Magnetic Properties of Sputtered Permalloy/Molybdenum Multilayers

In this work, we report the magnetic properties of sputtered Permalloy (Py: Ni80Fe20)/molybdenum (Mo) multilayer thin films. We show that it is possible to maintain a low coercivity and a high permeability in thick sputtered Py films when reducing the out-of-plane component of the anisotropy by inserting thin film spacers of a non-magnetic material like Mo. For these kind of multilayers, we have found coercivities which are close to those for single layer films with no out-of-plane anisotropy. The coercivity is also dependent on the number of layers exhibiting a minimum value when each single Py layer has a thickness close to the transition thickness between Neel and Bloch domain walls.

'Enhancement of the crystallization process of TbxFe1-x thin films upon the formation of alpha-Tb phase'

TbxFe1−x thin films deposited by sputtering on Mo were investigated structurally and magnetically. The microstructure consists of TbFe2 nanoparticles embedded in an amorphous matrix, and the Tb content can be correlated with an increase in the volume of these nanoparticles. Similar microstructure and behavior were found when TbFe2 was deposited on glass and on a Pt buffer layer. Nevertheless, thermal treatments promote a different effect, depending on the mechanical stiffness of the buffer layer. The layers deposited on Mo, a rigid material, show crystalline TbFe2 together with α-Tb phase upon thermal treatment. In contrast, TbFe2 does not crystallize properly on Pt, a material with a lower stiffness than Mo. Intermediate results were observed on the film deposited on glass. Experimental results show the impact of the buffer stiffness on the crystallization process. Moreover, the formation of α-Tb appears to be fundamental to crystallized TbFe2 on layers deposited on rigid buffers

Removing superfluous versions in polyvariant specialization of prolog programs.

Polyvariant specialization allows generating múltiple versions of a procedure, which can then be separately optimized for different uses. Since allowing a high degree of polyvariance often results in more optimized code, polyvariant specializers, such as most partial evaluators, can genérate a large number of versions. This can produce unnecessarily large residual programs. Also, large programs can be slower due to cache miss effects. A possible solution to this problem is to introduce a minimization step which identifies sets of equivalent versions, and replace all occurrences of such versions by a single one. In this work we present a unifying view of the problem of superfluous polyvariance. It includes both partial deduction and abstract múltiple specialization. As regards partial deduction, we extend existing approaches in several ways. First, previous work has dealt with puré logic programs and a very limited class of builtins. Herein we propose an extensión to traditional characteristic trees which can be used in the presence of calis to external predicates. This includes all builtins, librarles, other user modules, etc. Second, we propose the possibility of collapsing versions which are not strictly equivalent. This allows trading time for space and can be useful in the context of embedded and pervasive systems. This is done by residualizing certain computations for external predicates which would otherwise be performed at specialization time. Third, we provide an experimental evaluation of the potential gains achievable using minimization which leads to interesting conclusions.

Agent Programming in Ciao Prolog

The agent programming landscape has been revealed as a natural framework for developing “intelligence” in AI. This can be seen from the extensive use of the agent concept in presenting (and developing) AI systems, the proliferation of agent theories, and the evolution of concepts such as agent societies (social intelligence) and coordination.

Implementación de un interferómetro de difracción puntual con un monopíxel de cristal líquido

En este trabajo se presenta la implementación de un interferómetro por difracción puntual construido con un monopíxel de cristal líquido. En primer lugar se ha fabricado un monopíxel de cristal líquido con alineamiento paralelo de unas dimensiones de 3x3 cm2, en el que el electrodo cubre toda la superficie excepto en un orificio central de unas 50 ?m. Este orificio es el que actuará como punto difractor. Aplicando diferentes tensiones se puede cambiar la fase de la onda que llega al píxel en relación al punto central. Se ha construido un interferómetro con este elemento. Se captan 4 interferogramas con lo que se puede obtener la distribución de amplitud y fase de la onda. Se aplica este sistema para obtener un holograma digital y enfocar digitalmente diferentes planos de un objeto tridimensional.

Foundations of a New Interaction Paradigm for Immersive 3D Multimedia

Immersion and interaction have been identified as key factors influencing the quality of experience in stereoscopic video systems. The work presented here aims to create a new paradigm for 3D Multimedia consumption exploiting these factors in order to increase user involvement. We use a 5-sided CAVETM environment to support 3D panoramic video reproduction, real-time insertion of synthetic objects into the three-dimensional scene and real-time user interaction with the inserted elements. In this paper we describe our system requirements, functionalities, conceptual design and preliminary implementation results emphasizing the most relevant challenges accomplished. The focus is on three main issues: the generation of stereoscopic video panoramas; the synchronous reproduction of immersive 3D video across multiple screens; and, the real-time insertion algorithm implemented for the integration of synthetic objects into the stereoscopic video. These results have been successfully integrated into the graphic engine managing the operation of the CAVETM infrastructure.

Experimental Prototype Merging Stereo Panoramic Video and Interactive 3D Content in a 5-sided CAVETM

Immersion and interaction have been identified as key factors influencing the quality of experience in stereoscopic video systems. An experimental prototype designed to explore the influence of these factors in 3D video applications is described here1. The focus is on the real-time insertion algorithm of new 3D models into the original video streams. Using this algorithm, our prototype is aimed to explore a new interaction paradigm ? similar to the augmented reality approach ? with 3D video applications.

A proposed two-stage two-tether scientific mission at Jupiter

A two-stage mission to place a spacecraft (SC) below the Jovian radiation belts, using a spinning bare tether with plasma contactors at both ends to provide propulsion and power,is proposed. Capture by Lorentz drag on the tether, at the periapsis of a barely hyperbolic equatorial orbit, is followed by a sequence of orbits at near-constant periapsis, drag finally bringing the SC down to a circular orbit below the halo ring. Although increasing both tether heating and bowing, retrograde motion can substantially reduce accumulated dose as compared with prograde motion, at equal tether-to-SC mass ratio. In the second stage,the tether is cut to a segment one order of magnitude smaller, with a single plasma contactor, making the SC to slowly spiral inward over severalmonths while generating large onboard power, which would allow multiple scientific applications, including in situ study of Jovian grains, auroral sounding of upper atmosphere, and space- and time-resolved observations of surface and subsurface.

Jerónimo Sánchez Carranza y la Escuela Española de Esgrima

El deporte de la esgrima no siempre ha sido considerado como actualmente se conoce, ni tampoco el empleo de las armas ha sido el mismo en las diferentes épocas de la historia. Si nos centramos en la española, podemos decir que se hablaba de una forma particular de hacer esgrima, la cual era muy apreciada por el resto de los países europeos. También lo era la que se hacía en Italia. Como cualquier actividad que se desarrolla a lo largo del tiempo debe generarse desde unos comienzos. Estos comienzos siempre están en relación a alguna causa. Para centrarnos en nuestro estudio, los comienzos del manejo de la espada, de una manera lógica y razonada, se une en la persona y en la vida de Jerónimo Sánchez Carranza porque hasta que él no se decide a estudiar en profundidad la ciencia de las armas, no se ve con claridad si todo lo que se hacía con ellas era correcto o no y si todo lo que la inmensa mayoría hacía cuando tenía que utilizarlas estaba revestido de cierta coherencia y fundamento, es decir, tenía su verdad que se pudiera demostrar. Carranza estudia la esgrima que se empleaba en su época y en las anteriores y se da cuenta que tiene que dar una nueva visión de la forma de usar las armas, diferente a lo que la gran mayoría entendía hasta entonces. A Carranza se le ha considerado por muchos autores como el inventor de la esgrima española, hecho que se puede leer con bastante facilidad si se hojea algún tratado que hable de la esgrima española, sin embargo también se habla de Luis Pacheco de Narváez asignándole el mismo calificativo, aunn- ;o es posteriora Carranza. or tanto nuestro estudio se ha centrado en la vida de Jerónimo Sánchez Carranza y en ueva forma de emplear las armas por lo que hace que la tesis sea una tesis biográfica de dicho personaje, donde se ha resaltado mucho más el aspecto del manejo de las armas, de la Destreza. Partimos de las siguientes hipótesis: Carranza es el que sienta los principios técnicos dando forma y coherencia a la escuela de esgrima española gracias a sus aportaciones en los distintos aspectos metodológicos, técnicos y tácticos. La escuela de esgrima española tiene una estructura interna, responde a unas características determinadas y sirve de base a la esgrima que posteriormente se practica. Para que el estudio se pudiera llevar a cabo tuvimos que diseñar un esquema donde se pudieran recoger todos los aspectos que estuvieran relacionados con nuestro autor, de ahí surge el porqué de cada uno de los capítulos que hemos confeccionado. Dicho esquema responde a la visión actual de diferentes facetas de lo que hoy se estudia en diversas ciencias y que cuando Carranza vivía aún no se conocían. Para recoger información sobre su persona y su obra tuvimos en cuenta los distintos lugares donde se podía localizar la documentación necesaria, sobre todo Bibliotecas y Archivos, para ir confeccionando el método de trabajo que consistió en la recopilación de fuentes de todo tipo referidas al tema, pasando luego a la interpretación de las mismas. Esto nos dio una visión de conjunto que hizo que nos adentráramos en aquellos aspectos que más tarde tendríamos que analizar con mucho más detenimiento. En la tesis se puede observar dos partes bien diferenciadas que son las relacionadas; por un lado, a su vida y su tratado y, por otro, al contenido de sus teorías que son realmente las que se deben analizar necesariamente bajo unos conocimientos específicos de la actividad de la esgrima. En cuanto a su vida, se han destacado y estudiado los hechos más importantes de los que hay que resaltar, sobre todo, el que fuera considerado como el inventor de la destreza y de la manera tan particular de concebir dicho arte, diferente a lo que hasta ahora se venía haciendo y que dio paso a lo que se entendió por esgrima científica, quedando plasmada de tal manera que dio pie a la creación de una doctrina y una nueva forma de entender la esgrima la cual generó una línea de actuación que fue continuada por numerosos seguidores. Para todo ello tuvo mucho que ver el que Carranza fuera militar, la cultura y los estudios que poseía, así como la situación en la que se encontraba España además de la gente con quien se relacionaba, que por lo general, era gente culta y de clase social alta. Se ha estudiado también dentro del mismo apartado de su vida unos hechos que se le imputan y que en nuestra opinión son erróneos. Hemos considerado como más relevantes el que Carranza no fue quien riñó con Quevedo como se afirma en algunas de las obras que hemos tratado, sino que fue Pacheco quien tuvo dicha riña, ya que más bien Quevedo se mostraba partidario de las enseñanzas de Carranza, estando en contra de Pacheco. Tampoco fue quien inventó el florete como se dice en algunas ocasiones, ya que el florete aparece posteriormente como un arma de estudio de la técnica de la esgrima. Con respecto al apartado de su obra, se debe decir que tan solo escribió un único tratado que se publicó en 1582, aunque estaba acabado desde el año 1569. En el apartado de su escuela se debe destacar los fundamentos en los que basó sus postulados para que la destreza alcanzara el mismo nivel de las demás artes liberales y que lo hizo a través del estudio de la propia destreza. A lo largo del estudio que hemos realizado se puede apreciar cómo se está generando un arte que hasta ahora no había sido estudiado, viéndose los problemas que ello suponía, desde la organización de la materia a tratar, hasta cómo se debía enseñar, pasando a veces a tener que denominar conceptos de nueva aparición o renombrar y modificar antiguos que estaban anclados en puntos de partida equivocados, siendo éstos los que mayor trabajo le supuso. Diferencia bien dos aspectos básicos que debían existir en cualquier arte y más concretamente en la destreza que son: la teoría y la práctica, ambas deben estar en base a la razón ya que sería una de las formas por la que la destreza perduraría en el tiempo, junto con que esta razón estuviera apoyada en otras ciencias y con los principios de ellas. Carranza fue de la opinión de que el diestro debía conocer mediante el estudio, los elementos fundamentales con los que había que trabajar la destreza, estos elementos son el cuerpo del diestro y las armas, porque ambos van a intervenir en cualquier gesto o acción que se vaya a realizar. Del cuerpo estudió cada una de las partes que más importancia tiene cada vez que el diestro interviene y lo hace sobre todo en base a la medicina, relacionándolo con las matemáticas para poder sacar el máximo provecho, aconsejando que por el conocimiento del propio cuerpo, como el del contrario, se podrá emplear en determinadas situaciones, que si no se supiera de ello, no se sacaría el mismo resultado. De las armas lo que más resaltó fue, por un lado, que la espada debía ser el único arma que el diestro debía utilizar y, por otro, el hecho de que la espada la graduara para poder demostrar que no se hacia todo igual con las distintas partes de la misma porque no todo el arma tenía las mismas propiedades cuando se actuaba con ella. Una de las recomendaciones que dio fue que con la parte más próxima a la empuñadura se debía practicar la defensa por tener más fuerza con esta parte que con la punta y lo demostró con principios matemáticos. Se puede ver con la lectura de la tesis cómo Carranza aporta una nueva forma de trabajo en la que le da mucha importancia a la aplicación de los conocimientos, que previamente se han adquirido y para ello, es importante conocer bien los puntos fuertes y débiles del adversario. La adquisición de la práctica se debe realizar a través de la repetición para crear el hábito necesario que haga que el gesto salga fluido en cada uno de los movimientos que el diestro ejecute. Todo esto no sería posible si quien lo enseña no conoce cada uno de los elementos que intervienen en la destreza, por tanto, a la figura del maestro le da un lugar de una gran relevancia, ya que va a ser él quien tenga que guiar a los alumnos que enseñe. Lo primero que debe hacer los maestros es procurar saber lo máximo de la materia que va a enseñar, por lo que el maestro debe saber casi todo sobre la teoría y la práctica de la destreza, pero además esta teoría y práctica debe ser la correcta. Carranza persigue con su estudio, establecer los principios de la destreza, por lo menos, los más importantes, aunque fueran elementales, para que posteriormente se siguiera trabajando sobre ellos y poder conseguir que la destreza tenga cuerpo y forma de arte liberal, pudiéndose estudiar como cualquier otra, así de esta manera se haría un bien público, ya que los jóvenes se instruirían eficazmente en el uso de las armas, aunque el verdadero fin se encuentra en la conservación de la vida como manda la Fe Católica, siendo la destreza uno de los medios más eficaces para conseguirlo. Hemos dedicado un apartado de técnica y de táctica donde se refleja todo lo relacionado con las posiciones y movimientos que debe realizar el diestro para llegar a conseguir su objetivo, que es herir sin ser herido. Se han analizado las distintas tretas y el porqué de cada una desde el punto de vista del gesto y del movimiento. Si lo que se hace en destreza se relaciona con el adversario, nos adentramos en el terreno de la táctica donde se han estudiado como más importantes los conceptos del tiempo y la distancia, así como las energías que debe conservar el diestro para poder llevar a cabo un combate y del mismo salir victorioso sin llegar al agotamiento. Concluimos diciendo que de todo el estudio que se ha realizado, se ha podido comprobar que Carranza fue quien dotó a la destreza de unos principios técnicos, tácticos y metodológicos, por su forma de concebir este nuevo arte, así como que por la manera en que estableció sus teorías hizo que la destreza que se practicaba en España disfrutara de una estructura interna coherente que perduró a través de los años. SUMMARY The sport of fencing has not always been the respected sport that we know it to be today ñor has the use of weapons been the same throughout history. If we concéntrate on Spainish weapons, we can say that one particular type of sword ¡s spoken about. this sword being very respected by outher European countries, it was also the one that was respected and used in Italy. As with any activity that develops in time, it must evlove from some simple beginnings. Such basics beginnings are always in relation to a cause. To concéntrate on our study, the beginnings are, the use of the sword in a reasoned and logical manner, brought together in the life and times of Jerónimo Sánchez Carranza because until he decided to study in depth the science of weapons, we cannot see with calrity if their use was correct or not and if the vast majority , when they had to use them, used any foundation or coherence, that ¡s to say if any exactness of logical use could be demonstrated. Carranza studied the sword used in his time and those that had gone before, bearing in mind that he had a new visión of the form of use of weapons, different to what the vast majority had until then understood. Carranza has been considered by many historians as the inventor of the Spanish sword, a fact which can be seen with relative ease if one flicks through any work which deals with the Spanish sword, however, they also speak of Luis Pacheco de Narváez affording him the same title, even though he followed Carranza. In ar H our study has been centred on the life of Jerónimo Sánchez Carranza and his ne-" use of weapons. In effect this thesis is a biographical thesis of the said wherein the aspect of the use of weapons stands out more than their mastery. Given the following hypothesis: It was Carranza who evolved the first techniques giving form and coherence to the .Spanish School of Fencing, thanks to his contributions to the different aspects of method, íechnique and tactic. The Spanish School of Fencing had an ¡nternal structure anaswerable to pre-detremined characteristics and served as a base for the fencing that was to, in later days, be practised. For this study to come to a head, we had to design a plan wherein we could collate all of the aspects we could, related to our inventor. From there springs the reason for each of the chapters that we have put together. The said plan responding to the actual visión of different facets that are studied today in different sciences, that were not known in Carranza's lifetime. To collect information on his person and his works we bore in mind the different places in which we could lócate the necessary documentation, above all in libraries and archives. Developing the work-method that consisted in extracing from every source, every thing relative to the theme, re-writing later our interpretation of the same. This brought us closer and made us focus of those aspects that much later we would have to analize in greater detail. In the thesis one can observe two defferent parts that are related; on the one hand his life and works and on the other his theories, which are those that should be really analised and as such, necessarily analised within the confines of a specific knowledge of fencing. In that his life has been isolated and studied the most important facts that stand out above all, is that he was considered to be the inventor of swordmanship and the particular manner of interpreting the said art, different to its interpretaion uptil then. It gave a footing to what they understood as scientific fencing, giving shape and form to the creation of a doctrine and a new form of fencing which developed a line of action that was continued by numerious followers. For all that, much had to do with the facts that Carranza was a military man, the culture, the level of studies he had and the situation in which he found himself. What's more the people with whom he mixed were, in general, cultured and of high social standing. We have also seen in the same article on his life some dubious facts which in our opinión are erróneos. We have considered the most relevent to be that it wasnt Carranza who was in dispute with Quevedo as is stated in some of the works with which we have dealt but rather it was with Pacheco he had such disputes. What's more Quevedo demonstrated his partiality to the teachings of Carranza, going against Pacheco ñor was it him who invented The Florete, a famous Spanish sword, as was said on some ocassions, eventhough the florete appeared later as a weapon in the study of fencing technique. With respect to the article on his works, we must say that there was only one article which was published in 1582, even though it was finished in 1569. In the article on his life one must distinguish between the foundations on which he based his teachings in which swordmanship reached the same levéis as other libral art forms and what he did through the study of the self same mastery. Throughout the study which we have done, one can appreciate how he was developing an art which uptill then had not been studied, seeing for himself the problems he had fortold, from the organisation of materials at hand to how it should be taught, at times having to domínate comparative concepts again or clarify and modify ones which were anchored in erróneos points of a fencing match, feeling these to be the main forseeable jobs-at-hand. Differenciating between two basic concepts which must exist in whatever arte form and more concretly in the skill that is; the theory and practice , both being fundamental to the reason why the skill endured through time, together with this reason he was supported by other sciences and the beginnings of such. Carranza was of the opinión that the swordsman must acquired by way of study, the fundemental elements with which he had to work, these elements being the body of the swordsman and the weapons, because both were going to intervene in whatever movement or action that was going to be taken. The body studied, each of the parts having more importance each time the skill intervened and above all what it did based on medicne relating it to matemathics to exact the máximum advantage, one could employ in certain circumstances, that if they were not employed, the same advantages would not result. On weapons, what resulted best was, on the one hand, the sword should be the only weapon that the swordsman should use and on the other hand, the sword should be graded to show that one cannot do the same with the different parts of the same because not all of the weapon had the same properties when used. One of the recomendations he made was that the part nearest to the hand-guard should be used for defence because one could use more forcé with it than the point and he demonstrated this with mathematical principies. One can see on reading this thesis how Carranza brought forth a new work form, in which he put much importance on the application of experience that had previously been acquired and because of it, it was important to know well the strenghts and weaknesses of an adversery. The acquisition of technique should be realised through repetition to form the habit necessary for movement to flow freely each time the swordsman executed a movement. None of this would be possible if whoever was teaching did not know each one of the elements that intervened, affording the fencing master a great reverence, in that it was he who had to guide the students he was to teach. The first thing that the master had to do was to make sure he had the maximun knowledge over which he was going to teach, to that end, the master had to know almost everything about the theory and practice of the skill of fencing but what's more that such theory and practice had to be the correct one. Carranza persued his studies, establishing the principies of technique, at least, the most important ones even though they were elementary, so that later they could continué working on them and it could be seen that the technique had a shape and form of any other art form, allowing it to be studied like any other form, as such it had a good following, even young people could be instructed in the correct use of weapons, however the real end could be found in the conservaron of life as ordered by the Catholic Church, feeling that skill with the sword was one of the most effective methods for assuring it. We have dedicated an article to technique and tactics wherein is reflected everything related to positions and movement that the swordsman must do to achieve his objective, that is, wound without being wounded. We have analised the different tricks and the reasons from every point of view of movement and action. If what is done by technique is related with the adversery we enter in the territory of tactics wherein we have studied, most importantly, the concepts of time and distance just as, the energy the swordsman muse conserve to bring to a head a bout and arrive victorious without being exhausted. We conclude by saying that everything that has been realised by this study, has shown that it was Carranza who gave to the skill, the first basic techniques, tactics and methodology, by his conception of this new art form, just as the manner in which he established his theories, made possible the tecnhiques practiced in Spain would enjoy an intemal coherent structure, which would endure throughout the years.

José Luis Sánchez y Luis Cubillo: entre el románico y la vanguardia

Comunicación realizada a partir de una entrevista realizada al artista José Luis Sánchez, centrándose en su colaboración en la arquitectura religiosa de Luis Cubillo

Point diffraction interferometer with a liquid crystal monopixel

In this work a novel point diffraction interferometer based on a variable liquid crystal wave plate (LCWP) has been implemented. The LCWP consists of a 3x3 cm2 monopixel cell with parallel alignment. The monopixel cell was manufactured such that the electrode covers the entire surface except in a centered circular area of 50 μm of diameter. This circle acts as a point perturbation which diffracts the incident wave front giving rise to a spherical reference wave. By applying a voltage to the LCWP we can change the phase of the wave front that passes through the monopixel, except at the center. Phase shifting techniques are used in order to calculate the amplitude and phase distribution of the object wave front. The system allows a digital hologram to be obtained, and by using the Fresnel diffraction integral it is possible to digitally reconstruct the different planes that constitute the three dimensional object.

Experiences and methodology in a multidisciplinary energy and architecture competition: Solar Decathlon Europe 2012

Solar Decathlon Europe is an international competition among universities which promotes interdisciplinary learning in engineering and architecture. Students from different disciplines participate in teams guided by several professors during a 29 month preparation period plus five weeks of on-site contest. The educational project involves designing, building and testing a solar energy house connected to the electrical grid with the strategy of maximizing self-consumption, supported by bioclimatic technologies and maintaining a low environmental footprint. It culminates in a on-site contest in which teams must assembly the house themselves, test it with ordinary real life tasks and finally disassembly it. The event has also a divulgative aim, trying to make students and visitors get interested in discovering the problems presented by real engineering and architecture applications. In addition, SDE covers R&D aspects in different fields such as energy efficiency, solar energy and bioclimatic architecture. This article presents the methodology followed during the SDE 2012 edition, in which more than 850 students participated. The obtained results show that the educational competition was a success according to the technical and professional ambitions of the students, most of them considering that their knowledge had increased in areas related to technical and multidisciplinary aspects.

Passive design strategies and performance of Net Energy Plus Houses

The first step in order to comply with the European Union goals of Near to Zero Energy Buildings is to reduce the energy consumption in buildings. Most of the building consumption is related to the use of active systems to maintain the interior comfort. Passive design strategies contribute to improve the interior comfort conditions, increasing the energy efficiency in buildings and reducing their energy consumption. In this work, an analysis of the passive strategies used in Net Energy Plus Houses has been made. The participating houses of the Solar Decathlon Europe 2012 competition were used as case studies. The passive design strategies of these houses were compared with the annual simulations, and the competition monitored data, especially during the Passive Monitored Period. The analysis included the thermal properties of the building envelope, geometric parameters, ratios and others passive solutions such as Thermal Energy Storage systems, evaporative cooling, night ventilation, solar gains and night sky radiation cooling. The results reflect the impact of passive design strategies on the houses' comfort and efficiency, as well as their influence in helping to achieve the Zero Energy Buildings category.