UPM Activities on Sensitivity and Uncertainty Analysis of Assembly Depletion

UPM Activities on Sensitivity and Uncertainty Analysis of Assembly Depletion

Complejidad Esencial: Un argumento por la complementariedad entre ciencia y sensibilidad = Essential Complexity: An argument for complementarity between science and sensibility

Esta investigación recoge un cúmulo de intereses en torno a un modo de generar arquitectura muy específico: La producción de objetos con una forma subyacente no apriorística. Los conocimientos expuestos se apoyan en condiciones del pensamiento reciente que impulsan la ilusión por alimentar la fuente creativa de la arquitectura con otros campos del saber. Los tiempos del conocimiento animista sensible y el conocimiento objetivo de carácter científico son correlativos en la historia pero casi nunca han sido sincrónicos. Representa asimismo un intento por aunar los dos tipos de conocimiento retomando la inercia que ya se presentía a comienzos del siglo XX. Se trata por tanto, de un ensayo sobre la posible anulación de la contraposición entre estos dos mundos para pasar a una complementariedad entre ambos en una sola visión conjunta compartida. Como meta final de esta investigación se presenta el desarrollo de un sistema crítico de análisis para los objetos arquitectónicos que permita una diferenciación entre aquellos que responden a los problemas de manera completa y sincera y aquellos otros que esconden, bajo una superficie consensuada, la falta de un método resolutivo de la complejidad en el presente creativo. La Investigación observa tres grupos de conocimiento diferenciados agrupados en sus capítulos correspondientes: El primer capítulo versa sobre el Impulso Creador. En él se define la necesidad de crear un marco para el individuo creador, aquel que independientemente de las fuerzas sociales del momento presiente que existe algo más allá que está sin resolver. Denominamos aquí “creador rebelde” a un tipo de personaje reconocible a lo largo de la Historia como aquel capaz de reconocer los cambios que ese operan en su presente y que utiliza para descubrir lo nuevo y acercarse algo al origen creativo. En el momento actual ese tipo de personaje es el que intuye o ya ha intuido hace tiempo la existencia de una complejidad creciente no obviable en el pensamiento de este tiempo. El segundo capítulo desarrolla algunas Propiedades de Sistemas de actuación creativa. En él se muestra una investigación que desarrolla un marco de conocimientos científicos muy específicos de nuestro tiempo que la arquitectura, de momento, no ha absorbido ni refleja de manera directa en su manera de crear. Son temas de presencia casi ya mundana en la sociedad pero que se resisten a ser incluidos en los procesos creativos como parte de la conciencia. La mayoría de ellos hablan de precisión, órdenes invisibles, propiedades de la materia o la energía tratados de manera objetiva y apolítica. La meta final supone el acercamiento e incorporación de estos conceptos y propiedades a nuestro mundo sensible unificándolos indisociablemente bajo un solo punto de vista. El último capítulo versa sobre la Complejidad y su capacidad de reducción a lo esencial. Aquí se muestran, a modo de conclusiones, la introducción de varios conceptos para el desarrollo de un sistema crítico hacia la arquitectura de nuestro tiempo. Entre ellos, el de Complejidad Esencial, definido como aquella de carácter inevitable a la hora de responder la arquitectura a los problemas y solicitaciones crecientes a los que se enfrenta en el presente. La Tesis mantiene la importancia de informar sobre la imposibilidad en el estado actual de las cosas de responder de manera sincera con soluciones de carácter simplista y la necesidad, por tanto, de soluciones necesarias de carácter complejo. En este sentido se define asimismo el concepto de Forma Subyacente como herramienta crítica para poder evaluar la respuesta de cada arquitectura y poder tener un sistema y visión crítica sobre lo que es un objeto consistente frente a la situación a la que se enfrenta. Dicha forma subyacente se define como aquella manera de entender conjuntamente y de manera sincrónica aquello que percibimos de manera sensible inseparable de las fuerzas ocultas, creativas, tecnológicas, materiales y energéticas que sustentan la definición y entendimiento de cualquier objeto construido. ABSTRACT This research includes a cluster of interests around a specific way to generate architecture: The production of objects without an a priori underlying form. The knowledge presented is based on current conditions of thought promoting the illusion to feed the creative source of architecture with other fields of knowledge. The sensible animist knowledge and objective scientific knowledge are correlative in history but have rarely been synchronous. This research is also an attempt to combine both types of knowledge to regain the inertia already sensed in the early twentieth century. It is therefore an essay on the annulment of the opposition between these two worlds to move towards complementarities of both in a single shared vision. The ultimate goal of this research is to present the development of a critical analysis system for architectural objects that allows differentiation between those who respond to the problems sincerely and those who hide under an agreed appearance, the lack of a method for solving the complexity of the creative present. The research observes three distinct groups of knowledge contained in their respective chapters: The first chapter deals with the Creative Impulse. In it is defined the need to create a framework for the creative individual who, regardless of the current social forces, forebodes that there is something hidden beyond which is still unresolved. We define the "rebel creator" as a kind of person existing throughout history who is able to recognize the changes operating in its present and use them to discover something new and get closer to the origin of creation. At present, this type of character is the one who intuits the existence of a non obviable increasing complexity in society and thought. The second chapter presents some systems, and their properties, for creative performance. It describes the development of a framework composed of current scientific knowledge that architecture has not yet absorbed or reflected directly in her procedures. These are issues of common presence in society but are still reluctant to be included in the creative processes even if they already belong to the collective consciousness. Most of them talk about accuracy, invisible orders, properties of matter and energy, always treated from an objective and apolitical perspective. The ultimate goal pursues the approach and incorporation of these concepts and properties to the sensible world, inextricably unifying all under a single point of view. The last chapter deals with complexity and the ability to reduce it to the essentials. Here we show, as a conclusion, the introduction of several concepts to develop a critical approach to analyzing the architecture of our time. Among them, the concept of Essential Complexity, defined as one that inevitably arises when architecture responds to the increasing stresses that faces today. The thesis maintains the importance of reporting, in the present state of things, the impossibility to respond openly with simplistic solutions and, therefore, the need for solutions to complex character. In this sense, the concept of Underlying Form is defined as a critical tool to evaluate the response of each architecture and possess a critical system to clarify what is an consistent object facing a certain situation. The underlying form is then defined as a way to synchronously understand what we perceive sensitively inseparable from the hidden forces of creative, technological, material and energetic character that support the definition and understanding of any constructed object.

Evaluation of APD and SiPM Matrices as Sensors for Monolithic PET Detector Block

Gamma detectors based on monolithic scintillator blocks coupled to APDs matrices have proved to be a good alternative to pixelated ones for PET scanners. They provide comparable spatial resolution, improve the sensitivity and make easier the mechanical design of the system. In this study we evaluate by means of Geant4-based simulations the possibility of replacing the APDs by SiPMs. Several commercial matrices of light sensors coupled to LYSO:Ce monolithic blocks have been simulated and compared. Regarding the spatial resolution and linearity of the detector, SiPMs with high photo detection efficiency could become an advantageous replacement for the APDs

Experimental comparison of FBARs and SMRs responsitivities to mass loadings

The utilisation of thin film technology to develop film bulk acoustic resonators (FBARs) and solidly mounted resonators (SMRs), offers great potential to outperform the sensitivity and minimum detection limit of gravimetric sensors. Up to now, the choice between FBARs and SMRs depends primarily on the users' ability to design and fabricate Bragg reflectors and/or membranes, because neither of these two types of resonators has been demonstrated to be superior to the other. In the work reported here, it is shown that identically designed FBARs and SMRs resonating at the same frequency exhibit different responsitivities, Rm, to mass loadings, being the FBARs more responsive than the SMRs. For the specific device design and resonant frequency (~2 GHz) of the resonators presented, FBARs' mass responsitivity is ~20% greater than that of SMRs, and although this value should not be taken as universal for all possible device designs, it clearly indicates that FBAR devices should be favoured over SMRs in gravimetric sensing applications.

Optical properties of ZnMgO films grown by spray pyrolysis and their application to UV photodetection

This work presents a comprehensive optical characterization of Zn1−xMgxO thin films grown by spray pyrolysis (SP). Absorption measurements show the high potential of this technique to tune the bandgap from 3.30 to 4.11 eV by changing the Mg acetate content in the precursor solution, leading to a change of the Mg-content ranging from 0 up to 35%, as measured by transmission electron microscopy-energy dispersive x-ray spectroscopy. The optical emission of the films obtained by cathodoluminescence and photoluminescence spectroscopy shows a blue shift of the peak position from 3.26 to 3.89 eV with increasing Mg incorporation, with a clear excitonic contribution even at high Mg contents. The linewidth broadening of the absorption and emission spectra as well as the magnitude of the observed Stokes shift are found to significantly increase with the Mg content. This is shown to be related to both potential fluctuations induced by pure statistical alloy disorder and the presence of a tail of band states, the latter dominating for medium Mg contents. Finally, metal–semiconductor–metal photodiodes were fabricated showing a high sensitivity and a blue shift in the cut-off energy from 3.32 to 4.02 eV, i.e., down to 308 nm. The photodiodes present large UV/dark contrast ratios (102 − 107), indicating the viability of SP as a growth technique to fabricate low cost (Zn, Mg)O-based UV photodetectors reaching short wavelengths.