Modal liquid crystal microaxicon array

A novel tunable liquid crystal microaxicon array is proposed and experimentally demonstrated. The proposed structure is capable of generating tunable axicons (thousands of elements) of micrometric size, with simple control (four control voltages) and low voltage, and is totally reconfigurable. Depending on the applied voltages, control over the diameter, as well as the effective wedge angle, can be achieved. Controls over the diameter ranging from 107 to 77 μm have been demonstrated. In addition, a control over the phase profile tunability, from 12π to 24π radians, has been demonstrated. This result modifies the effective cone angle. The diameter tunability, as well the effective cone angle, results in a control over the nondiffractive Bessel beam distance. The RMS wavefront deviation from the ideal axicon is only λ∕3. The proposed device has several advantages over the existing microaxicon arrays, including being simple having a low cost. The device could contribute to developing new applications and to reducing the fabrication costs of current devices.

Tratamiento N-categorial de la lógica de la programación

En el contexto de las técnicas de validación de programas, de las estructuras de axiomatización de la programación planteadas por Hoare y del desarrollo de la Lógica de la Programación que Dijkstra realiza con el operador wp, hemos dotado a los elementos esenciales que intervienen en dicho desarrollo de una estructura que permite su estudio en el ámbito de las categorias. En este trabajo se demuestra que el conjunto de precondiciones de un fragmento de programa anotado tiene estructura de N-categoría y que sucede lo mismo con el conjunto de postcondiciones. Más aún, se ha puesto de manifiesto (y probado) que el operador wp actúa como un funtor entre estos pares de N-categorías. Además, los conjuntos de guardas surgen de un modo natural en la lógica de la programación, han sido tratados desde el punto de vista de la semántica denotacional (Wlrth para el PASCAL y Scott y otros, después, en un enfoque más general) y presentados por Manes y Arbib en su semántica parcialmente aditiva. Pues bien, en este trabajo se demuestra que los conjuntos de guardas tienen también estructura de N-categoría y gue cualguier N-categoría dotada de una suma definida adecuadamente tiene estructura de conjunto de guardas, de tal modo, además, gue el preorden inducido por la suma en el conjunto de guardas coincide con la flecha de la N-categoría. Esta suma es, en concreto, la disyunción exclusiva, lo que adicionalmente supone una sorprendentemente sencilla definición alternativa a la suma de las categorías parcialmente aditivas definida por Manes y Arbib. Con todo esto, se aportan herramientas conceptuales para entender mejor y resolver más eficientemente los problemas que tiene planteados la lógica de la programación, pues se dispone de un punto de vista distinto y nuevo y de toda una familia de instrumentos adicionales.---ABSTRACT---In the context of program validation techniques, Hoare's systems for programming and Dijkstra's development of the logic of programming, based on the operator wp, we have endowed the essential features of this development with a structure that permits to study them in the frame of category theory. In this thesis we show that the set of preconditions of an annotated program segment is an N-category, and the same happens for the set of postconditions. Even more, it is shown that the operator wp acts as a functor between those pairs of Ncategories. Furthermore, guard sets come out in a natural way in the logic of programming, they have been considered from a denotational semantics point of view (Wirth for Pascal and afterwards Scott and al. in a more general setting) and they have been embodied by Manes and Arbib in their partially additive semantics. Then, it is shown in this thesis that the above mentioned guard sets also have the structure of an N-category and that any N-category with an appropiately defined sum has the structure of a guard set in such a way that, besides, the preorder defined in the guard set by the sum operation coincides with the arrows of the N-category. This sum is just the exclusive or of Boolean Logic and this fact adds a surprisingly simple alternative definition for the sum operation in Manes and Arbib partially additive categories. The present work, in summary, makes a contribution of conceptual tools for a better understanding and a more efficient solution of the problems posed to the logic of programming and it does so by providing a new different point of view and a whole family of additional techniques.

State space models for multi-setup operational modal analysis

Operational Modal Analysis consists on estimate the modal parameters of a structure (natural frequencies, damping ratios and modal vectors) from output-only vibration measurements. The modal vectors can be only estimated where a sensor is placed, so when the number of available sensors is lower than the number of tested points, it is usual to perform several tests changing the position of the sensors from one test to the following (multiple setups of sensors): some sensors stay at the same position from setup to setup, and the other sensors change the position until all the tested points are covered. The permanent sensors are then used to merge the mode shape estimated at each setup (or partial modal vectors) into global modal vectors. Traditionally, the partial modal vectors are estimated independently setup by setup, and the global modal vectors are obtained in a postprocess phase. In this work we present two state space models that can be used to process all the recorded setups at the same time, and we also present how these models can be estimated using the maximum likelihood method. The result is that the global mode shape of each mode is obtained automatically, and subsequently, a single value for the natural frequency and damping ratio of the mode is computed. Finally, both models are compared using real measured data.

Arquitectura modal o ensamblaje de repertorios, procesos y disposiciones

En muchas ocasiones se ha establecido una crítica sobre la excesiva disposicionalidad estética del arquitecto: el abuso subjetivista, un innatismo desligado del entorno socioambiental o su desafección hacia las necesidades y los requerimientos pertinentes del usuario final, buscando, principalmente, la objetivación cultural como expresión personal e individualista. Criticas que responden a un malestar persistente, que subyace a la práctica arquitectónica. En otras ocasiones se han ideado y propuesto tentativas o aproximaciones para la corrección y regulación de dicho “exceso”. En busca de la “pretendida objetividad”, éstas han recurrido a un pasado prístino, a una tradición inconsciente, colectiva e impersonal, a la ausencia de autoría, a lo artesanal y a lo vernáculo. También hacia un futuro tecnocrático: al mesianismo basado en la máquina, la ciencia, los métodos y el progreso tecnológico. La búsqueda de un lenguaje compartido, de un diseño sistemático y de una adecuación funcional han establecido nuevos excesos –repertoriales-, relegando la creatividad y la concepción estética a un plano casi inexistente, subordinándolo a variables de diseño externas a la autoría y la expresión subjetiva del diseñador. Esta tensión se ha saldado en una pugna de binomios categoriales que reducen la realidad a un dualismo aporético y contrapuesto, difícilmente superable. El propósito articulatorio de dichas posturas, en modelos ontológicos integrales, permite la incorporación de dichas categorías bajo estructuras y ensamblajes que despliegan los modos de relación, mediación y producción arquitectónicas. Estos ensamblajes combinan los distintos agentes –disposicionalidades- y sus repertorios en cada una de las fases del proceso arquitectónico, construyendo modos de acción y relación en base a los acoplamientos diferenciales, que devienen en técnicas y dinámicas de producción arquitectónica. Cada modo integrará diversas variables en base a los modelos propuestos -estratos, períodos y polos- y a la elección intencional –“situada”- de cada práctica: la Autonomía Modal Arquitectónica. El producto final de cada modo –o ensamblaje- será inconmensurable, estableciendo sistemas y métodos diversos para la práctica estética, sin que por ello esté garantizado el valor o éxito del resultado. ABSTRACT On many occasions an aesthetic criticism of the excessive disposition of the architect´s subjectivist abuse, innate posture detached from socioenvironmental issues or disaffection regarding the needs and requirements of who -or what- will finally use it has been brought up mainly in pursuit of a cultural objectification as a personal expression and an individualistic one. It is a criticism which goes hand in hand with a persistent uneasiness which is interwoven in the architectural practice. On other occasions we have seen ideas, attempts and approaches developed and proposed in order to correct, improve or adjust that so-called “excess”. In the search for this " expected objectivity" theorists have resorted to delving into a pristine past, an unconscious tradition both collective and personal, to the absence of authorship, regarding craft and vernacular. The pursuit of a common language, a systematic design and a functional adequacy has established new excesses -repertoires-, leaving behind creativity and aesthetic conception at an almost nonexistent level and subordinating it to variables outside the authoring design and subjective expression of the designer. This tension has resulted in a conflict between categorical binomial, which reduces reality to an aporetic and opposed dualism which is not easily overcome. The purpose of such articulatory positions in comprehensive ontological modals allows for the incorporation of those categories under structures and assemblies which display and unfold different models of relationship, mediation and production of architecture. These assemblies combine different agents - disposition - and their repertoires in each of the phases of the architectural process, building actions and relational modes based on the differential couplings, which become techniques and dynamics in architectural production. Each mode will integrate several variables within the proposed ontological models - strata, periods and poles - based on an intentional choice –“situated knowledge”- of each practice: Architectural Modal Autonomy. The final product of each mode -or assembly- will be immeasurable, establishing different systems and methods for aesthetic practice without the value or success of the outcome ever being guaranteed.