Contemplative Stance Research Articles

A New Paradigm for Contemporary Film and Television Characters Design in the Context of Artificial Intelligence

This paper delves into the evolution of Artificial Intelligence Generated Content (AIGC) within the realm of contemporary digital art, and scrutinizes its implications on artistic modalities and production. It delineates the genesis and progression of AIGC technology, offering an analysis of its extensive applications on the design of cinematic character. The paper acknowledges the latent capabilities of AIGC in the domain of character design, and highlighting the significance of the fusion of AI technology and humanities in the realm of artistic production. In conclusion, delineates the prospective opportunities and risks associated with the future application of AIGC technology in the field of character design and offer a critical analysis of its implications for the creative industry, which is maintaining a reverent and contemplative stance towards traditional art while pursuing of technological innovation.

Poetry as Spiritual Exercise

Poetry as Spiritual Exercise

OPEN ACCESS, THE HUMANITIES, AND CONTEMPLATION THROUGH SCIENCE

OPEN ACCESS, THE HUMANITIES, AND CONTEMPLATION THROUGH SCIENCE

THE RE‐DISCOVERY OF CONTEMPLATION THROUGH SCIENCE

AbstractSome of the early‐modern changes in the social framing of science, while often believed to be essential, are shown to be contingent. They contribute to the flawed public narrative around science today, and especially to the misconceptions around science and religion. Four are examined in detail, each of which contributes to the demise of the contemplative stance that science both requires and offers. They are: (1) a turn from an immersed subject to the pretense of a pure objectivity, (2) a turn from imagination as a legitimate pathway to knowledge, (3) a turn from shared and participative science to a restricted professionalism, and (4) an overprosaic reading of the metaphor of the “Book of Nature.” All four, but especially the imperative to consider reading nature as poetry, and a deeper examination of the entanglements between poetry and theoretical science, draw unavoidably on theological ideas, and contribute to a developing “theology of science.”

Osborne P. Wiggins, Jr., PhD, 1943–2021

Osborne P. Wiggins, Jr., PhD, 1943–2021 John Z. Sadler Click for larger view View full resolution Friends, family, and the Association of the Advancement of Philosophy and Psychiatry (AAPP) community mourn the death of Osborne "Ozzie" Wiggins this past May 18. In many ways, his story contributes a large portion to the founding of the AAPP, this journal, and the philosophy/psychiatry community worldwide. I met Professor Wiggins as a sophomore at Southern Methodist University in Dallas in 1974. I was a student in his twentieth-century humanities class. I didn't know at the time that he was in his early years as an academic, having recently obtained his PhD in philosophy from the New School for Social Research in New York. Moreover, I hadn't yet encountered a teacher who was so audacious as to tell his students on the first day of class: "This class will change the way you see the world." It didn't happen that day. However, I did view the world differently by the time the semester was over. In retrospect, Wiggins inculcated his students, and me, into what I later learned was the "phenomenological attitude" (Natanson, 1973). At the time, I would have described this change as the suspension of the impulse to judge my experiences, and instead, cultivate an attitude of ongoing openness to experience. I moved away from my adolescent critical attitude, and toward one informed by continuous curiosity, a contemplative stance where appraisals required no hurry, and the unfolding of experience was not just a way to knowledge and wisdom, but a source of joy and renewal. He was one of those professors you read about but seldom encounter, ones who "touch lives." I was a kid who knew his vocational path, however naively, from my teens. I sought out Wiggins because of his apparent interest in psychology and mental illness. He welcomed me into his office and I shared, tentatively, my belief that people with mental illness had "philosophical problems" and that philosophy was a way for people with mental illness to "figure out how to live." Rather [End Page 291] than the bemusement that I had feared, Professor Wiggins told me this made a lot of sense, and told me about his dissertation research at the New School, a phenomenological examination of the developmental psychology of Jean Piaget under his mentor's guidance, Aron Gurwitsch. Thus began a lifetime of mentorship, friendship, collaboration, and collegiality with me. In my meetings with Wiggins over my remaining years at SMU, he told me about his undergraduate years at Lamar State College where he initially majored in music performance. He was a promising bassist and jazz arranger/composer. However, he realized early that he did not have the "stuff" to succeed in the art/music world; he was already chagrined at Charles Mingus' extraordinary music, the brilliant corners of Thelonious Monk's compositions, and this new player with Chick Corea's band, Stanley Clarke, who had seemingly impossible technique on the double bass. Instead of music, Wiggins turned to philosophy. However, his aesthetic sense and skills were always sharp, and much of what I have learned about jazz I learned from Ozzie. We have shared this joy in music in general, and jazz in particular, over both our lifetimes. Years passed, and the next time Wiggins changed my life was when I was a freshly trained psychiatrist starting out my career in academic medicine. The year was 1986, and I was busy earning my keep as an medical educator, a consultation–liaison psychiatrist, and maintaining a small outpatient practice. Since college, my academic dream had been to explore the relationships between philosophy and psychiatry, but in the hurly-burly of my new career, I was discouraged. I had no colleagues, no community, and few prospects. Then that October, the cover article of the "green journal," The American Journal of Psychiatry, was an article by Michael Alan Schwartz and Osborne P. Wiggins, with a convoluted but intriguing title (Schwartz & Wiggins, 1986a). The bald fact that the top journal in American psychiatry was publishing a philosophical article hit me like a bucketful of cold water. I remember telling myself "it...

Language, labor and reification

In this article, I attempt to describe how language is reified, using the call center as an extended example. I take up recent debates regarding language and economic value, attempting to disentangle a by now substantial series of arguments about language and commodification. The theoretical core of the paper is drawn from the work of Georg Lukács, who provided the account of reification that was at the root of twentieth century critical theory. Following Lukács, I argue that what is indispensable in the process of reification is both a “contemplative stance” in relation to economic laws and the presence of “special partial systems” within the production process of commodities. These are particularly important considerations for what I refer to as the one-sided rationalization of language that occurs in call centers in particular, but also on a more widespread social basis.

A Study on Jeoam Shin TaekKwon's the ‘ten poems about old age’

본고는 樗庵 申宅權(1722~1801)의 ‘十老詩’를 고찰하여 이를 관류하는 작자의 의식과 작품의 특성을 구명하는 것을 목적으로 하였다. ‘십로시’ 창작은 宋나라 劉克莊(1187~1269)에서 시작되었다. 元나라 方回(1227~ 1306)가 편찬한 瀛奎律髓 에 유극장의 ‘십로시’ 10수가 실려 있는데, 영규율수 는 조선 초기부터 송시와 율시를 공부하는 사람들에게 꾸준히 읽혔 다. 방회는 유극장의 ‘십로시’를 詠物詩로 분류한 다음 ‘상스럽다[褻]’, ‘속 되다[俗]’라는 비평을 가하여, 온유돈후의 詩敎에 부합하지 않더라도 사물을 읊는 과정에서 정밀한 뜻을 담아내었다면 거기에서 가치와 의의를 찾았다. 이후 우리나라 문인들은 유극장의 ‘십로시’를 본받은 작품을 다수 남겼다. 신택권은 小北 인물로, 42세가 되어서야 사마시에 입격하였을 뿐 평생 과거에 합격하지 못한 채 말직을 전전하였다. 그는 시를 창작할 때 투박하더라도 자신의 정과 뜻을 진솔하고 자연스럽게 표출해야 한다고 생각하였 다. 또한 莊子 의 일화를 바탕으로 쓸모없음에서 쓸모를 찾아 기존의 한시 에서 관심을 받지 못하여 쓸모없던 것으로 치부되었던 인물과 사건에 주목해 작품의 소재로 끌어들였다. 신택권의 ‘십로시’는 7언 율시 총 10제 55수로, 일정한 계획과 의도하에 그의 나이 63세이던 1784년 연말과 64세를 맞이한 1785년 연초에 지어졌 다. 신분이 천하고 지위가 낮은 서민이나 시정인, 늙고 추한 동식물과 자신의 신체 일부를 소재로 삼았다. 양반 사회에서 배제되었던 신택권의 처지는 소외된 인물에 대한 관심으로 이어졌다. 그러나 신택권은 그들을 이용해 비애의 감상에 빠지거나 처량한 신세 한탄만을 하지 않았다. 신택권이 그들에게 보인 것은 동질감과 애정이 었으며, 더 나아가 긍정적인 시선으로 그들에게 응원과 독려를 보내었다. 신택권은 늙음을 외면하거나 부정하려 들지 않았다. 관조적인 자세로 소외된 이의 처지에 공감하면서 자신의 깨달음을 차분히 설파하였으며, 해학 적인 표현으로 늙어 가는 자신의 모습을 우스꽝스럽게 묘사하기를 주저하지 않았다. 표면적으로는 주변에서 흔히 볼 수 있는 것을 쉽고 사실적으로 묘사하였지만, 그 기저에는 철학적 달관을 내포하고 있다. 신택권은 어느 작가도 비견할 수 없을 만큼 많은 지면을 할애하여 어느 누구보다도 늙음에 대한 깊이 있는 성찰을 수행하였다. 늙음을 자연스럽게 받아들여 깨달음을 얻고자 한 신택권의 자세는 오늘날 우리에게 시사하는 바가 적지 않다.This study aims to consider the ten poems about old age(十老詩) written by Jeoam(樗庵) Shin TaekKwon(申宅權, 1722~1801) out of his works and to consciousness the ideas and characteristics which reside in his literary territory. The ten poems about old age started at Song(宋) Dynasty Liu Kezhuang(劉克莊, 1187~1269). Yingkuilusui(瀛奎律髓) compiled by Yuan(元) dynasty Fang Hui(方回, 1227~1306) contains Liu s the ten poems about old age, Yingkuilusui has been steadily read by people studying octonary since the early Joseon(朝鮮) Dynasty. Fang classified Liu s the ten poems about old age as poems based on objects. And evaluated as ‘crude’ or ‘be vulgar’. So even if it doesn t match enlightenment through the poem of be gentle and elegant, when describing objects, if they contain precise meaning, they find value and significance. Since then, Joseon poets have written many works that imitate Liu s the ten poems about old age. Shin is a member of the Sobuk(小北), he did not pass the test until he was 42 years old, he only passed the classics licentiate examination(生員 試). Failing to pass the higher civil service examination(文科) of his life and worked at a lowest government post. When he created poetry, he thought, even if the sentence is rough, you have to express your true feelings and intentions in a natural way. Also, based on ChuanaTzu(莊子) s anecdote, we found a use for uselessness. And he drew attention to the characters and events that had been dismissed as useless by not receiving attention from the existing poems and attracted him to the subject matter of his works. His ten poems about old age is a series of poems, that is an octonary of seven words. His poems were built at the end of 1784, when he was 63 years old, and at the beginning of the year of 1785, when he was 64 years old, according to a certain plan and intention. He used low-profile, lowranking commoners or city officials, old, ugly animals and parts of his body as the subject of the poem. Shin s situation, which had been excluded from the aristocratic society, led to his interest in the underprivileged. Shin, however, used them to not indulge in sad feelings or lament about their miserable lives. What the Shin showed them was homogeneity and affection, and furthermore, he sent them cheers and encouragement with a positive view. Shin would not turn a blind eye to old age or deny it. He calmly preached his enlightenment by taking an contemplative stance and sympathizing with the situation of the alienated. And he did not hesitate to make a ridiculous portrayal of himself aging through humorous expressions. His poems ostensibly portrayed what is common around him as easy and realistic. But at the base of his poem, there is a philosophical duct. Shin wrote many poems, which were incomparable to any writer and carried out a deeper reflection on old age than anyone else. Shin wanted to accept old age naturally and gain enlightenment. That attitude has much implications for us today.

Pedagogical approaches for developing relational sensibilities in educational leaders

This paper draws from phenomenological research exploring the nature of relationships in education, collaborative research exploring alternative pedagogies in educational leadership programmes and postgraduate students’ experiences of leadership. These inquiries have been brought together with the aim of outlining two pedagogical approaches which evoke an appreciation of, and contemplative stance towards, the relational sensibilities within the lived experiences of practising, emergent and aspiring educational leaders. Relational sensitivity and sensibilities are essential to how leaders show what matters in their immediate context. Relational sensibilities appear to have an enduring and ontological presence within experiences of leadership. Examples include a leader’s attunement, nous, tact and improvisation. In addition, sensibilities include how leaders remain resolute having made a moral judgement. Two pedagogical approaches that deepen leader’s relational sensibilities are outlined. One includes the interpretive and hermeneutic use of experiential stories in inquiries of leadership as a phenomenon. A second pedagogical approach, an appreciative appraisal, involves the application of Appreciative Inquiry to the life-centric nature of an individual’s professional practice. It is critically important that leadership courses engage leaders in pedagogical approaches that engender a deepening appreciation of relational sensibilities in their everyday lives. This concern underpins the need for those in leadership to revisit their everyday humanity as this leads to action sensitive praxis.

Layers of awareness in development

Distinct layers of awareness about objects, people, and the self grow from an implicit biologically given core at birth. Each added layer of subjective experience would correspond to major qualitative shifts: the emergence of a contemplative stance by 2 months, self-consciousness from around 21 months and the manifestation of an ethical stance by 3–5 years. This new “onion” way of looking at psychological experience is meant to capture the fact that a new emerging layer of awareness does not block, re-construct, or fundamentally re-structure “à la Piaget” the expression of those ontogenetically anterior via bounding up equilibration and other reflective abstraction “bootstrapping” mechanisms. In contrast to Piaget's overall representational re-organization, what is proposed here with the onion metaphor model is a multilayer view on consciousness in development, each layer offering a particular zone of awareness through which we constantly navigate depending on the mind state of our being in the world: dozing and dreaming, implicitly or explicitly aware, co-aware, conscious, or co-conscious. The model is illustrated using facts on the early development of pictorial understanding, mirror self-experience, self-consciousness, interpersonal awareness, and sharing awareness in development. The main purpose of the theory is to show that what develop in children between birth and 5 years are ultimately additional ranges of subjective experience, new possibilities of being aware in the world.

OUR AESTHETIC CATEGORIES: Zany, Cute, Interesting by Sianne Ngai (review)

Reviewed by: OUR AESTHETIC CATEGORIES: Zany, Cute, Interesting by Sianne Ngai Douglas Dowland OUR AESTHETIC CATEGORIES: Zany, Cute, Interesting. By Sianne Ngai. Cambridge, MA: Harvard University Press. 2012. For Sianne Ngai, the “zany,” the “cute,” and the “interesting” are aesthetic categories which demonstrate “how aesthetic experience has been transformed by the hypercommodified, information-saturated, performance-driven conditions of late capitalism” (1). That these are “aesthetic” categories is part of Ngai’s point: traditional aesthetic theory has neglected these categories because they seem to be the opposite of the serious, contemplative stance such theory encourages. Ngai’s approach is therefore two-fold: to show how these categories can be read as aesthetic theory; and to show how important they are to our understanding of contemporary culture. There is a lot of work that takes place within these seemingly minor categories. The cute, Ngai argues, is an “uncanny reversal” that triggers both empathy and aversion (87).To regard something as cute is to diminish it, often turning an object into its opposite. Cuteness is therefore paradoxical, as cute objects often seduce us into believing that their cuteness can be grasped and manipulated. The “interesting,” Ngai posits, is a “calm, if not necessarily weak, affective intensity whose minimalism is somehow understood to secure its link to ratiocinative cognition and to lubricate the formation of social ties” (113). People are brought together by what they find to be mutually interesting, which makes “‘serious’ subcultural groups cohere in the first place” (172). As such, to say that something—someone—is interesting is almost an invitation, a way of beginning to build a community. The “zany” “speaks to a politically ambiguous erosion of the distinction between playing and working” (188). The “zany” figure often puts the emotional intensity of play to work, and in doing [End Page 96] so, shrinks the distinction between work and play. The manic, frantic extremes that zany characters engage in are “not just funny but angry,” an indication of a precarious world which never truly stops working (218). Ngai’s range is encyclopedic: while such range is insightful, the book often feels unrestrained as Ngai attempts to negotiate the entire history of modern and postmodern aesthetic theory while simultaneously performing contemporary cultural criticism. The result is a voluminous prose style which not all will have the patience to peruse. But for those who are interested in what traditional aesthetic theory has slighted as marginal, and for those who are interested in the aesthetics of contemporary culture, Our Aesthetic Categories is worthy reading. Douglas Dowland Ohio Northern University Copyright © 2014 Mid-America American Studies Association

Contemplative Chaplaincy? A View from a Children’s Hospice

This study explores a contemplative stance in health care chaplaincy, based on the author’s work in a children’s hospice. It traces the origins and aspects of such an understanding in this context, and how it can interpret aspects of professional practice. it is argued that a contemplative stance contrasts, in particular, with task-orientated approaches, which describe chaplaincy in terms of competencies and capabilities. however, it is contended that, on closer inspection, surprising connections emerge because this stance is in fact a capability which has value in health care, and can enrich the notion of capabilities in chaplaincy. With the particular setting of children’s hospices as its primary focus, this essay also considers some aspects of the significance of this contemplative stance in health care more widely.

Processes of Reflectivity

The aim of this article is to suggest a useful approach demonstrating the focal role of processes of reflectivity in qualitative research. In particular, we distinguish between levels of analysis and analytical procedures for generating and organizing the interpretation of data and meanings in knowledge construction. We argue that reflective processes simultaneously involve both a state of mind and an active engagement. Within this context, reflective processes may refer to deliberate awareness involving both a contemplative stance (state of mind) and intentional activity aimed at recognizing differentness and generating knowledge (active engagement). Specifically, we identify four levels of reflection: observation, informants’ accounts, text deliberation, and contextualization and reconstruction. Simultaneously, we suggest several practical analytical procedures of reflectivity, which emanate from a dialectical line of thinking, including figure and ground, pre-existing expectations, apparent contradictions and opposites, and turning points (epiphanies). The dialectical approach to qualitative inquiry presented here maintains that discrepancies and opposites found at one level of analysis may be reconciled at a higher level of conceptual integration. During this process, the researcher becomes aware of the emergence of new knowledge by being attuned to a sense of differentness. We demonstrate the application of this model utilizing a concrete example taken from a research project evaluating a rehabilitation program for imprisoned male batterers.

Kafka and Photography by Carolin Duttlinger

6oo Reviews which itselfcontains no fewer than four reproductions of'Handstudien' (pictures of Wassermann's hands). The 'Conditio Judaica' section opens with a relatively conventional overview of Wassermann's place inGerman-Jewish literaryhistory by Hans Otto Horch. More penetrating is Markus May's discussion of Wassermann's stronglyhostile attitude to Heine. Gunnar Och documents Wassermann's lifelong fascination with theAhasver figure, while Theo Elm concludes the section by comparing Wassermann with Kafka, contrasting Kafka's literary style, which Elm situates in theTalmudic tradition,with Wassermann's Messianic mysticism, which is related to the tradition of the Kab balah. The section 'Erzahlen' contains a discussion ofDie Kunst der Erzahlung by Dirk Niefanger, and an analysis of narrative technique inDer Aufruhr um den Junker Ernst by Clemens Heydreich. The lengthy final chapter is a highly detailed account of Wassermann's creative process by the leadingWassermann criticDierk Rodewald, using Der FallMaurizius as an example. Rodewald demonstrates Wassermann's style ofworking, including his habit of restarting novels, and concludes by reproducing fourdifferent manuscript endings of the novel, though therewould have been scope formore critical analysis of the significance of the variants and the effect of the revisions thatRodewald enumerates. Hybrid in structure and uneven in the critical quality of itscontributions, thevo lume leaves amixed impression, demonstrating the pitfalls aswell as thebenefits of the current vogue forcollaborations between literaryscholars and museum curators. University of Kent Karl Leydecker Kafka and Photography. By Carolin Duttlinger. Oxford: Oxford University Press. 2007. xiv+28opp. ?55. ISBN 978-0-19-921945-2. This important study examines Kafka's fascination with visual media and, in par ticular, his literary engagement with photographs. Kafka's interest in photography has often been noted but rarely examined in detail, which iswhy the author rightly identifies it as a 'blind spot' inKafka scholarship. In a series of at times stunning textual and visual analyses, Carolin Duttlinger demonstrates that Kafka's writing was to a great extent inspired by a rich archive of visual material. In addition, he consistently reflected on the nature and ambiguities of media technologies and, moreover, tested the usefulness of the photographic medium for literature.By high lighting surprising visual linkages between Kafka's diaries, his correspondence, and his literarywriting, the book makes a compelling argument that his literary style and narrative strategies cannot be fullyunderstood without recognizing the complex ways inwhich his writing is embedded inmodern media culture. The study firstsituates Kafka's engagement with photographs in relation to the fundamental changes in visual culture that took place in the late nineteenth and early twentieth centuries; it then turns to Kracauer, Adorno, and Benjamin, some of the firstreaders to recognize the photographic dimension ofKafka's writing and to suggest thathis work, in itsvisual quality, demands not only interpretation but MLR, 104.2, 2009 601 also a careful 'illumination'. In the subsequent six chapters Duttlinger demonstrates what such an illumination may look like through a series of careful readings that traceKafka's initial fascination with photography tohis increasing scepticism about the representational value of themedium. In her discussion of the early diaries Duttlinger shows thatKafka's exploration of photography was preceded by crucial experiences with two other media, the cinema and theKaiserpanorma. Kafka har boured deeply ambivalent feelings about cinematic images, which enhanced visual experience but, at the same time, also fragmented perception and made of the observer a passive spectator. In contrast, in theKaiserpanorma Kafka discovered a visual experience that afforded the viewer more self-control and a contemplative stance approximating thatbefore photographs. The desire to find a balance between cinematic and photographic modes of per ception also informs the novel Der Verschollene. Suggesting that the text resembles a photographic slide-show', Duttlinger shows thatKafka not only adopted many actual photographs for the novel's setting but also began to use photography as a strategyfor literary writing. In addition, Der Verschollene exposes the function of the bourgeois familyphotograph as a disciplinary tool and itsrole in the construction of authority, a theme that is also at the heart ofDuttlinger's analysis ofDie Verwand lungy where photographic images are revealed as both controlling and subversive. In Kafka's letters to Felice, on the other hand, photographs take on a fetishistic quality, figuring as...

Current Status and Future Trends in the Automation of Mineral and Metal Processing

A review of the current status and future trends in the automation and control of mineral and metal processing is presented in this paper. The presentation is based partly on a larger study by the IFAC Technical Committee on Mining, Mineral and Metal Processing (MMM), which prepared a contemplative stance on the MMM industry. The purpose of the study is to present a brief overview of the control techniques or methods used in this industry, to give typical applications of such techniques, and to discuss supportive technologies that form a critical part of the implementation of such techniques. It also aims to identify techniques, applications and supportive technologies that are actively used or which are emerging as potential winners in the future. Evaluation of publications on IFAC MMM events during the last 20 years also shows some trends in the application of a number of process control methods in the MM industry. One aim of this paper is to review the success of the translation of theoretically based developments into practice.

A contemplative stance on the automation of continuous casting in steel processing

Abstract This paper gives a contemplative stance on the automation of continuous casting in steel processing. It gives a brief overview of the control techniques used in this industry, typical applications of such techniques, and discusses supportive technologies that form a critical part of the implementation of such techniques. The casting process and operational issues are described. Particular attention is paid to production planning and scheduling, computer-aided quality control, and the crucial role that instrumentation plays in the automation of a caster. The importance of integrating casting automation systems into plant wide production systems, and the development of new instrumentation, are highlighted.

A contemplative stance on the automation of continuous casting in steel processing

This paper gives a contemplative stance on the automation of continuous casting in steel processing. It gives a brief overview of the control techniques used in this industry, typical applications of such techniques, and discusses supportive technologies that form a critical part of the implementation of such techniques. The casting process and operational issues are described. Particular attention is paid to production planning and scheduling, computer-aided quality control, and the crucial role that instrumentation plays in the automation of a caster. The importance of integrating casting automation systems into plant wide production systems, and the development of new instrumentation, is highlighted.

Contemplative stance on the automation of MMM processing: State of the art in hot rolling process control

In order to improve quality of hot rolled products, high performance sensors and actuators, precise mathematical models and advanced control systems have been developed. This paper describes the state of the art in hot rolling process control.

A contemplative stance on the automation of the mining, mineral, and metal processing industry (MMM) an IFAC report

A contemplative stance on the automation of the mining, mineral, and metal processing industry (MMM) an IFAC report

Contemplative stance for chemical process control: An IFAC report

To quickly and accurately obtain the multi-dimensional state in a sealing reactor is critical for the safety and high performance of industrial system. In this work, a generic machine learning based multi-dimensional soft sensor and a long-term calibration scheme is proposed by using the case of steam reforming solid oxide fuel cell (SR-SOFC) system. Firstly, based on a validated SR-SOFC system model, the temporal-spatial temperature distribution (TSTD) characteristics are analyzed and a TSTD characteristic model is constructed by Multivariable Linear Regression. Then, the central node temperature of the stack is estimated by applying the Least Square Support Vector Machine and the SR-SOFC stack temperature distribution is accurately obtained by explaining the TSTD characteristics model with the central node temperature. In addition, the temperature distribution is calibrated by Stochastic Gradient Descent algorithm to eliminate the estimation error resulting from stack degradation in a long term. The simulation results show that the proposed method can obtain the SR-SOFC stack temperature distribution in time and effectively, the average error is less than 1 K. The proposed estimation strategy can be easily expanded to other scenarios with similar operation conditions.