Interaction techniques with novel multimodal feedback for addressing gesture-sensing systems

Users need to be able to address in-air gesture systems, which means finding where to perform gestures and how to direct them towards the intended system. This is necessary for input to be sensed correctly and without unintentionally affecting other systems. This thesis investigates novel interaction techniques which allow users to address gesture systems properly, helping them find where and how to gesture. It also investigates audio, tactile and interactive light displays for multimodal gesture feedback; these can be used by gesture systems with limited output capabilities (like mobile phones and small household controls), allowing the interaction techniques to be used by a variety of device types. It investigates tactile and interactive light displays in greater detail, as these are not as well understood as audio displays. Experiments 1 and 2 explored tactile feedback for gesture systems, comparing an ultrasound haptic display to wearable tactile displays at different body locations and investigating feedback designs. These experiments found that tactile feedback improves the user experience of gesturing by reassuring users that their movements are being sensed. Experiment 3 investigated interactive light displays for gesture systems, finding this novel display type effective for giving feedback and presenting information. It also found that interactive light feedback is enhanced by audio and tactile feedback. These feedback modalities were then used alongside audio feedback in two interaction techniques for addressing gesture systems: sensor strength feedback and rhythmic gestures. Sensor strength feedback is multimodal feedback that tells users how well they can be sensed, encouraging them to find where to gesture through active exploration. Experiment 4 found that they can do this with 51mm accuracy, with combinations of audio and interactive light feedback leading to the best performance. Rhythmic gestures are continuously repeated gesture movements which can be used to direct input. Experiment 5 investigated the usability of this technique, finding that users can match rhythmic gestures well and with ease. Finally, these interaction techniques were combined, resulting in a new single interaction for addressing gesture systems. Using this interaction, users could direct their input with rhythmic gestures while using the sensor strength feedback to find a good location for addressing the system. Experiment 6 studied the effectiveness and usability of this technique, as well as the design space for combining the two types of feedback. It found that this interaction was successful, with users matching 99.9% of rhythmic gestures, with 80mm accuracy from target points. The findings show that gesture systems could successfully use this interaction technique to allow users to address them. Novel design recommendations for using rhythmic gestures and sensor strength feedback were created, informed by the experiment findings.

Genetic diversity assessment of the almond (Prunus dulcis (Mill.) DA Webb) traditional germplasm of Algarve, Portugal, using molecular markers

In this study, 123 almond (Prunus dulcis (Mill.) D. A. Webb) trees identified among traditional orchards in the Algarve region and 53 trees of the local field collection managed by the regional office of the Portuguese Ministry of Agriculture (DRAALG) were assessed using isozyme, inter- single sequence repeat and simple sequence repeat or microsatellite techniques for the evaluation of genetic diversity and genetic relatedness and identification of new accessions for the field collection. The isozyme analysis allowed the distribution of the 176 plants into 13 different classes of enzyme similarity, while the use of DNA markers increased the distribution of the analysed trees among 140 discriminating DNA patterns. Multiple cases of homonymy and synonymy were identified in the local germplasm. Some traditional varieties, such as Lourencinha, appeared to be relatively homogeneous, while other local denominations, e.g. Galamba, included diverse genotypes. Of the 13 commercial varieties analysed in this study, 11 assembled in one major cluster clearly differentiated from the majority of the local genotypes. These results reinforced the perception that the Algarve traditional germplasm constitutes an important repository of genetic diversity, eventually carrying alleles of high agricultural interest such as the recently identified Phomopsis resistance in the traditional variety Barrinho Grado.

Genetic diversity assessment of the almond (Prunus dulcis (Mill.) DA Webb) traditional germplasm of Algarve, Portugal, using molecular markers

In this study, 123 almond (Prunus dulcis (Mill.) D. A. Webb) trees identified among traditional orchards in the Algarve region and 53 trees of the local field collection managed by the regional office of the Portuguese Ministry of Agriculture (DRAALG) were assessed using isozyme, inter- single sequence repeat and simple sequence repeat or microsatellite techniques for the evaluation of genetic diversity and genetic relatedness and identification of new accessions for the field collection. The isozyme analysis allowed the distribution of the 176 plants into 13 different classes of enzyme similarity, while the use of DNA markers increased the distribution of the analysed trees among 140 discriminating DNA patterns. Multiple cases of homonymy and synonymy were identified in the local germplasm. Some traditional varieties, such as Lourencinha, appeared to be relatively homogeneous, while other local denominations, e.g. Galamba, included diverse genotypes. Of the 13 commercial varieties analysed in this study, 11 assembled in one major cluster clearly differentiated from the majority of the local genotypes. These results reinforced the perception that the Algarve traditional germplasm constitutes an important repository of genetic diversity, eventually carrying alleles of high agricultural interest such as the recently identified Phomopsis resistance in the traditional variety Barrinho Grado.

Assessment of genetic diversity of zoonotic Brucella spp. recovered from livestock in Egypt using multiple locus VNTR analysis

Brucellosis is endemic in most parts of Egypt, where it is caused mainly by Brucella melitensis biovar 3, and affects cattle and small ruminants in spite of ongoing efforts devoted to its control. Knowledge of the predominant Brucella species/strains circulating in a region is a prerequisite of a brucellosis control strategy. For this reason a study aiming at the evaluation of the phenotypic and genetic heterogeneity of a panel of 17 Brucella spp. isolates recovered from domestic ruminants (cattle, buffalo, sheep, and goat) from four governorates during a period of five years (2002-2007) was carried out using microbiological tests and molecular biology techniques (PCR, MLVA-15, and sequencing). Thirteen strains were identified as B. melitensis biovar 3 while all phenotypic and genetic techniques classified the remaining isolates as B. abortus (n = 2) and B. suis biovar 1 (n = 2). MLVA-15 yielded a high discriminatory power (h = 0.801), indicating a high genetic diversity among the B. melitensis strains circulating among domestic ruminants in Egypt. This is the first report of the isolation of B. suis from cattle in Egypt which, coupled with the finding of B. abortus, suggests a potential role of livestock as reservoirs of several zoonotic Brucella species in the region.

Genetic diversity of Mycobacterium avium isolates recovered from clinical samples and from the environment: molecular characterization for diagnostic purposes

Isolation of Mycobacterium avium complex (MAC) organisms from clinical samples may occur in patients without clinical disease, making the interpretation of results difficult. The clinical relevance of MAC isolates from different types of clinical samples (n = 47) from 39 patients in different sections of a hospital was assessed by comparison with environmental isolates (n = 17) from the hospital. Various methods for identification and typing (commercial probes, phenotypic characteristics, PCR for detection of IS1245 and IS901, sequencing of the hsp65 gene, and pulsed-field gel electrophoresis) were evaluated. The same strain was found in all the environmental isolates, 21 out of 23 (91.3%) of the isolates cultured from urine samples, and 5 out of 19 (26.3%) isolates from respiratory specimens. This strain did not cause disease in the patients. Testing best characterized the strain as M. avium subsp. hominissuis, with the unusual feature that 81.4% of these isolates lacked the IS1245 element. Contamination of certain clinical samples with an environmental strain was the most likely event; therefore, characterization of the environmental mycobacteria present in health care facilities should be performed to discard false-positive isolations in nonsterile samples, mainly urine samples. Molecular techniques applied in this study demonstrated their usefulness for this purpose.

Diversity of LFPs Activated in Different Target Regions by a Common CA3 Input

Identifying the pathways contributing to local field potential (LFP) events and oscillations is essential to determine whether synchronous interregional patterns indicate functional connectivity. Here, we studied experimentally and numerically how different target structures receiving input from a common population shape their LFPs. We focused on the bilateral CA3 that sends gamma-paced excitatory packages to the bilateral CA1, the lateral septum, and itself (recurrent input). The CA3-specific contribution was isolated from multisite LFPs in target regions using spatial discrimination techniques. We found strong modulation of LFPs by target-specific features, including the morphology and population arrangement of cells, the timing of CA3 inputs, volume conduction from nearby targets, and co-activated inhibition. Jointly they greatly affect the LFP amplitude, profile, and frequency characteristics. For instance, ipsilateral (Schaffer) LFPs occluded contralateral ones, and septal LFPs arise mostly from remote sources while local contribution from CA3 input was minor. In the CA3 itself, gamma waves have dual origin from local networks: in-phase excitatory and nearly antiphase inhibitory. Also, waves may have different duration and varying phase in different targets. These results indicate that to explore the cellular basis of LFPs and the functional connectivity between structures, besides identifying the origin population/s, target modifiers should be considered.

Machine learning techniques for implicit interaction using mobile sensors

Interactions in mobile devices normally happen in an explicit manner, which means that they are initiated by the users. Yet, users are typically unaware that they also interact implicitly with their devices. For instance, our hand pose changes naturally when we type text messages. Whilst the touchscreen captures finger touches, hand movements during this interaction however are unused. If this implicit hand movement is observed, it can be used as additional information to support or to enhance the users’ text entry experience. This thesis investigates how implicit sensing can be used to improve existing, standard interaction technique qualities. In particular, this thesis looks into enhancing front-of-device interaction through back-of-device and hand movement implicit sensing. We propose the investigation through machine learning techniques. We look into problems on how sensor data via implicit sensing can be used to predict a certain aspect of an interaction. For instance, one of the questions that this thesis attempts to answer is whether hand movement during a touch targeting task correlates with the touch position. This is a complex relationship to understand but can be best explained through machine learning. Using machine learning as a tool, such correlation can be measured, quantified, understood and used to make predictions on future touch position. Furthermore, this thesis also evaluates the predictive power of the sensor data. We show this through a number of studies. In Chapter 5 we show that probabilistic modelling of sensor inputs and recorded touch locations can be used to predict the general area of future touches on touchscreen. In Chapter 7, using SVM classifiers, we show that data from implicit sensing from general mobile interactions is user-specific. This can be used to identify users implicitly. In Chapter 6, we also show that touch interaction errors can be detected from sensor data. In our experiment, we show that there are sufficient distinguishable patterns between normal interaction signals and signals that are strongly correlated with interaction error. In all studies, we show that performance gain can be achieved by combining sensor inputs.

MATERIAL CHARACTERIZATION OF GILDING AND PAINTING TECHNIQUES OF A POST-BYZANTINE ICON

This study aims to identify the materials used in the production of a post-byzantine icon from the Museum of Évora’s collection. The icon, representing the “Emperor Constantine and his mother Helen holding the Holy Cross” was once dated as being from the 10th century. Throughout a multi-analytical approach, combining area exams with spectroscopic techniques, this study tried to confirm its actual chronology. The results obtained revealed that it is most likely an icon from the late 17th or 18th century.

New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations. The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.

Francisco Pizarro' s banner of arms: an analytical work contributing to latin America's history

The study of textiles is an open area of scientific research, which for its variety of material components and physical chemical diversity of conditions, makes a field of interest for scientific studies in the cultural heritage field. Archaeological/historical textiles offer the possibility to carry out studies on organic materials such as fibers, adhesion elements, dyes, paper, etc., as well as on inorganic compounds for instance metals, alloys, precious stones and other added ornamentation. That variety of composition, allow to use a combination of analytical techniques to solve the questions coming from the object in an archaeometric research. One kind of textile object that provides a valuable cultural information because of its linguistic representation employed by its carrier societies, are the flags/banners/emblems, objects made with a nonverbal communication purpose. As long as depending on the use and/or purpose of each object, varies both the materials/techniques used in its production and its iconography (style, color, emblem, shape), its study gives the possibility to extract information through their materials and manufacturing techniques about a temporal-spatial frame, a particular event or a specific character. The flags/banners have been used since the eleventh century as representative objects of power, hierarchy, social or military organization, or as communicative media. The use of these objects has been spread throughout the world, possibly due to its easy interpretation and/or appropriation by different societies, making it part of their own culture. The flags as symbols of territorial control, using emblems that represent a family, order or army, were introduced to the New World (America) with the arrival of the European conquerors at the end of the fifteenth century. Flags/banners representing the Royal dominion over conquered territories, the Catholic Church and conquistadors’ armies were the first to arrive. One of those flags that have endured over time, that have an invaluable cultural meaning for both American and Iberian societies, is the so-called Francisco Pizarro’s Banner of Arms. It is a textile object with metal threads decoration over a Royal emblem. According to historical sources, this object was used by Francisco Pizarro in 1532 on the conquest process of Peru, after received the permission by King Charles V to on behalf of him, to conquer the lands of the New World today known as Peru. After Pizarro’s control of the Inca territory, it is believed that Pizarro left his banner on top of the Inca’s Sun’s Temple as symbol of his rule. Centuries later, in the America libertarian campaigns, General Sucre, military at charge of the independence army in Peru, reports have found what he considered the Pizarro’s Banner, sending it to Bogotá as a symbol of victory, being kept since that time until today by the National Museum of Colombia. Due to historical discrepancies in the different movements of the so-called Pizarro’s Banner of Arms, its real meaning has been under discussion and because of the passage of time its physical condition has suffer deterioration. That is because its scientific study is now an interesting case study to respond to both historical and conservation questions of it. Through a collaboration with the National Museum of Colombia, a set of 25 samples of so-called Pizarro’s Banner of Arms were collected, covering the various components and areas from the object of study. These samples were subjected to analytical studies for physical and chemical characterization. Microscopic observation, VSEM-EDS analysis, Raman spectroscopy, chromatographic analysis (HPLC-MS, GCMS) and radiocarbon dating were done. Similarly, was sought through a direct in situ physical inspection to the object and through a research into historical sources, adequate information to solve the object’s problems. Results obtained allowed to identify as silk the textile used in the elaboration of the Banner’s fabric, as well as the use of natural dyes for dyeing the fibers used on the emblem: use of cochineal and brazil wood as a source of red, luteolin plant-based for yellow color, indigotine plant-based for blue, and a mixture of yellow and blue dyes for green were identified. Similarly, the use of animal glue in the manufacturing process and the use of rag paper was evident. The metal threads study from the Banner give a confirmation to a silver core wire gilded with a thin gold sheet, being flattened and entwined with silk threads for their use. Finally, using the radiocarbon results, it was possible to postulate with huge accuracy that the Banner date manufacture was between the XV-XVI century and subject to restoration processes with addition of textiles in modern times. Together with, was evident that the state of degradation of the fabric is due to natural degradation in the silk fibers, having that its color has faded and its mechanical properties decreased, leading to loss of rigidity and disappearance of the physical structure. Similarly, it was clear the original colors of the emblem and highlight problems of detachment of paper due to crystallization of the adhesive. In the same way, was found that the metal threads suffer corrosion by sulfur and detachment of its crystals. Finally, combining the analytical results and the historical sources data found from the so-called Francisco Pizarro’s Banner of Arms, allows to postulate that its manufacture process was done in Europe employing precious materials to obtain a long-life object with a deep message for its viewers. Also, the data obtained helps to support the possible idea that the object was employed by Francisco Pizarro in the Peru conquest process. However, by the symbols present in the object, its elaboration date and materials, this object its clearly unique in its kind, and the most important, by its linguistic message, does not represent to Francisco Pizarro or his army, meanwhile, represents the Spanish crown. Therefore, instead to be labeled as Francisco Pizarro’s Banner of Arms, it should be called the Colonial Royal Banner of Charles V in the New World; RESUMEN: El estudio de textiles es un área abierta de investigación científica, la cual por su variedad de componentes materiales y la diversidad de condiciones físico-químicas presentes en estos objetos, lo hace un campo de interés para estudios científicos en el patrimonio cultural. Los textiles arqueológicos/históricos brindan la posibilidad de realizar estudios en materiales orgánicos como fibras, elementos de adhesión, tinturas, papel, etc., e inorgánicos como metales, aleaciones, piedras preciosas y demás materiales decorativos añadidos. Por su variedad de composición, es posible emplear diversas técnicas analíticas para resolver aquellas preguntas propias del objeto en una investigación arqueométrica. Uno de los objetos textiles que brinda gran información cultural debido a su representación lingüística empleada por las sociedades portadoras, son las banderas/estandartes/emblemas. Donde varía dependiendo de su uso y/o propósito, los materiales empleados en su elaboración, al igual que su iconografía (estilo, color, emblema, forma). El estudio de estos objetos construidos con un propósito de comunicación no verbal, da la posibilidad de extraer información a través de sus materiales y técnicas de elaboración sobre un rango temporal-espacial, un evento determinado en la historia o incluso a un personaje en específico. Las banderas han sido empleadas desde el siglo XI como objetos representativos de poder, jerarquía, organización social o militar, o como medio de comunicación. El uso de estos objetos se ha extendido a lo largo del mundo posiblemente debido a su fácil interpretación y/o apropiación por distintas sociedades, haciéndolo parte de su cultura. Las banderas como símbolos de control territorial, empleando símbolos que representan a una familia, orden o armada fueron introducidas a el Nuevo Mundo (América) con la llegada de los conquistadores europeos al final del siglo XV. Las banderas/estandartes que representaban el dominio Real sobre territorios dominados, la iglesia católica y las banderas de ejércitos y/o conquistadores fueron las primeras en llegar al nuevo mundo. Una de aquellas banderas que ha soportado el paso del tiempo, teniendo un gran valor cultural tanto para las sociedades americanas como para las ibéricas, es el denominado Estandarte de armas de Francisco Pizarro. Siendo un objeto textil con decoración en hilos metálicos sobre un emblema Real. De acuerdo a fuentes históricas, este objeto fue usado por Francisco Pizarro en 1532 en el proceso de conquista del Perú, quien recibe por parte del Rey Carlos V el poder para que, en su nombre, Pizarro pueda conquistar las tierras del nuevo mundo hoy conocidas como Perú. Luego del dominio de Pizarro sobre el territorio Inca, se cree que Pizarro dejó su estandarte en la cima del templo Inca del sol como símbolo de su control. Siglos más tarde, en las campañas libertarias de América, el General Sucre, militar encargado de la armada independentista en Perú, reporta haber encontrado lo que él considera como el estandarte de Pizarro, enviándolo a Bogotá como muestra de victoria, siendo custodiada desde ese momento por el Museo Nacional de Colombia hasta la actualidad. Debido a discrepancias históricas, el verdadero significado del llamado estandarte de Pizarro ha sido objeto de discusión y debido del pasar del tiempo su estado de conservación se ha deteriorado. Dejando de este modo, un caso de estudio interesante para que por medio de estudios científicos al objeto se pueda dar respuesta a preguntas tanto históricas como de conservación del mismo. De este modo, por medio de una colaboración con el Museo Nacional de Colombia, se obtuvo un juego de 25 muestras del llamado Estandarte de armas de Francisco Pizarro, abarcando los diferentes componentes y áreas del objeto de estudio. Dichas muestras fueron sometidas a estudios analíticos para su caracterización físico-química. Análisis de observación al microscopio, análisis VSEM-EDS, espectroscopia Raman, análisis cromatográficos (HPLC-MS, GC-MS) y datación por radiocarbono catorce fueron realizados. Del mismo modo, por medio de una inspección física al objeto in situ y una profunda investigación en fuentes históricas del mismo, se buscó la información adecuada para resolver sus problemáticas. Los resultados obtenidos permitieron identificar como seda el textil empleado en la elaboración del estandarte, así como el uso de colorantes naturales para teñir las fibras en el emblema: uso de cochinilla y palo de Brasil como fuente del color rojo, plantas a base de luteolin para el color amarillo, plantas a base de indigotina para el color azul y mezcla de colorantes amarillos y azules para el color verde fueron identificadas. Del mismo modo se evidencio el uso de adhesivos animales y el uso de papel de trapos en el proceso de manufactura. El estudio de los hilos metálicos, permitió evidenciar el uso de alambres con núcleos de plata con un fino recubrimiento de oro en su exterior, siendo aplanados y entrelazados con hilos de seda para su uso. Finalmente usando la datación por radiocarbono, fue posible conocer con alta precisión que el estandarte fue elaborado entre los siglos XV-XVI y sufrió procesos de restauración con añadidura de textiles en tiempos modernos. Junto a lo anterior, es posible postular que el estado de degradación de la tela es debido a degradación natural en las fibras de seda, teniendo así que su color se ha desvanecido y sus propiedades mecánicas disminuidas, conllevando a perdida de rigidez y desaparición de la estructura. Del mismo modo se pudo conocer los colores originales del emblema y evidenciar problemas de desprendimiento del papel debido a cristalización del adhesivo. Asimismo, se comprobó que los hilos metálicos presentan corrosión por azufre y desprendimiento de sus cristales. Finalmente, combinando los resultados analíticos y la información de fuentes históricas encontradas del llamado Estandarte de armas de Francisco Pizarro, se puede postular que su elaboración fue realizada en Europa, usando materiales preciosos para obtener un objeto de larga vida con un profundo mensaje para sus observadores. También, los datos obtenidos ayudan a dar soporte la posible idea de que este objeto fue usado por Francisco Pizarro en el proceso de conquista del Perú. Sin embargo, debido a los símbolos presentes en el objeto, fecha y materiales de elaboración, este objeto es claramente único en su tipo, y lo más importante, por su mensaje lingüístico, este no representa a Francisco Pizarro o su armada, al contrario, representa a la Corona de España. Por ende, en vez de denominarse como Estandarte de armas de Francisco Pizarro, este objeto debería nombrarse como el Estandarte Real de la Colonia de Carlos V en el Nuevo Mundo.