Analysis of efficiency and optimization of plasmon energy coupling into nanofocusing metal wedges

In this paper, we investigate theoretically and numerically the efficiency of energy coupling from a plasmon generated by a grating coupler at one of the interfaces of a metal wedge into the plasmonic eigenmode (i.e., symmetric or quasisymmetric plasmon) experiencing nanofocusing in the wedge. Thus the energy efficiency of energy coupling into metallic nanofocusing structure is analyzed. Two different nanofocusing structures with the metal wedge surrounded by a uniform dielectric (symmetric structure) and with the metal wedge enclosed between a substrate and a cladding with different dielectricpermittivities (asymmetric structure) are considered by means of the geometrical optics (adiabatic) approximation. It is demonstrated that the efficiency of the energy coupling from the plasmon generated by the grating into the symmetric or quasisymmetric plasmon experiencing nanofocusing may vary between ∼50% to ∼100%. In particular, even a very small difference (of ∼1%–2%) between the permittivities of the substrate and the cladding may result in a significant increase in the efficiency of the energy coupling (from ∼50% up to ∼100%) into the plasmon experiencing nanofocusing. Distinct beat patterns produced by the interference of the symmetric (quasisymmetric) and antisymmetric (quasiantisymmetric) plasmons are predicted and analyzed with significant oscillations of the magnetic and electric field amplitudes at both the metal wedge interfaces. Physical interpretations of the predicted effects are based upon the behavior, dispersion, and dissipation of the symmetric (quasisymmetric) and antisymmetric (quasiantisymmetric) filmplasmons in the nanofocusing metal wedge. The obtained results will be important for optimizing metallic nanofocusing structures and minimizing coupling and dissipative losses.

Robust speaker verification via fusion of speech and lip modalities

This paper investigates the use of lip information, in conjunction with speech information, for robust speaker verification in the presence of background noise. It has been previously shown in our own work, and in the work of others, that features extracted from a speaker's moving lips hold speaker dependencies which are complementary with speech features. We demonstrate that the fusion of lip and speech information allows for a highly robust speaker verification system which outperforms the performance of either sub-system. We present a new technique for determining the weighting to be applied to each modality so as to optimize the performance of the fused system. Given a correct weighting, lip information is shown to be highly effective for reducing the false acceptance and false rejection error rates in the presence of background noise

Quantification of the accuracy of MRI generated 3D models of long bones compared to CT generated 3D models

Orthopaedic fracture fixation implants are increasingly being designed using accurate 3D models of long bones based on computer tomography (CT). Unlike CT, magnetic resonance imaging (MRI) does not involve ionising radiation and is therefore a desirable alternative to CT. This study aims to quantify the accuracy of MRI-based 3D models compared to CT-based 3D models of long bones. The femora of five intact cadaver ovine limbs were scanned using a 1.5T MRI and a CT scanner. Image segmentation of CT and MRI data was performed using a multi-threshold segmentation method. Reference models were generated by digitising the bone surfaces free of soft tissue with a mechanical contact scanner. The MRI- and CT-derived models were validated against the reference models. The results demonstrated that the CT-based models contained an average error of 0.15mm while the MRI-based models contained an average error of 0.23mm. Statistical validation shows that there are no significant differences between 3D models based on CT and MRI data. These results indicate that the geometric accuracy of MRI based 3D models was comparable to that of CT-based models and therefore MRI is a potential alternative to CT for generation of 3D models with high geometric accuracy.

Choreographic approaches to music composition for a new musical interface : the eMic

Gesture in performance is widely acknowledged in the literature as an important element in making a performance expressive and meaningful. The body has been shown to play an important role in the production and perception of vocal performance in particular. This paper is interested in the role of gesture in creative works that seek to extend vocal performance via technology. A creative work for vocal performer, laptop computer and a Human Computer Interface called the eMic (Extended Microphone Stand Interface controller) is presented as a case study, to explore the relationships between movement, voice production, and musical expression. The eMic is an interface for live vocal performance that allows the singers’ gestures and interactions with a sensor based microphone stand to be captured and mapped to musical parameters. The creative work discussed in this paper presents a new compositional approach for the eMic by working with movement as a starting point for the composition and thus using choreographed gesture as the basis for musical structures. By foregrounding the body and movement in the creative process, the aim is to create a more visually engaging performance where the performer is able to more effectively use the body to express their musical objectives.

Quantitative fit assessment of a precontoured fracture fixation plate : its automation and an investigation on the borderline cases

Virtual methods to assess the fitting of a fracture fixation plate were proposed recently, however with limitations such as simplified fit criteria or manual data processing. This study aims to automate a fit analysis procedure using clinical-based criteria, and then to analyse the results further for borderline fit cases. Three dimensional (3D) models of 45 bones and of a precontoured distal tibial plate were utilized to assess the fitting of the plate automatically. A Matlab program was developed to automatically measure the shortest distance between the bone and the plate at three regions of interest and a plate-bone angle. The measured values including the fit assessment results were recorded in a spreadsheet as part of the batch-process routine. An automated fit analysis procedure will enable the processing of larger bone datasets in a significantly shorter time, which will provide more representative data of the target population for plate shape design and validation. As a result, better fitting plates can be manufactured and made available to surgeons, thereby reducing the risk and cost associated with complications or corrective procedures. This in turn, is expected to translate into improving patients' quality of life.

Psychedelic Culture

This exhibition catalogue essay provides an introduction to psychedelic culture during the postwar period. It describes the early use of LSD in psychiatric circles and its conception as a psychotomimetic substance. It then considers its use by literary figures such as Aldous Huxley and followers of the Beat Generation. Timothy Leary's role as an LSD philosopher is also explained as is the rise of the Hippies and the ensuing counterculture. This culture produced a range of cultural forms such as music, fashion, graphic design and other visual arts that were informed by hallucinations experienced under the influence of LSD. It concludes with a description of the end of the Hippie movement in the 1970s.

Biomaterials in orthopedic bone plates : a review

This paper aims to review biomaterials used in manufacturing bone plates including advances in recent years and prospect in the future. It has found among all biomaterials, currently titanium and stainless steel alloys are the most common in production of bone plates. Other biomaterials such as Mg alloys, Ta alloys, SMAs, carbon fiber composites and bioceramics are potentially suitable for bone plates because of their advantages in biocompatibility, bioactivity and biodegradability. However, today either they are not used in bone plates or have limited applications in only some flexible small-size implants. This problem is mainly related to their poor mechanical properties. Additionally, production processes play an effective role. Therefore, in the future, further studies should be conducted to solve these problems and make them feasible for heavy-duty bone plates.

11:59

At first glance, the gallery seems to be empty. Upon entering however, 11:59 reveals itself to be masking tape placed lackadaisically in seemingly geometric forms. Enter the gallery at 11:59 and you would witness the light and shadows correlate with the gestural marks that have been made. Exploring ideas of time, space, gesture, value and mark-making, this work can be interpreted to be overflowing with confidence and/or impotence. It whispers about site and encounters, over-complication and simplicity, and boldness and hesitancy.

something 2.0

In ‘something 2.0’, a section of a Hollywood film is re-edited to include textual elements that appear as ‘Pinocchio-ish’ protrusions from the actors faces. As they sit in what appears to be an interview or therapy session, this re-editing and looping imposes a new fictionalized narrative upon the characters. The histrionic yet vague nature of the text, and its imperfect integration into the footage, can be read as both a comical imposition and a failed critical gesture, both speaking to the complications involved in the relationship of the artist and the fan as they engage with popular culture. Thw work was included in the group show 'Perfection' part of the Metro Arts Artistic Program 2008.

Drawn to abstraction

Three paintings exploring and testing the area of abstraction through gesture, colour and canvas structures. The paintings interrogate how abstraction can, through affect and sensation as well as historical reference, construct meaning.

Revolutionary self portrait

'Revolutionary Self Portrait' (2009) is a sculptural self-portrait. The work comprises a bust engulfed in hair and a scalloped pedestal stand. Historically, divine energy has frequently been depicted using fluid forms - drapery, clouds and occasionally hair. These forms and associations act as a departure point for this sculpture in which the figure is depicted in a state of inundation by billowing tufts hair. The work was also inspired by the tendency of great 19th century utopian thinkers - for example Marx, Bakunin and Kropotkin - to wear large beards. Within both traditions, the language of heroic subjectivity is amplified by a sculptural extension of the body. In 'Revolutionary Self Portrait' however, this extension threatens to suffocate the subject - a gesture made all the more ironic due to the fact that the artist himself is incapable of growing a beard. The work was selected for the National Artists' Self Portrait Prize, University of Queensland Art Museum, 2009.

Engaging bodily with video in design

Video is commonly used as a method for recording embodied interaction for purposes of analysis and design and has been proposed as a useful ‘material’ for interaction designers to engage with. But video is not a straight forward reproduction of embodied activity – in themselves video recordings ‘flatten’ the space of embodied interaction, they impose a perspective on unfolding action, and remove the embodied spatial and social context within which embodied interaction unfolds. This does not mean that video is not a useful medium with which to engage as part of a process of investigating and designing for embodied interaction – but crucially, it requires that as people attempting to engage with video, designers own bodies and bodily understandings must be engaged with and brought into play. This paper describes and reflects upon our experiences of engaging with video in two different activities as part of a larger research project investigating the design of gestural interfaces for a dental surgery context.