On the acquisition of high-resolution maps with open source software and commercials off-the-shelf quad-rotors

Mosaics are high-resolution images obtained aerially and employed in several scientific research areas, such for example, in the field of environmental monitoring and precision agriculture. Although many high resolution maps are obtained by commercial demand, they can also be acquired with commercial aerial vehicles which provide more experimental autonomy and availability. For what regard to mosaicing-based aerial mission planners, there are not so many - if any - free of charge software. Therefore, in this paper is presented a framework designed with open source tools and libraries as an alternative to commercial tools to carry out mosaicing tasks.

El vidrio y sus máscaras : el sueño de la arquitectura de cristal

Según Heidegger, la esencia de la arquitectura, de la construcción, descansa en un no espacio: en la materia con que se construyen las fronteras que otorgan espacios, irradiando sobre ellos aquello que los caracteriza. Si hay alguna materia, de las utilizadas por la arquitectura a lo largo de su historia para construir fronteras, que haya mantenido una especial relación con la luz y la visión, dando un carácter inconfundible a los espacios aviados por ellas, esta es el vidrio; algunas de las etimologías de su nombre: zakû (ser claro), hyalos (diáfano) o vitrum (ver), así lo evidencian. Posiblemente, sea la pregnancia de este modo fascinante de relacionarse con la luz, la que ha hecho del vidrio, a lo largo del tiempo que lleva siendo usado en arquitectura, y aún antes, el material que ha provocado en el imaginario humano la ilusión de ser aquel en que, en último término, podrían llegar a sublimarse todos los demás, dando lugar con ello a lo que en la tesis hemos denominado el sueño de la arquitectura de cristal. Siendo la luz, siempre, energía, consideraremos en la tesis luz-energía, a aquella que ilumina y calienta; es una luz científica y mesurable. Cuando la luz se “hace visible”, desvelando un mensaje “contenido” en el vidrio, hablaremos de luz-información. Esta luz, no puede medirse científicamente. La luz-energía y la luz-información, se manifiestan al conjuro de la arquitectura de vidrio. Es la segunda la que ha conformado las fronteras de vidrio enmascarado, y la que se estudia con más detenimiento en la tesis. Los distintos modos de usar en arquitectura la infinita combinatoria de las propiedades de absortancia, reflectancia, transmitancia y translucencia del vidrio, ha condicionado al hombre en su manera de “ver” el mundo. Unas veces, “inmerso” en él, puesto que solo lo separa del mismo, una frontera transparente, y “deseadamente” invisible: ese modo de usar el vidrio, ha sido el sueño imposible de una parte importante de la arquitectura del siglo XX. Otras veces, para “aislarse” de él, el hombre ha manipulado la luz y el vidrio para construir mundos diferentes. Las fronteras de vidrio enmascarado de color, mosaicos, vidrieras, pantallas y lo que hemos llamado vidrios complejos (con un cometido similar al que Schiller atribuía al coro en la tragedia griega, aislar a esta del “mundo real”, para mantener su libertad poética), son las fronteras que han construido el sueño posible de la arquitectura de cristal. Ambas actitudes, en distintos momentos de la historia de la arquitectura, han sido dos formas de querer materializar un mismo sueño. La capacidad del vidrio para adaptarse a tantos modos de presentarse ante nosotros, y a poder ser interpretado de tantas formas diferentes, es la que ha servido para dar título a la tesis, pues hasta en su faceta más transparente, el vidrio, de una forma o de otra, se ha mostrado siempre como un material enmascarado en el más amplio sentido de la palabra: se enmascara, incluso cuando apela a la transparencia o se convierte en espejo, para hacernos caer en la ilusión de que no está presente. Cuando el hombre construyó fronteras de vidrio e incluso antes, cuando soñó que con él podría llegar a construirlas, condensó en ellas toda la mítica, la mística y la epistemología en torno a la luz y la visión, dando lugar a una serie de arquetipos arquitectónicos. En la iglesia bizantina, la luz sobre, o la luz desde, los mosaicos, construyó una frontera titilante; y en la catedral gótica, la luz a través de las vidrieras construyó una frontera radiante; en ambos casos con el fin de alcanzar anagógicamente lo Inteligible. En el siglo XIX, con el descubrimiento de la electricidad y su incorporación a la arquitectura, las fronteras se vuelven fulgurantes, aviando, en este caso, el espacio urbano. Poco antes, en este mismo siglo, el espíritu del gótico tiene un efímero resurgir del que se nutrirá, a comienzos del siglo XX, el expresionismo cristalino, en el que la luz anagógica se hace laica. El espacio urbano fulgurante prefigurado por este movimiento y presente en las ciudades desde principios del siglo XX, fue potenciado a mediados de ese siglo con la aparición de las pantallas, extendiéndose desde entonces, imparable, por todo el planeta. La reciente emergencia de los vidrios complejos, ha abierto la posibilidad de construir fronteras a la carta (de vidrios de propiedades múltiples, seleccionadas de forma voluntaria y variable en cada momento). En principio, se pensó que, el uso de estos vidrios como cerramiento, podría llegar a constituirse como la panacea de los problemas del material relacionados con la luz-energía, sin necesidad de recurrir a “prótesis”, y manteniendo por tanto la seductora tersura de la fachada; aunque parece que, por ahora, esa posibilidad es, cuando menos, lejana. Sin embargo, en el campo de las megapantallas urbanas (y ,en general, en el de las pantallas de información), ubicuas actualmente en nuestras vidas, los vidrios complejos ayudan a construir los espesos velos de ilusión, que según Lefebvre sirven para mantener el capitalismo, siendo el último estadio de un desarrollo tecnológico, impuesto por el principio de economía del hombre, que como un metrónomo inexorable, y a modo de contrapunto, ha acompañado siempre (de nuevo en palabras de Lefebvre), a la necesidad del gasto, del juego, de la lucha, del arte, de la fiesta. La tecnología y el arte forman parte de la cultura producida por la sociedad y como señala Lévi-Strauss, esa cultura imprime orden; por el contrario, la sociedad, entendida como el conjunto de relaciones que los hombres mantienen entre sí, produce desorden. Del equilibrio entre esos extremos, surge el progreso, incluido el de la arquitectura. Las fronteras de vidrio que analizamos en la tesis –que avían espacios para la espiritualidad, el fasto y el espectáculo o, desde otro punto de vista, para las distintas manifestaciones del poder: la iglesia, la monarquía, el estado o el mercado– también han surgido de esa concomitancia entre el desorden y el orden; y forma parte de ese desorden, la aventura que ha impulsado al genio individual de místicos, alquimistas, geómetras, abades, reyes, inventores, poetas y arquitectos, a explorar, como escribe Apollinaire, vastos y extraños territorios donde el misterio en flor, se ofrece a quien quiera cogerlo, hogueras nuevas de colores nunca vistos, mil fantasmas imponderables a los que dar cuerpo. ABSTRACT According to Heidegger, the essence of architecture, building, lies in a non-space: the material that creates the boundaries from which something begins its presencing, radiating onto them that which characterizes them. If there is any single material amongst all those used throughout the history of architecture to build boundaries which has maintained a special relationship with light and vision, which has bestowed a distinctive character on spaces avid for them, it is glass. This is evidenced in some of its etymologies: zakû (to be clear), hyalos (transparent), vitrum (see). The rich potential of this fascinating way of relating to light in the history of the architectural use of glass, and even before, is possibly what has triggered the illusion in human imagination of being something that can ultimately sublimate all others, giving rise to what in this thesis we call The Dream of Crystal Architecture. Given that light is always energy, in this thesis we consider energy-light to be that which illuminates and warms. This is scientific, measurable light. When light "becomes visible" and reveals a message “contained” in glass, we speak of information-light. This light cannot be measured scientifically. Energy-light and information-light are manifested under the spell of glass architecture. The latter is what has shaped the boundaries of coloured glass, which is studied in this thesis. Architecture's different ways of using the infinite combinations of the absorptance, reflectance, transmittance and translucency of glass has affected the way we humans "see" the world. Sometimes we are "immersed" in it, since only an invisible, transparent boundary separates us from it: this use of glass has characterized a considerable part of 20th century architecture. In other cases, in order to "isolate" us from it, we have manipulated light and glass to build different worlds: the boundaries of glass "masked" by colour, mosaics, stained glass, screens and what we have called complex glazing, which plays a similar role to what Schiller attributed to the chorus in Greek tragedy, isolating it from the "real world" in order to maintain its poetic license. These are the boundaries that have built the viable dream of crystal architecture. These two approaches have been different ways of making same dream come true at different times in the history of architecture. The ability of glass to adapt to so many forms of manifestation, and interpretation, is what has given rise to the title of the thesis. Even in its most transparent facet, glass has one way or another always been a masking material in the broadest sense of the word: it is masked even when it invites transparency or becomes a mirror, triggering the illusion that it is not present. When man began to build glass boundaries, and even before, when he dreamed that he could build them, he condensed in them all the mythology, mysticism and epistemology concerning light and vision, which gave rise to a series of architectural archetypes. In the Byzantine church, light on or from mosaics created tenuous boundaries. In Gothic cathedrals, the light through the stained glass windows constructed radiant boundaries. In both cases the aim was to achieve, in an anagogical way, the Intelligible. In the 19th, the discovery of electricity and its use in architecture led to the production of dazzling boundaries, in this case employed in urban spaces. Earlier in the same century, the Gothic spirit had a short-lived revival, which in the early 20th century drew from crystalline expressionism in which anagogic light became secular. The dazzling urban space prefigured by this movement, present in cities since the early 20th century, was intensified in the mid-century with the emergence of screens, and since then it has spread unstoppably across the world. The recent emergence of complex glasses has made it possible to build boundaries on demand in glass with multiple properties, chosen at will and at whim at any time. Initially it was thought that the use of this glass as a wall could eventually become the panacea for the material problems related to energy-light, without needing to resort to "prosthesis" and thereby maintain the seductive smoothness of the facade. For now, that possibility seems remote, to say the least. In the realm of urban megascreens and information screens in general, now ubiquitous in our lives, complex glasses help to build the thick veils of illusion which, according to Lefebvre, serve to maintain capitalism. Like an inexorable metronome, in counterpoint, this ultimate state of technological development imposed by man's principle of economy has in fact always accompanied (again in the words of Lefebvre), the need to spend, play, fight, art, and party. Technology and art are part of the culture produced by society. As Levi-Strauss says, this culture imposes order. On the contrary, society, understood as a set of relationships amongst people, produces disorder. Progress, including that of architecture, arises from the balance between these two extremes. The glass boundaries analyzed in this thesis, which propitiate spaces for spirituality, pomp and spectacle or, from a different perspective, for the various manifestations of power: the church, the monarchy, the state and the market, have also emerged from the concomitance of order and disorder. One aspect of this disorder is the adventure that has inspired the individual genius of mystics, alchemists, surveyors, abbots, kings, inventors, poets and architects to explore, as Apollinaire says, vast, strange domains where flowering mystery offers itself to whoever wishes to pluck it, new fires, colours you have never seen before, a thousand intangible phantasms still awaiting reality.

Proximo–distal specification in the wing disc of Drosophila by the nubbin gene

Mutations in the nubbin (nub) gene have a phenotype consisting of a severe wing size reduction and pattern alterations, such as transformations of distal elements into proximal ones. nub expression is restricted to the wing pouch cells in wing discs since early larval development. These effects are also observed in genetic mosaics where cell proliferation is reduced in all wing blade regions autonomously, and transformation into proximal elements is observed in distal clones. Clones located in the proximal region of the wing blade cause in addition nonautonomous reduction of the whole wing. Cell lineage experiments in a nub mutant background show that clones respect neither the anterior–posterior nor the dorsal–ventral boundary but that the selector genes have been correctly expressed since early larval development. The phenotypes of nub el and nub dpp genetic combinations are synergistic and the overexpression of dpp in clones in nub wings does not result in overproliferation of the surrounding wild-type cells. We discuss the role of nub in the wing’s proximo–distal axis and in the formation of compartment boundaries.

Evolutionary relationships among diverse bacteriophages and prophages: All the world’s a phage

We report DNA and predicted protein sequence similarities, implying homology, among genes of double-stranded DNA (dsDNA) bacteriophages and prophages spanning a broad phylogenetic range of host bacteria. The sequence matches reported here establish genetic connections, not always direct, among the lambdoid phages of Escherichia coli, phage φC31 of Streptomyces, phages of Mycobacterium, a previously unrecognized cryptic prophage, φflu, in the Haemophilus influenzae genome, and two small prophage-like elements, φRv1 and φRv2, in the genome of Mycobacterium tuberculosis. The results imply that these phage genes, and very possibly all of the dsDNA tailed phages, share common ancestry. We propose a model for the genetic structure and dynamics of the global phage population in which all dsDNA phage genomes are mosaics with access, by horizontal exchange, to a large common genetic pool but in which access to the gene pool is not uniform for all phage.

The gene distribution of the maize genome.

Previous investigations from our laboratory showed that the genomes of plants, like those of vertebrates, are mosaics of isochores, i.e., of very long DNA segments that are compositionally homogeneous and that can be subdivided into a small number of families characterized by different GC levels (GC is the mole fraction of guanine+cytosine). Compositional DNA fractions corresponding to different isochore families were used to investigate, by hybridization with appropriate probes, the gene distribution in vertebrate genomes. Here we report such a study on the genome of a plant, maize. The gene distribution that we found is most striking, in that almost all genes are present in isochores covering an extremely narrow (1-2%) GC range and only representing 10-20% of the genome. This gene distribution, which seems to characterize other Gramineae as well, is remarkably different from the gene distribution previously found in vertebrate genomes.

Localization of pheromonal sexual dimorphism in Drosophila melanogaster and its effect on sexual isolation.

Drosophila melanogaster is sexually dimorphic for cuticular hydrocarbons, with males and females having strikingly different profiles of the long-chain compounds that act as contact pheromones. Gas-chromatographic analysis of sexual mosaics reveals that the sex specificity of hydrocarbons is located in the abdomen. This explains previous observations that D. melanogaster males display the strongest courtship toward mosaics with female abdomens. We also show that males of the sibling species Drosophila simulans preferentially court D. melanogaster mosaics with male abdomens. Because the primary male hydrocarbon in D. melanogaster is also the primary female hydrocarbon in D. simulans, this supports the idea that interspecific differences in cuticular hydrocarbons contribute to sexual isolation.

Aspectos de la poliédrica influencia de los clásicos: nuevas imágenes clave de la influencia de san Vicente Ferrer en Italia

Este artículo analiza la función de la figura de san Vicente Ferrer en la política de afianzamiento y expansión de la Corona de Aragón en la Italia de mediados del siglo XV y hasta el siglo XVIII. San Vicente Ferrer, clásico innegable de la cultura de la Corona de Aragón, ejerció una extraordinaria influencia en el pensamiento, la predicación y la ortodoxia católicas, así como también, en el tablero de ajedrez de la alta política de fines del siglo XIV y principios del XV. Su influencia fue prácticamente ubicua y omnímoda: predicaba a las masas de casi toda Europa occidental, enfervorizadas por sus dotes oratorias y su dominio de las artes de la predicación, al mismo tiempo que ejercía de consejero de máxima confianza de papas, reyes y gobernantes, escribía densos tratados de teología y filosofía moral, y obraba milagros (más de 900 registrados en su Causa de Canonización). Caló muy hondo, también después de su muerte y durante siglos, en toda Italia, que era el gran escenario de la política y de la cultura humanística y del Renacimiento. Ello se aprovechó por parte de la Corona de Aragón para su expansión en Italia, desde la conquista de Nápoles por Alfonso el Magnánimo. Todo ello se analiza en este estudio a partir de obras de arte (capillas, cuadros, retablos, frescos y mosaicos), nunca tenidas en cuenta en este sentido, pero que, como queda demostrado, son muestra y prueba de esa influencia tanto religiosa como también política de la “figura” de este santo valenciano. Se trata en definitiva del análisis de la poliédrica función de los clásicos.

Microglia activation in a model of retinal degeneration and TUDCA neuroprotective effects

Background: Retinitis pigmentosa is a heterogeneous group of inherited neurodegenerative retinal disorders characterized by a progressive peripheral vision loss and night vision difficulties, subsequently leading to central vision impairment. Chronic microglia activation is associated with various neurodegenerative diseases including retinitis pigmentosa. The objective of this study was to quantify microglia activation in the retina of P23H rats, an animal model of retinitis pigmentosa, and to evaluate the therapeutic effects of TUDCA (tauroursodeoxycholic acid), which has been described as a neuroprotective compound. Methods: For this study, homozygous P23H line 3 and Sprague-Dawley (SD) rats were injected weekly with TUDCA (500 mg/kg, ip) or vehicle (saline) from 20 days to 4 months old. Vertical retinal sections and whole-mount retinas were immunostained for specific markers of microglial cells (anti-CD11b, anti-Iba1 and anti-MHC-II). Microglial cell morphology was analyzed and the number of retinal microglial was quantified. Results: Microglial cells in the SD rat retinas were arranged in regular mosaics homogenously distributed within the plexiform and ganglion cell layers. In the P23H rat retina, microglial cells increased in number in all layers compared with control SD rat retinas, preserving the regular mosaic distribution. In addition, a large number of amoeboid CD11b-positive cells were observed in the P23H rat retina, even in the subretinal space. Retinas of TUDCA-treated P23H animals exhibited lower microglial cell number in all layers and absence of microglial cells in the subretinal space. Conclusions: These results report novel TUDCA anti-inflammatory actions, with potential therapeutic implications for neurodegenerative diseases, including retinitis pigmentosa.

Aspectos constructivos y decorativos de la villa romana de Puente de la Olmilla (Albaladejo, Ciudad Real)

El esquema constructivo de esta villa responde al modelo típico romano: una serie de estancias distribuidas alrededor de un patio central, que las ilumina y desde el que se accede a ellas mediante los pasillos circundantes, cubiertos con pisos de mosaico, al igual que varias habitaciones (dos de ellas adornadas con mosaicos figurativos). Puente de la Olmilla tenía un pórtico en la fachada, combinación que corresponde a un tipo de construcción poco común en Hispania. Esta villa es un claro testimonio del profundo proceso romanizador sufrido por el medio rural en este territorio. Sin duda, este ámbito de la Meseta Sur tenía para los romanos un carácter estratégico por su privilegiado emplazamiento geográfico dentro de la Península Ibérica y esa fue una de las causas de que lo incluyeran en su red viaria.

Extinciones históricas: el caso de la enigmática planta del Silfio

This review refers to the Silphium (Apiaceae), one of the most enigmatic plants in the history of the Mediterranean. In Greco-Roman world, it was a panacea and especially, a powerful aphrodisiac which left many written historical references, in addition to their image mosaics and coins. Silphium extinction, due to over-exploitation is certainly a good example for the conservation of biodiversity and for the defense of sustainable use of natural resources.

Beijing, China : Street Centerlines, 2006

Beijing, China street centerline vectors with road type attributes extracted from DigitalGlobe QuickBird CitySphere high-resolution (60cm) satellite imagery ortho mosaics.

Barcelona, Spain : Street Centerlines, 2005

Barcelona, Spain street centerline vectors with road type attributes extracted from DigitalGlobe QuickBird CitySphere high-resolution (60cm) satellite imagery ortho mosaics.

Hong Kong, China : Street Centerlines, 2004

Hong Kong, China street centerline vectors with road type attributes extracted from DigitalGlobe QuickBird CitySphere high-resolution (60cm) satellite imagery ortho mosaics.

Berlin, Germany : Street Centerlines, 2006

Berlin, Germany street centerline vectors with road type attributes extracted from DigitalGlobe QuickBird CitySphere high-resolution (60cm) satellite imagery ortho mosaics.

Madrid, Spain : Street Centerlines, 2005

Madrid, Spain street centerline vectors with road type attributes extracted from DigitalGlobe QuickBird CitySphere high-resolution (60cm) satellite imagery ortho mosaics.