Development and implementation of the areawide Dynamic ROad traffic NoisE (DRONE) simulator

This paper discusses the areawide Dynamic ROad traffic NoisE (DRONE) simulator, and its implementation as a tool for noise abatement policy evaluation. DRONE involves integrating a road traffic noise estimation model with a traffic simulator to estimate road traffic noise in urban networks. An integrated traffic simulation-noise estimation model provides an interface for direct input of traffic flow properties from simulation model to noise estimation model that in turn estimates the noise on a spatial and temporal scale. The output from DRONE is linked with a geographical information system for visual representation of noise levels in the form of noise contour maps.

Large area noise evaluation

A software tool (DRONE) has been developed to evaluate road traffic noise in a large area with the consideration of network dynamic traffic flow and the buildings. For more precise estimation of noise in urban network where vehicles are mainly in stop and go running conditions, vehicle sound power level (for acceleration/deceleration cruising and ideal vehicle) is incorporated in DRONE. The calculation performance of DRONE is increased by evaluating the noise in two steps of first estimating the unit noise database and then integrating it with traffic simulation. Details of the process from traffic simulation to contour maps are discussed in the paper and the implementation of DRONE on Tsukuba city is presented

Integration of a road traffic noise model (ASJ) and traffic simulation (AVENUE) for a built-up area

A road traffic noise prediction model (ASJ MODEL-1998) has been integrated with a road traffic simulator (AVENUE) to produce the Dynamic areawide Road traffic NoisE simulator-DRONE. This traffic-noise-GIS based integrated tool is upgraded to predict noise levels in built-up areas. The integration of traffic simulation with a noise model provides dynamic access to traffic flow characteristics and hence automated and detailed predictions of traffic noise. The prediction is not only on the spatial scale but also on temporal scale. The linkage with GIS gives a visual representation to noise pollution in the form of dynamic areawide traffic noise contour maps. The application of DRONE on a real world built-up area is also presented.

Rapid prototyping framework for visual control of autonomous micro aerial vehicles

Rapid prototyping environments can speed up the research of visual control algorithms. We have designed and implemented a software framework for fast prototyping of visual control algorithms for Micro Aerial Vehicles (MAV). We have applied a combination of a proxy-based network communication architecture and a custom Application Programming Interface. This allows multiple experimental configurations, like drone swarms or distributed processing of a drone's video stream. Currently, the framework supports a low-cost MAV: the Parrot AR.Drone. Real tests have been performed on this platform and the results show comparatively low figures of the extra communication delay introduced by the framework, while adding new functionalities and flexibility to the selected drone. This implementation is open-source and can be downloaded from www.vision4uav.com/?q=VC4MAV-FW

Large area noise evaluation

A software tool (DRONE) has been developed to evaluate road traffic noise in a large area with the consideration of network dynamic traffic flow and the buildings. For more precise estimation of noise in urban network where vehicles are mainly in stop and go running conditions, vehicle sound power level (for acceleration/deceleration cruising and ideal vehicle) is incorporated in DRONE. The calculation performance of DRONE is increased by evaluating the noise in two steps of first estimating the unit noise database and then integrating it with traffic simulation. Details of the process from traffic simulation to contour maps are discussed in the paper and the implementation of DRONE on Tsukuba city is presented.

MAVwork : a framework for unified interfacing between micro aerial vehicles and visual controllers

Debugging control software for Micro Aerial Vehicles (MAV) can be risky out of the simulator, especially with professional drones that might harm people around or result in a high bill after a crash. We have designed a framework that enables a software application to communicate with multiple MAVs from a single unified interface. In this way, visual controllers can be first tested on a low-cost harmless MAV and, after safety is guaranteed, they can be moved to the production MAV at no additional cost. The framework is based on a distributed architecture over a network. This allows multiple configurations, like drone swarms or parallel processing of drones' video streams. Live tests have been performed and the results show comparatively low additional communication delays, while adding new functionalities and flexibility. This implementation is open-source and can be downloaded from github.com/uavster/mavwork

Design, modelling and measurement of hybrid powerplant for unmanned aerial vehicles (UAVs)

The success or effectiveness for any aircraft design is a function of many trade-offs. Over the last 100 years of aircraft design these trade-offs have been optimized and dominant aircraft design philosophies have emerged. Pilotless aircraft (or uninhabited airborne systems, UAS) present new challenges in the optimization of their configuration. Recent developments in battery and motor technology have seen an upsurge in the utility and performance of electric powered aircraft. Thus, the opportunity to explore hybrid-electric aircraft powerplant configurations is compelling. This thesis considers the design of such a configuration from an overall propulsive, and energy efficiency perspective. A prototype system was constructed using a representative small UAS internal combustion engine (10cc methanol two-stroke) and a 600W brushless Direct current (BLDC) motor. These components were chosen to be representative of those that would be found on typical small UAS. The system was tested on a dynamometer in a wind-tunnel and the results show an improvement in overall propulsive efficiency of 17% when compared to a non-hybrid powerplant. In this case, the improvement results from the utilization of a larger propeller that the hybrid solution allows, which shows that general efficiency improvements are possible using hybrid configurations for aircraft propulsion. Additionally this approach provides new improvements in operational and mission flexibility (such as the provision of self-starting) which are outlined in the thesis. Specifically, the opportunity to use the windmilling propeller for energy regeneration was explored. It was found (in the prototype configuration) that significant power (60W) is recoverable in a steep dive, and although the efficiency of regeneration is low, the capability can allow several options for improved mission viability. The thesis concludes with the general statement that a hybrid powerplant improves the overall mission effectiveness and propulsive efficiency of small UAS.

Theatre, networked performance, and notions of ‘democratised’ spectatorship

The potential to cultivate new relationships with spectators has long been cited as a primary motivator for those using digital technologies to construct networked or telematics performances or para-performance encounters in which performers and spectators come together in virtual – or at least virtually augmented – spaces and places. Today, with Web 2.0 technologies such as social media platforms becoming increasingly ubiquitous, and increasingly easy to use, more and more theatre makers are developing digitally mediated relationships with spectators. Sometimes for the purpose of an aesthetic encounter, sometimes for critical encounter, or sometimes as part of an audience politicisation, development or engagement agenda. Sometimes because this is genuinely an interest, and sometimes because spectators or funding bodies expect at least some engagement via Facebook, Twitter or Instagram. In this paper, I examine peculiarities and paradoxes emerging in some of these efforts to engage spectators via networked performance or para-performance encounters. I use examples ranging from theatre, to performance art, to political activism – from ‘cyberformaces’ on Helen Varley Jamieson’s Upstage Avatar Performance Platform, to Wafaa Bilal’s Domestic Tension installation where spectators around the world could use a webcam in a chat room to target him with paintballs while he was in residence in a living room set up in a gallery for a week, as a comment on use of drone technology in war, to Liz Crow’s Bedding Out where she invited people to physically and virtually join her in her bedroom to discuss the impact of an anti-disabled austerity politics emerging in her country, to Dislife’s use of holograms of disabled people popping up in disabled parking spaces when able bodied drivers attempted to pull into them, amongst others. I note the frequency with which these performance practices deploy discourses of democratisation, participation, power and agency to argue that these technologies assist in positioning spectators as co-creators actively engaged in the evolution of a performance (and, in politicised pieces that point to racism, sexism, or ableism, pushing spectators to reflect on their agency in that dramatic or daily-cum-dramatic performance of prejudice). I investigate how a range of issues – from the scenographic challenges in deploying networked technologies for both participant and bystander audiences others have already noted, to the siloisation of aesthetic, critical and audience activation activities on networked technologies, to conventionalised dramaturgies of response informed by power, politics and impression management that play out in online as much as offline performances, to the high personal, social and professional stakes involved in participating in a form where spectators responses are almost always documented, recorded and re-represented to secondary and tertiary sets of spectators via the circulation into new networks social media platforms so readily facilitate – complicate discourses of democratic co-creativity associated with networked performance and para-performance activities.