from digital documentation for preservation to scenic design and performance.
The integration of digital technologies, avatars and artificial intelligence in contemporary theatre scenography.
Abstract:
The integration of three-dimensional (3D) digital technologies into cultural heritage and theatre is transforming how historical works are preserved and experienced. This paper focuses on the performance I Fregi del Ceppo, which exemplifies this trend by using 3D data to bring the Renaissance friezes of the Ospedale del Ceppo in Pistoia, Italy, to life. Originally digitised for conservation, the friezes served as the foundation for a theatrical production. The project used artificial intelligence (AI) tools to analyse and animate the frieze characters’ postures and relationships. The performance incorporated a 180º multi projection system that synchronised human actors with digital projections, merging live performance with digital heritage. This work highlights the broader trend of integrating AI and digital tools into theatre. Body scans, motion tracking, and emotion recognition enable new storytelling methods, while virtual characters and avatars allow performers to explore identity and interaction in novel ways. The fusion of AI with performance art is pushing the boundaries of creativity, generating dialogues, analysing performances, and enabling real-time interaction with human actors. I Fregi del Ceppo demonstrates how digital heritage can enhance theatre, extending the life of historical works and offering new cultural experiences. It also points to a future where AI and 3D technologies will play an increasingly central role in shaping the performing arts. La integración de tecnologías digitales tridimensionales (3D) en el patrimonio cultural y el teatro está transformando la forma en que se preservan y experimentan las obras históricas. Este artículo se centra en la representación I Fregi del Ceppo, que ejemplifica esta tendencia al utilizar datos en 3D para dar vida a los frisos renacentistas del Ospedale del Ceppo en Pistoia, Italia. Originalmente digitalizados para su conservación, los frisos sirvieron como base para una producción teatral. El proyecto utilizó herramientas de inteligencia artificial (IA) para analizar y animar las posturas y relaciones de los personajes de los frisos. La representación incorporó un sistema de multiproyección de 180º que sincronizaba a los actores humanos con las proyecciones digitales, fusionando la actuación en vivo con el patrimonio digital. Este trabajo destaca la tendencia más amplia de integrar la IA y las herramientas digitales en el teatro. Los escaneados corporales, el seguimiento de movimientos y el reconocimiento de emociones permiten nuevos métodos de narración, mientras que los personajes virtuales y avatares permiten a los actores explorar la identidad y la interacción de maneras novedosas. La fusión de la IA con el arte escénico está ampliando los límites de la creatividad, generando diálogos, analizando actuaciones y permitiendo la interacción en tiempo real con actores humanos. I Fregi del Ceppo demuestra cómo el patrimonio digital puede enriquecer el teatro, extendiendo la vida de obras históricas y ofreciendo nuevas experiencias culturales. También señala un futuro en el que la IA y las tecnologías 3D jugarán un papel cada vez más central en la configuración de las artes escénicas
Desbloqueo del potencial interactivo de los modelos digitales con motores de juegos y programación visual para museos inclusivos de VR y web
Full text linkHighlights:
Digital surveying, Historic Building Information Modeling, Game Engines and visual programming are enhancing virtual reality technologies, turning static models into engaging, interactive virtual environments (IVE)
A VR app and WebVRapplication have been developed for the Ospedale Maggiore in Milan, integrating virtual-visual storytelling (VVS) with three-dimensional (3D) animations, textual information, and audio to enhance user engagement
The VR and Web VR solutions support a wide range of devices, making cultural heritage more accessible to diverse audiences and promoting a more inclusive understanding of history and architecture
Abstract:
In an era marked by rapid digital transformation, the preservation and dissemination of cultural heritage increasingly depend on advanced technologies to convey both its tangible and intangible values, whether on-site or remotely. Monuments, archaeological sites, historical centres, and museums are progressively recognising the transformative potential of extended reality (XR) technologies. Among these, virtual reality (VR) has emerged as a particularly effective tool for communicating information and engaging visitors. These technologies facilitate the creation of immersive, interactive experiences that provide access to vast datasets, often difficult to explore within the limitations of physical settings. This study investigates these emerging paradigms, specifically focusing on the roles played by digital surveying, data interpretation, Historic Building Information Modelling (HBIM), and visual programming languages (VPL) in developing innovative VR solutions. These advancements allow for the transformation of static BIM into dynamic interactive virtual environments (IVE) and virtual objects (IVO), which respond to user input in real-time, thereby fostering engaging and dynamic digital experiences. A case study of the Ospedale Maggiore in Milan—designed by Filarete in the mid-15th century and currently housing the University of Milan—serves as an exemplary model of the potential of these technologies. A VR platform and a WebVR application have been developed, enabling users to immerse themselves in a virtual environment enriched by virtual-visual storytelling (VVS). This narrative approach integrates textual information, audio, and 3D animations to enhance the user's experience (UX) and provide a multifaceted understanding of the site’s historical and cultural significance. By supporting a diverse range of devices—including desktop computers, VR headsets, and mobile phones and tablets—these solutions aim to expand accessibility, foster inclusivity, and promote a deeper, more immersive engagement with cultural heritage. The project not only enhances the visitor experience but also advances the role of digital technologies in democratising access to and understanding of cultural and historical resources.En una era marcada por una rápida transformación digital, la preservación y difusión del patrimonio cultural dependen cada vez más de tecnologías avanzadas que permitan transmitir tanto sus valores tangibles como intangibles, ya sea de manera presencial o remota. Los monumentos, sitios arqueológicos, centros históricos y museos están reconociendo progresivamente el potencial transformador de las tecnologías de realidad extendida (XR). Entre estas, la realidad virtual (VR) ha surgido como una herramienta particularmente efectiva para comunicar información y captar la atención de los visitantes. Estas tecnologías facilitan la creación de experiencias inmersivas e interactivas que permiten acceder a grandes volúmenes de datos, a menudo difíciles de explorar dentro de las limitaciones de los entornos físicos. Este estudio investiga estos paradigmas emergentes, con un enfoque específico en los roles que desempeñan el levantamiento digital, la interpretación de datos, el Historic Building Information Modelling (HBIM) y los lenguajes de programación visual (VPL) en el desarrollo de soluciones innovadoras en VR. Estos avances permiten transformar BIM estáticos en entornos virtuales interactivos (IVE) y objetos virtuales (IVO) que responden en tiempo real a la interacción del usuario, promoviendo así experiencias digitales dinámicas y cautivadoras. Un estudio de caso del Ospedale Maggiore en Milán, diseñado por Filarete a mediados del siglo XV y actualmente sede de la Universidad de Milán, sirve como modelo ejemplar del potencial de estas tecnologías. Se ha desarrollado una plataforma VR y una aplicación WebVR que permiten a los usuarios sumergirse en un entorno virtual enriquecido por una narrativa visual-virtual (VVS). Este enfoque narrativo integra información textual, audio y animaciones 3D para mejorar la experiencia del usuario y proporcionar una comprensión multidimensional de la importancia histórica y cultural del sitio. Al ser compatible con una amplia gama de dispositivos, incluidos ordenadores de escritorio, visores VR y teléfonos móviles y tabletas, estas soluciones buscan ampliar la accesibilidad, fomentar la inclusividad y promover un compromiso más profundo e inmersivo con el patrimonio cultural. El proyecto no solo mejora la experiencia del visitante, sino que también impulsa el papel de las tecnologías digitales en la democratización del acceso y la comprensión de los recursos culturales e históricos
Design and finite element analysis of an extractor machine for castor oil biodiesel production
Full text linkThis research presents the design of a castor oil extractor for producing castor oil biodiesel. The machine was designed using appropriate design equations in the design analysis of the machine, and finite element analysis was conducted to determine the structural integrity, functionality and manufacturability of the system. With a total load distribution of 729 kN resulting from the screw shaft and the weight of other accessories, the behaviour of the frame material under different loading conditions was stated. Solidworks/Ansys analysis of the screw shaft showed a maximum stress distribution of 0.52599 MPa, which is below the yield strength of 460 MPa for the material used. The maximum deformation under loading conditions is 0.00042373 mm, which is negligible and does not pose a risk of failure of the machine. The fabrication was done using locally available materials. The performance of the developed machine was evaluated using castor seed and obtained output capacity of 120.2 kg/h and extraction efficiency of 58% respectively at a speed of 30 rpm. The machine can function independently for extracting castor oil and can also be used to extract oil from other seeds of similar sizes as castor seed, thereby minimizing challenges associated with conventional extracting machines
Process variables in mixture experimental design applied to wood plastic composites
Full text linkThe inclusion of process variables in mixture experimental design is crucial for optimizing final products with precision. Unlike standard response surface designs, which are limited by the requirement that proportions must sum to 100%, mixture-process experiments enable a thorough evaluation of how operational factors, such as particle size and mixing time, interact with mixture components. This approach enhances the understanding of how processing conditions affect product properties and leads to more accurate predictive models, thereby improving production consistency and reliability. Regression analysis reveals that interactions between PET and both particle size and mixing time significantly impact the response variable. The model demonstrates strong predictive accuracy, with R-squared and adjusted R-squared values of 92% and 86%, respectively, and a low root mean square error (S) of 0.2818. The PRESS value of 3.38 confirms the model’s ability to accurately predict new data. The absence of high multicollinearity, as indicated by variance inflation factor (VIF) values below 5, further supports the model's stability and interpretability. Contour plots illustrate the effect of varying mixture proportions on the response, such as tensile strength, showing a positive impact of both particle size and mixing time. The highest tensile strength is achieved at maximum levels of these variables, indicating a synergistic effect. Response variable optimization identifies the optimal mixture composition as 90% PET, 10% wood, and no coupling agent. To maximize tensile strength, the largest particle size and longest mixing time should be used, though extrapolating beyond the studied parameters should be done with caution
Remarks on fixed point assertions in digital topology, 9
Full text linkWe continue a discussion of published assertions that are incorrect, incorrectly proven, or trivial, in the theory of fixed points in digital topology
Proceso de creación de Homenaje a Tarzán, Rafael Ruiz Balerdi (1969)
Full text linkRafael Ruiz Balerdi is one of the first artists to create experimental animated films in the spanish State. In this article, we will present the results of the research conducted on the creative process of his animated film Homenaje a Tarzán (1969 in its silent version, 1970 in the sound version), and we will uncover various aspects about the working process and the images that served as the basis for some sequences.Rafael Ruiz Balerdi es uno de los primeros artistas en realizar películas de animación experimental en el Estado español. En este artículo mostraremos los resultados de la investigación realizada sobre el proceso de creación de su película de animación Homenaje a Tarzán (1969 en su versión sin sonido, 1970 en versión sonora), y descubriremos varias cuestiones sobre el proceso de trabajo y sobre las imágenes que sirvieron de base para algunas secuencias.