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Additive manufacturing requires support structures to fabricate parts with overhangs. In this paper, we revisit a known support structure based on bridges-and-pillars (see Figure 1). The support structures are made of vertical pillars supporting horizontal bridges. Their scaffolding structure makes them stable and reliable to print. However, the algorithm heuristic search does not scale well and is prone to produce contacts with the parts, leaving scars after removal. We propose a novel algorithm for this type of supports, focusing on avoiding unnecessary contacts with the part as much as possible. Our approach builds upon example-based model synthesis to enable early detection of collision-free passages as well as non-reachable regions., Procedural Modelling, Marco Freire, Samuel Hornus, Salim Perchy, and Sylvain Lefebvre

Musical phenomena are the most formally studied subset of the fine arts in our present time. From mathematical formalization to psychological analysis onto computer models are among the traces the scientific community have taken to explore music. One such formalism applied to model music is called NTCC , a constraint-based process algebra where operators are part of programs that may behave as musical agents.This work is aimed to provide a solid framework for interacting, constructing and deducting musical properties from an interpretation of a previously known score. The method is divided into two parts, an interactive construction of an NTCC process from executed musical events through the program ANTESCOFO and a model checking module for the output. A communication scheme between the two parts is implemented and documented, and finally an example with a musical piece is given along with analysis of its results, Los fenómenos musicales son el subconjunto más estudiado de las bellas artes actualmente. Desde formalizaciones matemáticas, análisis psicológicos hasta modelos computacionales son algunas de los caminos que la comunidad científica ha tomado para explorar el campo musical. Uno de estos formalismos aplicados a modelar música se llama NTCC , un cálculo de procesos basada en restricciones donde los operadores son parte de programas que pueden comportarse como agentes musicales.Este trabajo tiene como objetivo proveer una herramienta de trabajo para la interacción, construcción y deducción de propiedades musicales de una interpretación con base en una partitura conocida a priori. El método está dividido en 2 partes, una construcción interactiva de un proceso NTCC de eventos musicales ejecutados a través del programa ANTESCOFO y un módulo model checker para la salida de la parte anterior. Un esquema de comunicación entre ambas partes fue implementado y documentado y, finalmente, un ejemplo con una pieza musical es mostrado en conjunto con un análisis de sus resultados, Phénomènes musicaux sont le sous-ensemble plus formellement étudié les beaux-arts dans notre époque actuelle. De la formalisation mathématique d'analyse psychologique sur des modèles informatiques sont parmi les traces de la communauté scientifique ont prises pour étudier la musique. Un tel formalisme appliqué à modéliser la musique est appelé NTCC, un processus algèbre base de contraintes où les opérateurs font partie de programmes qui peuvent se comporter comme des agents musicales.Ce travail vise à fournir un cadre solide pour l'interaction, la construction et la déduction des propriétés musicales d'une interprétation d'une partition déjà connu. La méthode est divisée en deux parties, une construction interactive d'un processus NTCC d'événements musicaux exécutés par l'entremise du programme Antescofo et un module de vérification de modèle pour la sortie. Un système de communication entre les deux parties est mis en œuvre et documenté, et enfin un exemple avec une pièce musicale est donnée ainsi que l'analyse de ses résultats

Appears as Abstract Paper at the Technical Communications of the 31st International Conference on Logic Programming (ICLP 2015); International audience; The growing presence of digital distributed systems in social life is exemplified by many particular instances, including opinion forums, social networks, dating sites and photo sharing portals. The increased usage in the last decade of these systems brings various risks and behaviors, inherent from the social interaction therein. An epistemic aspect is singled out as a common feature shared between these systems and the behaviors carried within them. Designing, constructing and verifying formalisms to represent information that is epistemic in nature can help develop a sound theory to analyze the scenarios mentioned before and at the same time bridge the concepts involved to a logical and mathematical domain. Regarding this, a specific concept of declarative and logic programming, that of a constraint system, deals with information represented by constraints (a constraint c could be a logical proposition partially describing a bigger system, e.g. temperature > 20). Constraint systems capable of incorporating the concept of spatiality such as user-spaces or message walls already exist (i.e. [c]_i , could read as " data/belief/constraint c belongs to agent i "). However, the movement of information between spaces is still not designed nor included in said constraint systems. Some process algebras do possess a concept of space mobility, notwithstanding, it is from an operational point of view, specifying only its behavior. Therefore it remains to mathematically define it along with all its properties. The proposed project intends to provide constraint systems with an algebraic operator that correspond to moving information in-between spaces as to mimic the mobility of data of distributed systems such as posting opinions/lies to other spaces or publicly disclosing data (i.e. ↑_i c reads as " extruding data/belief/constraint c from the space of agent i). Also, this extrusion operator should have a direct relationship with the spatiality operator, meaning that it should be modeled in constraint systems that also posses the concept of space (i.e. [c u ↑_i d] i = [c]_i u d reads " information d is extruded from the space of agent i " , it can be alternatively interpreted as agent i posting an opinion d). The authors developed a constraint system implementing the concepts of space and extrusion. The interaction between these conceptos account for mobility with no side effects , it is modeled as extrusion being the right inverse of space (i.e. [↑_i c]_i = c for any agent i). Additionally, given an already defined concept of space in a constraint system, the authors described different constructive ways of defining its extrusion and their mathematical properties. As a practical example, by means of a constraint system with space and extrusion, the authors gave semantic meaning to a logic with modalities of belief Bi and utterance Ui where BiUiφ ⇔ φ for any formula φ of the logic.

Musical phenomena are the most formally studied subset of the fine arts in our present time. From mathematical formalization to psychological analysis onto computer models are among the traces the scientific community have taken to explore music. One such formalism applied to model music is called NTCC , a constraint-based process algebra where operators are part of programs that may behave as musical agents.This work is aimed to provide a solid framework for interacting, constructing and deducting musical properties from an interpretation of a previously known score. The method is divided into two parts, an interactive construction of an NTCC process from executed musical events through the program ANTESCOFO and a model checking module for the output. A communication scheme between the two parts is implemented and documented, and finally an example with a musical piece is given along with analysis of its results, Los fenómenos musicales son el subconjunto más estudiado de las bellas artes actualmente. Desde formalizaciones matemáticas, análisis psicológicos hasta modelos computacionales son algunas de los caminos que la comunidad científica ha tomado para explorar el campo musical. Uno de estos formalismos aplicados a modelar música se llama NTCC , un cálculo de procesos basada en restricciones donde los operadores son parte de programas que pueden comportarse como agentes musicales.Este trabajo tiene como objetivo proveer una herramienta de trabajo para la interacción, construcción y deducción de propiedades musicales de una interpretación con base en una partitura conocida a priori. El método está dividido en 2 partes, una construcción interactiva de un proceso NTCC de eventos musicales ejecutados a través del programa ANTESCOFO y un módulo model checker para la salida de la parte anterior. Un esquema de comunicación entre ambas partes fue implementado y documentado y, finalmente, un ejemplo con una pieza musical es mostrado en conjunto con un análisis de sus resultados, Phénomènes musicaux sont le sous-ensemble plus formellement étudié les beaux-arts dans notre époque actuelle. De la formalisation mathématique d'analyse psychologique sur des modèles informatiques sont parmi les traces de la communauté scientifique ont prises pour étudier la musique. Un tel formalisme appliqué à modéliser la musique est appelé NTCC, un processus algèbre base de contraintes où les opérateurs font partie de programmes qui peuvent se comporter comme des agents musicales.Ce travail vise à fournir un cadre solide pour l'interaction, la construction et la déduction des propriétés musicales d'une interprétation d'une partition déjà connu. La méthode est divisée en deux parties, une construction interactive d'un processus NTCC d'événements musicaux exécutés par l'entremise du programme Antescofo et un module de vérification de modèle pour la sortie. Un système de communication entre les deux parties est mis en œuvre et documenté, et enfin un exemple avec une pièce musicale est donnée ainsi que l'analyse de ses résultats

International audience; In this paper we discuss the design of a generator of musical sequences for the purpose of aiding musicians in their compositional work. A series of steps were abstracted to reflect composition as a sequential flow of data refination; also each step involved in this process was modeled to gain each one of their functions. Specifically, in the case of the main structure of the suggestion a stochastic context-free grammar was developed to generate harmonic progressions, in the case of rhythms a probabilistic model based on accents was also developed, and finally, to state individual notes of the suggestion another probabilistic model based in the dissonance of intervals was used. Each one of these models were structured upon J.S. Bach's rules of homophonic composition as this was the target musical genre of the work

International audience; Dissonances in music have had a long evolution history dating back to days of strictly prohibition to times of en-richeness of musical motives and forms. Nowadays, dis-sonances account for most of the musical expressiveness and contain a full application theory supporting their use making them a frequently adopted resource of composition. This work partially describes their theoretical background as well as their evolution in music and finally proposing a new model for their computational use