Mathematical Concepts and Computational Approach on Hydrodynamics Instability

Since Head first demonstrated the advantages of computer displayed theoretical intensities from defective crystals, computer display techniques have become important in image analysis. However the computational methods employed resort largely to numerical integration of the dynamical equations of electron diffraction. As a consequence, the interpretation of the results in terms of the defect displacement field and diffracting variables is difficult to follow in detail. In contrast to this type of computational approach which is based on a plane-wave expansion of the excited waves within the crystal (i.e. Darwin representation ), Wilkens assumed scattering of modified Bloch waves by an imperfect crystal. For localized defects, the wave amplitudes can be described analytically and this formulation has been used successfully to predict the black-white symmetry of images arising from small dislocation loops.

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Early and late attentional selection for action control: A computational approach

PsycEXTRA Dataset ◽

10.1037/e636952013-234 ◽

2013 ◽

Author(s):

Ronald Hubner

Keyword(s):

Action Control ◽

Computational Approach ◽

Attentional Selection ◽

Selection For ◽

Selection For Action

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The Computational Sublime in Nick Montfort's ‘Round’ and ‘All the Names of God’

CounterText ◽

10.3366/count.2015.0027 ◽

2015 ◽

Vol 1 (3) ◽

pp. 348-365 ◽

Cited By ~ 2

Author(s):

Mario Aquilina

Keyword(s):

Computer Code ◽

Computer Programs ◽

Literary Text ◽

Text Generation ◽

Mathematical Concepts ◽

Literary Space

What if the post-literary also meant that which operates in a literary space (almost) devoid of language as we know it: for instance, a space in which language simply frames the literary or poetic rather than ‘containing’ it? What if the countertextual also meant the (en)countering of literary text with non-textual elements, such as mathematical concepts, or with texts that we would not normally think of as literary, such as computer code? This article addresses these issues in relation to Nick Montfort's #!, a 2014 print collection of poems that presents readers with the output of computer programs as well as the programs themselves, which are designed to operate on principles of text generation regulated by specific constraints. More specifically, it focuses on two works in the collection, ‘Round’ and ‘All the Names of God’, which are read in relation to the notions of the ‘computational sublime’ and the ‘event’.

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