Simplifying data acquisition in plant canopies- Measurements of leaf angles with a cell phone

1. Canopies are complex multilayered structures comprising individual plant crowns exposing a multifaceted surface area to sunlight. Foliage arrangement and properties are the main mediators of canopy functions. The leaves act as light traps whose exposure to sunlight varies with time of the day, date and latitude in a trade-off between photosynthetic light harvesting and excessive or photoinhibitory light avoidance. To date, ecological research based upon leaf sampling has been limited by the available echnology, with which data acquisition becomes labour intensive and time-consuming, given the verwhelming number of leaves involved. 2. In the present study, our goal involved developing a tool capable of easuring a sufficient number of leaves to enable analysis of leaf populations, tree crowns and canopies.We specifically tested whether a cell phone working as a 3Dpointer could yield reliable, repeatable and valid leaf anglemeasurements with a simple gesture. We evaluated the accuracy of this method under controlled conditions, using a 3D digitizer, and we compared performance in the field with the methods commonly used. We presented an equation to estimate the potential proportion of the leaf exposed to direct sunlight (SAL) at any given time and compared the results with those obtained bymeans of a graphicalmethod. 3. We found a strong and highly significant correlation between the graphical methods and the equation presented. The calibration process showed a strong correlation between the results derived from the two methods with amean relative difference below 10%. Themean relative difference in calculation of instantaneous exposure was below 5%. Our device performed equally well in diverse locations, in which we characterized over 700 leaves in a single day. 4. The newmethod, involving the use of a cell phone, ismuchmore effective than the traditionalmethods or digitizers when the goal is to scale up from leaf position to performance of leaf populations, tree crowns or canopies. Our methodology constitutes an affordable and valuable tool within which to frame a wide range of ecological hypotheses and to support canopy modelling approaches.

Proyectar dibujando: Una aproximación fenomenológica al estado naciente del proyecto. Un estudio entre dos culturas arquitectónicas

La acción del dibujar intenta presentarse en este texto como lenguaje mudo, práctica común general y práctica común en el campo arquitectónico en concreto; y también como acción, apertura, exploración (no representación) en el estado naciente del proyecto. La tesis se presenta como un estudio basado en la experiencia directa, la observación in situ (Practice Based Design Doctórate) intentando reflexionar no desde sus productos alcanzados al dibujar, sino desde la propia acción, enfatizando la dinamicidad del cuerpo como productor de gestos dinámicos. El trabajo busca describir la acción del trazar como apertura, exploración (no representación) en el estado naciente del proyecto. Es el cruce entre la acción experienciada y el pensamiento crítico respecto al hacer con aproximaciones a la artesanía (Sennett, 2010), al placer del dibujar (Nancy, 2013) y la aventura de conformar (Badiou, 2006). La experiencia en el dibujar que este estudio recoge es la desarrollada por la autora en el contexto pedagógico del D.I.G.A. de la E.T.S.A. de Madrid en concreto en las asignaturas “Dibujo Avanzado e Interpretación Gráfica (DAII) I y II” y “Dibujo del Natural” ambas impartidas por el profesor Antonio Verd Herrero y en la participación en los trabajos del Grupo de Investigación y de Innovación Educativa denominado: “Hypermedia” dirigidos por el profesor Javier Seguí, en el periodo que va del año 2007 a la actualidad. La colección de acontecimientos que surgió de esta experiencia y se formó de aproximaciones sucesivas presenta algunos rasgos característicos de la acción del dibujar. Los acontecimientos abordan la acción del dibujar desde una experiencia muda, un tipo de lenguaje, escritura y comunicación común, intercultural pero a la vez impersonal, desde su relación con la escritura, la palabra, el movimiento, el gesto y su imagen. El dibujar se presenta como modo de exploración en la investigación proyectual basada en la arbitrariedad que requiere voluntad, compromiso, ir en contra para participar en cualquier transformación de los límites (físicos, nacionales, sociales, de género, religión, sentido). El dibujar no representativo se presenta como técnica imaginaria radical, “terapia” configural con capacidad para la experimentación con uno mismo (Sloderdijk, 2003), un modo de comunicación intercultural que, sin embargo, siempre recurre al lenguaje verbal, leída e interpretada para cobrar sentido. ABSTRACT The action of drawing is intended to be presented in this text as a mute language, a common practice in general and a common practice in the field of architecture specifically; and also as an action, opening, exploration (not representation) at the birth stage of a project. The thesis forms a study based on a direct observation in an in situ experience (Practice Based Design Doctórate), which intends to reflect not on the products produced by drawing, but on the action itself, emphasizing on the dynamics of the body as a generator of dynamic gestures. The work is the intersection of experienced action and critical thinking related with the making with an approach to a path on craftsmanship (Sennett, 2010), the pleasure in drawing (Nancy, 2013) and the adventure of compromise/ conciliation (Badiou, 2006). The experience in drawing was collected and developed for this study by the author in the context of D.I.G.A. at the E.T.S.A. of Madrid and in particular at the courses of “Advanced Drawing and Graphic Interpretation” (DAII) I y II” and “Life drawing”, together with the active participation and the work of the investigation and Innovation Educational Group “Hypermedia”, coordinated by professor Javier Seguí, during the period starting the year 2007 until the present (2013). The collection of the events derives from a process of successive attempts to approach some characteristic aspects of the action of drawing. The events approach the action of drawing as a mute experience, a kind of language, common communication, writing, gesture and image. Drawing is presented as a way of exploration for a project's investigation, based on arbitrarily and on the asking “what if”. At the same time this process requires will, compromise, opposition in order to participate in a transformation of any kind of limits (physical, national, social, genre, religion, sense). This thesis aims to present non-representative drawing as a radical imaginary technique, a configurational ‘therapy’ with the capacity to experiment with oneself (Sloderdijk, 2003). It can also be considered as a way of intercultural communication which always uses the verbal, readable and interpreted language in order to charge sense.

Desarrollo de un prototipo usando como dispositivo de interacción Leap Motion

Leap Motion [1] es un pequeño dispositivo que se coloca frente al monitor, conectado mediante un cable USB al ordenador, capaz de capturar los movimientos de nuestras manos y dedos con alta precisión, además de algunos objetos como pinceles o bolígrafos. El objetivo principal de este trabajo es evaluar las capacidades de este dispositivo y crear un prototipo que sea capaz de grabar y reconocer gestos para que pueda ser fácilmente integrado a cualquier aplicación. Para ello, el prototipo consta de 2 funciones principales: Grabar un movimiento: en el que recojo los datos que nos ofrece el Leap Motion, los proceso y los guardo en un formato específico. Reconocer un gesto: en el que comparo en cada momento el gesto que se está realizando con los gestos grabados mediante un algoritmo que detectara si son similares o no. Este es un resumen básico del prototipo, sin embargo debemos tener en cuenta una serie de requisitos y parámetros para hacerlo más eficiente y personalizable dependiendo de las necesidades del usuario. ---ABSTRACT---Leap Motion [1] is a small device we place in front of the display unit, connected to a USB cable to the computer. It is able to capture the motion of our hands and fingers with high accuracy, as well as some objects such as pens and brushes. This project's main goal is to evaluate the proficiency of the device, and create a prototype that is able to record and recognize gestures in order for it to be easily integrated into any application. For that, the prototype has 2 main functions: Recording a motion: in which I collect the data offered by the Leap Motion, process it and keep it in a specific format. Recognizing a gesture: in which I compare each time the gesture being made with the gestures recorded using an algorithm to detect whether they are similar or not. This is a basic summary of the prototype, but we need to take into consideration a number of requirements and parameters to make it more efficient and customizable depending on the user's needs.

Reconocimiento de gestos basado en acelerómetros

En los últimos años, ha crecido de forma significativa el interés por la utilización de dispositivos capaces de reconocer gestos humanos. En este trabajo, se pretenden reconocer gestos manuales colocando sensores en la mano de una persona. El reconocimiento de gestos manuales puede ser implementado para diversos usos y bajo diversas plataformas: juegos (Wii), control de brazos robóticos, etc. Como primer paso, se realizará un estudio de las actuales técnicas de reconocimiento de gestos que utilizan acelerómetros como sensor de medida. En un segundo paso, se estudiará como los acelerómetros pueden utilizarse para intentar reconocer los gestos que puedan realizar una persona (mover el brazo hacia un lado, girar la mano, dibujar un cuadrado, etc.) y los problemas que de su utilización puedan derivarse. Se ha utilizado una IMU (Inertial Measurement Unit) como sensor de medida. Está compuesta por tres acelerómetros y tres giróscopos (MTi-300 de Xsens). Con las medidas que proporcionan estos sensores se realiza el cálculo de la posición y orientación de la mano, representando esta última en función de los ángulos de Euler. Un aspecto importante a destacar será el efecto de la gravedad en las medidas de las aceleraciones. A través de diversos cálculos y mediante la ayuda de los giróscopos se podrá corregir dicho efecto. Por último, se desarrollará un sistema que identifique la posición y orientación de la mano como gestos reconocidos utilizando lógica difusa. Tanto para la adquisición de las muestras, como para los cálculos de posicionamiento, se ha desarrollado un código con el programa Matlab. También, con este mismo software, se ha implementado un sistema de lógica difusa con la que se realizará el reconocimiento de los gestos, utilizando la herramienta FIS Editor. Las pruebas realizadas han consistido en la ejecución de nueve gestos por diferentes personas teniendo una tasa de reconocimiento comprendida entre el 90 % y 100 % dependiendo del gesto a identificar. ABSTRACT In recent years, it has grown significantly interest in the use of devices capable of recognizing human gestures. In this work, we aim to recognize hand gestures placing sensors on the hand of a person. The recognition of hand gestures can be implemented for different applications on different platforms: games (Wii), control of robotic arms ... As a first step, a study of current gesture recognition techniques that use accelerometers and sensor measurement is performed. In a second step, we study how accelerometers can be used to try to recognize the gestures that can make a person (moving the arm to the side, rotate the hand, draw a square, etc...) And the problems of its use can be derived. We used an IMU (Inertial Measurement Unit) as a measuring sensor. It comprises three accelerometers and three gyroscopes (Xsens MTI-300). The measures provided by these sensors to calculate the position and orientation of the hand are made, with the latter depending on the Euler angles. An important aspect to note is the effect of gravity on the measurements of the accelerations. Through various calculations and with the help of the gyroscopes can correct this effect. Finally, a system that identifies the position and orientation of the hand as recognized gestures developed using fuzzy logic. Both the acquisition of samples to calculate position, a code was developed with Matlab program. Also, with the same software, has implemented a fuzzy logic system to be held with the recognition of gestures using the FIS Editor. Tests have involved the execution of nine gestures by different people having a recognition rate between 90% and 100% depending on the gesture to identify.

Human-robot interaction for telemanipulation in large workspaces

Independientemente de la existencia de técnicas altamente sofisticadas y capacidades de cómputo cada vez más elevadas, los problemas asociados a los robots que interactúan con entornos no estructurados siguen siendo un desafío abierto en robótica. A pesar de los grandes avances de los sistemas robóticos autónomos, hay algunas situaciones en las que una persona en el bucle sigue siendo necesaria. Ejemplos de esto son, tareas en entornos de fusión nuclear, misiones espaciales, operaciones submarinas y cirugía robótica. Esta necesidad se debe a que las tecnologías actuales no pueden realizar de forma fiable y autónoma cualquier tipo de tarea. Esta tesis presenta métodos para la teleoperación de robots abarcando distintos niveles de abstracción que van desde el control supervisado, en el que un operador da instrucciones de alto nivel en la forma de acciones, hasta el control bilateral, donde los comandos toman la forma de señales de control de bajo nivel. En primer lugar, se presenta un enfoque para llevar a cabo la teleoperación supervisada de robots humanoides. El objetivo es controlar robots terrestres capaces de ejecutar tareas complejas en entornos de búsqueda y rescate utilizando enlaces de comunicación limitados. Esta propuesta incorpora comportamientos autónomos que el operador puede utilizar para realizar tareas de navegación y manipulación mientras se permite cubrir grandes áreas de entornos remotos diseñados para el acceso de personas. Los resultados experimentales demuestran la eficacia de los métodos propuestos. En segundo lugar, se investiga el uso de dispositivos rentables para telemanipulación guiada. Se presenta una aplicación que involucra un robot humanoide bimanual y un traje de captura de movimiento basado en sensores inerciales. En esta aplicación, se estudian las capacidades de adaptación introducidas por el factor humano y cómo estas pueden compensar la falta de sistemas robóticos de alta precisión. Este trabajo es el resultado de una colaboración entre investigadores del Biorobotics Laboratory de la Universidad de Harvard y el Centro de Automática y Robótica UPM-CSIC. En tercer lugar, se presenta un nuevo controlador háptico que combina velocidad y posición. Este controlador bilateral híbrido hace frente a los problemas relacionados con la teleoperación de un robot esclavo con un gran espacio de trabajo usando un dispositivo háptico pequeño como maestro. Se pueden cubrir amplias áreas de trabajo al cambiar automáticamente entre los modos de control de velocidad y posición. Este controlador háptico es ideal para sistemas maestro-esclavo con cinemáticas diferentes, donde los comandos se transmiten en el espacio de la tarea del entorno remoto. El método es validado para realizar telemanipulación hábil de objetos con un robot industrial. Por último, se introducen dos contribuciones en el campo de la manipulación robótica. Por un lado, se presenta un nuevo algoritmo de cinemática inversa, llamado método iterativo de desacoplamiento cinemático. Este método se ha desarrollado para resolver el problema cinemático inverso de un tipo de robot de seis grados de libertad donde una solución cerrada no está disponible. La eficacia del método se compara con métodos numéricos convencionales. Además, se ha diseñado una taxonomía robusta de agarres que permite controlar diferentes manos robóticas utilizando una correspondencia, basada en gestos, entre los espacios de trabajo de la mano humana y de la mano robótica. El gesto de la mano humana se identifica mediante la lectura de los movimientos relativos del índice, el pulgar y el dedo medio del usuario durante las primeras etapas del agarre. ABSTRACT Regardless of the availability of highly sophisticated techniques and ever increasing computing capabilities, the problems associated with robots interacting with unstructured environments remains an open challenge. Despite great advances in autonomous robotics, there are some situations where a humanin- the-loop is still required, such as, nuclear, space, subsea and robotic surgery operations. This is because the current technologies cannot reliably perform all kinds of task autonomously. This thesis presents methods for robot teleoperation strategies at different levels of abstraction ranging from supervisory control, where the operator gives high-level task actions, to bilateral teleoperation, where the commands take the form of low-level control inputs. These strategies contribute to improve the current human-robot interfaces specially in the case of slave robots deployed at large workspaces. First, an approach to perform supervisory teleoperation of humanoid robots is presented. The goal is to control ground robots capable of executing complex tasks in disaster relief environments under constrained communication links. This proposal incorporates autonomous behaviors that the operator can use to perform navigation and manipulation tasks which allow covering large human engineered areas of the remote environment. The experimental results demonstrate the efficiency of the proposed methods. Second, the use of cost-effective devices for guided telemanipulation is investigated. A case study involving a bimanual humanoid robot and an Inertial Measurement Unit (IMU) Motion Capture (MoCap) suit is introduced. Herein, it is corroborated how the adaptation capabilities offered by the human-in-the-loop factor can compensate for the lack of high-precision robotic systems. This work is the result of collaboration between researchers from the Harvard Biorobotics Laboratory and the Centre for Automation and Robotics UPM-CSIC. Thirdly, a new haptic rate-position controller is presented. This hybrid bilateral controller copes with the problems related to the teleoperation of a slave robot with large workspace using a small haptic device as master. Large workspaces can be covered by automatically switching between rate and position control modes. This haptic controller is ideal to couple kinematic dissimilar master-slave systems where the commands are transmitted in the task space of the remote environment. The method is validated to perform dexterous telemanipulation of objects with a robotic manipulator. Finally, two contributions for robotic manipulation are introduced. First, a new algorithm, the Iterative Kinematic Decoupling method, is presented. It is a numeric method developed to solve the Inverse Kinematics (IK) problem of a type of six-DoF robotic arms where a close-form solution is not available. The effectiveness of this IK method is compared against conventional numerical methods. Second, a robust grasp mapping has been conceived. It allows to control a wide range of different robotic hands using a gesture based correspondence between the human hand space and the robotic hand space. The human hand gesture is identified by reading the relative movements of the index, thumb and middle fingers of the user during the early stages of grasping.

Autonomous Acquisition of Natural Situated Communication

An important part of human intelligence, both historically and operationally, is our ability to communicate. We learn how to communicate, and maintain our communicative skills, in a society of communicators – a highly effective way to reach and maintain proficiency in this complex skill. Principles that might allow artificial agents to learn language this way are in completely known at present – the multi-dimensional nature of socio-communicative skills are beyond every machine learning framework so far proposed. Our work begins to address the challenge of proposing a way for observation-based machine learning of natural language and communication. Our framework can learn complex communicative skills with minimal up-front knowledge. The system learns by incrementally producing predictive models of causal relationships in observed data, guided by goal-inference and reasoning using forward-inverse models. We present results from two experiments where our S1 agent learns human communication by observing two humans interacting in a realtime TV-style interview, using multimodal communicative gesture and situated language to talk about recycling of various materials and objects. S1 can learn multimodal complex language and multimodal communicative acts, a vocabulary of 100 words forming natural sentences with relatively complex sentence structure, including manual deictic reference and anaphora. S1 is seeded only with high-level information about goals of the interviewer and interviewee, and a small ontology; no grammar or other information is provided to S1 a priori. The agent learns the pragmatics, semantics, and syntax of complex utterances spoken and gestures from scratch, by observing the humans compare and contrast the cost and pollution related to recycling aluminum cans, glass bottles, newspaper, plastic, and wood. After 20 hours of observation S1 can perform an unscripted TV interview with a human, in the same style, without making mistakes.

Grasp Mapping Between a 3-Finger Haptic Device and a Robotic Hand

This paper presents the implementation of a robust grasp mapping between a 3-finger haptic device (master) and a robotic hand (slave). Mapping is based on a grasp equivalence defined considering the manipulation capabilities of the master and slave devices. The metrics that translate the human hand gesture to the robotic hand workspace are obtained through an analytical user study. This allows a natural control of the robotic hand. The grasp mapping is accomplished defining 4 control modes that encapsulate all the grasps gestures considered.

Autonomous Acquisition of Natural Language

An important part of human intelligence is the ability to use language. Humans learn how to use language in a society of language users, which is probably the most effective way to learn a language from the ground up. Principles that might allow an artificial agents to learn language this way are not known at present. Here we present a framework which begins to address this challenge. Our auto-catalytic, endogenous, reflective architecture (AERA) supports the creation of agents that can learn natural language by observation. We present results from two experiments where our S1 agent learns human communication by observing two humans interacting in a realtime mock television interview, using gesture and situated language. Results show that S1 can learn multimodal complex language and multimodal communicative acts, using a vocabulary of 100 words with numerous sentence formats, by observing unscripted interaction between the humans, with no grammar being provided to it a priori, and only high-level information about the format of the human interaction in the form of high-level goals of the interviewer and interviewee and a small ontology. The agent learns both the pragmatics, semantics, and syntax of complex sentences spoken by the human subjects on the topic of recycling of objects such as aluminum cans, glass bottles, plastic, and wood, as well as use of manual deictic reference and anaphora.

Non-invasive user monitoring in daily tasks for cognitive rehabilitation

El uso de técnicas para la monitorización del movimiento humano generalmente permite a los investigadores analizar la cinemática y especialmente las capacidades motoras en aquellas actividades de la vida cotidiana que persiguen un objetivo concreto como pueden ser la preparación de bebidas y comida, e incluso en tareas de aseo. Adicionalmente, la evaluación del movimiento y el comportamiento humanos en el campo de la rehabilitación cognitiva es esencial para profundizar en las dificultades que algunas personas encuentran en la ejecución de actividades diarias después de accidentes cerebro-vasculares. Estas dificultades están principalmente asociadas a la realización de pasos secuenciales y al reconocimiento del uso de herramientas y objetos. La interpretación de los datos sobre la actitud de este tipo de pacientes para reconocer y determinar el nivel de éxito en la ejecución de las acciones, y para ampliar el conocimiento en las enfermedades cerebrales, sus consecuencias y severidad, depende totalmente de los dispositivos usados para la captura de esos datos y de la calidad de los mismos. Más aún, existe una necesidad real de mejorar las técnicas actuales de rehabilitación cognitiva contribuyendo al diseño de sistemas automáticos para crear una especie de terapeuta virtual que asegure una vida más independiente de estos pacientes y reduzca la carga de trabajo de los terapeutas. Con este objetivo, el uso de sensores y dispositivos para obtener datos en tiempo real de la ejecución y estado de la tarea de rehabilitación es esencial para también contribuir al diseño y entrenamiento de futuros algoritmos que pudieran reconocer errores automáticamente para informar al paciente acerca de ellos mediante distintos tipos de pistas como pueden ser imágenes, mensajes auditivos o incluso videos. La tecnología y soluciones existentes en este campo no ofrecen una manera totalmente robusta y efectiva para obtener datos en tiempo real, por un lado, porque pueden influir en el movimiento del propio paciente en caso de las plataformas basadas en el uso de marcadores que necesitan sensores pegados en la piel; y por otro lado, debido a la complejidad o alto coste de implantación lo que hace difícil pensar en la idea de instalar un sistema en el hospital o incluso en la casa del paciente. Esta tesis presenta la investigación realizada en el campo de la monitorización del movimiento de pacientes para proporcionar un paso adelante en términos de detección, seguimiento y reconocimiento del comportamiento de manos, gestos y cara mediante una manera no invasiva la cual puede mejorar la técnicas actuales de rehabilitación cognitiva para la adquisición en tiempo real de datos sobre el comportamiento del paciente y la ejecución de la tarea. Para entender la importancia del marco de esta tesis, inicialmente se presenta un resumen de las principales enfermedades cognitivas y se introducen las consecuencias que tienen en la ejecución de tareas de la vida diaria. Más aún, se investiga sobre las metodologías actuales de rehabilitación cognitiva. Teniendo en cuenta que las manos son la principal parte del cuerpo para la ejecución de tareas manuales de la vida cotidiana, también se resumen las tecnologías existentes para la captura de movimiento de manos. Una de las principales contribuciones de esta tesis está relacionada con el diseño y evaluación de una solución no invasiva para detectar y seguir las manos durante la ejecución de tareas manuales de la vida cotidiana que a su vez involucran la manipulación de objetos. Esta solución la cual no necesita marcadores adicionales y está basada en una cámara de profundidad de bajo coste, es robusta, precisa y fácil de instalar. Otra contribución presentada se centra en el reconocimiento de gestos para detectar el agarre de objetos basado en un sensor infrarrojo de última generación, y también complementado con una cámara de profundidad. Esta nueva técnica, y también no invasiva, sincroniza ambos sensores para seguir objetos específicos además de reconocer eventos concretos relacionados con tareas de aseo. Más aún, se realiza una evaluación preliminar del reconocimiento de expresiones faciales para analizar si es adecuado para el reconocimiento del estado de ánimo durante la tarea. Por su parte, todos los componentes y algoritmos desarrollados son integrados en un prototipo simple para ser usado como plataforma de monitorización. Se realiza una evaluación técnica del funcionamiento de cada dispositivo para analizar si es adecuada para adquirir datos en tiempo real durante la ejecución de tareas cotidianas reales. Finalmente, se estudia la interacción con pacientes reales para obtener información del nivel de usabilidad del prototipo. Dicha información es esencial y útil para considerar una rehabilitación cognitiva basada en la idea de instalación del sistema en la propia casa del paciente al igual que en el hospital correspondiente. ABSTRACT The use of human motion monitoring techniques usually let researchers to analyse kinematics, especially in motor strategies for goal-oriented activities of daily living, such as the preparation of drinks and food, and even grooming tasks. Additionally, the evaluation of human movements and behaviour in the field of cognitive rehabilitation is essential to deep into the difficulties some people find in common activities after stroke. This difficulties are mainly associated with sequence actions and the recognition of tools usage. The interpretation of attitude data of this kind of patients in order to recognize and determine the level of success of the execution of actions, and to broaden the knowledge in brain diseases, consequences and severity, depends totally on the devices used for the capture of that data and the quality of it. Moreover, there is a real need of improving the current cognitive rehabilitation techniques by contributing to the design of automatic systems to create a kind of virtual therapist for the improvement of the independent life of these stroke patients and to reduce the workload of the occupational therapists currently in charge of them. For this purpose, the use of sensors and devices to obtain real time data of the execution and state of the rehabilitation task is essential to also contribute to the design and training of future smart algorithms which may recognise errors to automatically provide multimodal feedback through different types of cues such as still images, auditory messages or even videos. The technology and solutions currently adopted in the field don't offer a totally robust and effective way for obtaining real time data, on the one hand, because they may influence the patient's movement in case of marker-based platforms which need sensors attached to the skin; and on the other hand, because of the complexity or high cost of implementation, which make difficult the idea of installing a system at the hospital or even patient's home. This thesis presents the research done in the field of user monitoring to provide a step forward in terms of detection, tracking and recognition of hand movements, gestures and face via a non-invasive way which could improve current techniques for cognitive rehabilitation for real time data acquisition of patient's behaviour and execution of the task. In order to understand the importance of the scope of the thesis, initially, a summary of the main cognitive diseases that require for rehabilitation and an introduction of the consequences on the execution of daily tasks are presented. Moreover, research is done about the actual methodology to provide cognitive rehabilitation. Considering that the main body members involved in the completion of a handmade daily task are the hands, the current technologies for human hands movements capture are also highlighted. One of the main contributions of this thesis is related to the design and evaluation of a non-invasive approach to detect and track user's hands during the execution of handmade activities of daily living which involve the manipulation of objects. This approach does not need the inclusion of any additional markers. In addition, it is only based on a low-cost depth camera, it is robust, accurate and easy to install. Another contribution presented is focused on the hand gesture recognition for detecting object grasping based on a brand new infrared sensor, and also complemented with a depth camera. This new, and also non-invasive, solution which synchronizes both sensors to track specific tools as well as recognize specific events related to grooming is evaluated. Moreover, a preliminary assessment of the recognition of facial expressions is carried out to analyse if it is adequate for recognizing mood during the execution of task. Meanwhile, all the corresponding hardware and software developed are integrated in a simple prototype with the purpose of being used as a platform for monitoring the execution of the rehabilitation task. Technical evaluation of the performance of each device is carried out in order to analyze its suitability to acquire real time data during the execution of real daily tasks. Finally, a kind of healthcare evaluation is also presented to obtain feedback about the usability of the system proposed paying special attention to the interaction with real users and stroke patients. This feedback is quite useful to consider the idea of a home-based cognitive rehabilitation as well as a possible hospital installation of the prototype.

Evaluación de nuevos dispositivos en la interacción de niños con necesidades específicas de apoyo educativo

Durante la realización de este trabajo de fin de grado se realizará el diseño y desarrollo de un juego orientado a niños con necesidades específicas de apoyo educativo. Este grupo de usuarios repercute en el diseño de los elementos del juego los cuales han de ser simples, sin distracciones, textos de ayuda claros y bien definidos, alto contraste en los elementos, ayuda textual y visual, selección de colores evitando referencias conocidas (rojo como referencia a peligro); y una serie de patrones más, que se han tenido que tener en cuenta. El juego es compatible con distintos dispositivos (teclado, pantalla táctil y Kinect), por lo que, como parte del análisis previo, se ha tenido que ver el trabajo realizado anteriormente referente a estos dispositivos (un reconocedor de gestos de pantalla táctil y un reconocedor de gestos de Kinect), que realizaron otros alumnos. En este sentido y como parte de este y otros proyectos, se han tenido que mejorar o complementar las implementaciones de estos reconocedores. Además se han tenido que definir los distintos gestos o teclas, que producirán respuestas en el juego. Como parte de la interacción de los usuarios con el juego mediante los distintos dispositivos, el juego se ha diseñado de tal forma, que es capaz de capturar ciertos datos de forma automática (precisión al realizar un gesto en pantalla, realización de un gesto incorrecto, etc.). Además como soporte adicional a la obtención de datos con el juego, se han planteado distintos formularios (según el dispositivo), los cuales aportan información que el juego no es capaz de recoger de forma automática, y que serán capturados por el pedagogo. Toda esta información recogida será parte de un modelo de datos el cual, en un futuro, servirá para analizar el comportamiento de este grupo de usuarios frente a los distintos dispositivos analizados. Viendo sus ventajas y desventajas tanto en tiempo de respuesta, curva de aprendizaje, dificultad de realización de los gestos, etc.---ABSTRACT---This thesis project will showcase the design and development of a game oriented towards children with special educational needs. This group impacts the design of the game elements, which have to be simple and avoid distractions. There must be clear and well defined help text, high contrast in the elements, text and visual help, color selection that avoids known references (red as a reference to danger), and more series of patterns. The game is compatible with various devices (keyboard, touchscreen and Kinect), by which, as part of the preliminary analysis, the work previously conducted by other students concerning these devices was researched (a touch screen gesture recognizer and a Kinect gesture recognizer). In this regard, and as part of this and other projects, the use of these recognizers must be improved or complemented. In addition the different gestures or keys that will produce answers in the game must be defined. As part of the users’ interaction with the game through the various devices, the game is designed in such a way that it is able to capture certain data automatically (precision making a gesture to the screen, making an improper gesture, etc.). Also as additional support to obtain data with the game, different forms were used (depending on the device), which provide information that the game is not able to pick up automatically, and that will be caught by the teacher. The information collected will be part of a data model which, in the future, will serve to analyze the behavior of this user group with the various devices analyzed. Seeing their advantages and disadvantages both in response time, learning curve and difficulty of making gestures, etc.

Rem : a los dos lados del espejo = (Rem at both sides of the mirror)

Cuando se trata de Rem Koolhaas, su espejo no refleja una sola imagen sino múltiples, es un prisma poliédrico. Su espejo nos devuelve el Rem mediático, el intelectual, el conceptualizador, el constructor, el analista, el periodista, el actor... En el caso de esta investigación, fijamos el punto de mira en el Rem COMUNICADOR. “Rem a los dos lados del espejo” se enmarca en una investigación sobre los medios de comunicación de arquitectura, su reflejo en la producción arquitectónica y viceversa. Se trata de llegar a discernir si comunicación y producción arquitectónica colisionan y confluyen en el caso de grandes comunicadores como Rem Koolhaas, si el mensaje y el medio transmisor adquieren las mismas cualidades. Centrándose en la figura de Rem Koolhaas, la tesis aborda la evolución de su faceta comunicativa y las transformaciones sucesivas en el campo de la comunicación arquitectónica, en paralelo a su evolución conceptual a lo largo de su trayectoria. La investigación, por tanto, no se centra tanto en su componente teórica o en la práctica arquitectónica de OMA, sino en la exposición de su producción al mundo, especialmente a través de sus ensayos y libros. “Delirious New York” y “SMLXL” son un reflejo del momento conceptual en que se inscriben, y contienen mucha información sobre los referentes gráficos que irremediablemente han influido en su composición. Especialmente, la aparición de “SMLXL” supuso un revulsivo para el mundo de la comunicación arquitectónica, porque puso el foco sobre la importancia de dejar atrás un discurso narrativo linea y unifocal, para afrontar la comunicación barajando múltiples variables, y aproximaciones, en un proceso similar al desarrollo de un proyecto de arquitectura. Presenta un diseño muy novedoso y una edición extremadamente cuidada, que atiende a parámetros mucho más ambiciosos que los meramente narrativos. Profundiza en la necesidad de una temática global, planteando cuál es la aproximación más apropiada para cada uno de los proyectos que describe, transmitiendo al lector una percepción más allá de lo estrictamente visual, más próximo a lo sensorial. Además, su enorme repercusión a nivel internacional y el gran interés que despertó (no solamente entre los arquitectos, sino también entre diseñadores gráficos, publicistas, personas provenientes de todo tipo de tendencias artísticas y público en general), provocó la globalización del fenómeno de las publicaciones arquitectónicas y puso de manifiesto la importancia de la comunicación como una disciplina en sí misma, dentro de la producción arquitectónica en la era actual. A pesar de la importancia de “SMLXL” a todos los niveles, la presente tesis plantea que, donde realmente se culmina esa experiencia comunicativa, es en “Content”, al incluir nuevos parámetros relacionados con la fusión conceptual de continente y contenido. Es en esta publicación donde el objeto de la comunicación y la expresión de la misma se convierten en un único elemento, que se rige por leyes similares. En este caso, la ley fundamental es la aplicación hasta sus máximas consecuencias de la “cultura de la congestión”, tanto en el mensaje como en el medio, generando lo que hemos convenido en denominar “comunicación congestiva”. Esta concepción deviene en que necesariamente se materialice como un producto efímero, desechable, casi virtual, porque responde a las condiciones de un momento muy concreto y específico y fuera de ese contexto pierde su significación.. La “cultura de la congestión” empieza a surgir en los planteamientos de Koolhaas en la Architectural Association School of Architecture de Londres, bajo la tutela de Elia Zenghelis. Posteriormente se desarrolla en su manifiesto retroactivo sobre Manhattan, “Delirious New York”, donde declara la guerra abierta al urbanismo del movimiento moderno y afirma que la ciudad realmente contemporánea es aquella que es fruto de un desarrollo no planificado, hiperdensa y posible gracias a los avances tecnológicos de su era. Finalmente comienza a materializarse en la Diploma Unit 9 de la AA, donde entra como profesor en 1975, dejando una huella indeleble en las generaciones posteriores de arquitectos que pasaron dicha unidad. Rem Koolhaas es ante todo un intelectual y por ello, todo el constructo teórico sobre la metrópolis comienza a reflejarse en su obra a través de OMA desde el comienzo de su producción. Podemos decir a grandes rasgos que su carrera está marcada por dos hitos históricos fundamentales que determinan tres etapas diferenciadas en su producción. En sus primeros años de profesión, Koolhaas sigue fascinado por la metrópolis urbana y la aplicación del método paranoico crítico a su producción arquitectónica. Es un arquitecto profundamente surrealista. Entiende este método como una estrategia de conocimiento y aproximación al mundo que le rodea: “dejar salir el inconsciente pero sostenerlo con las muletas de la racionalidad”. Pero lo que en realidad le interesa es su aplicación a la gran escala, el “Bigness”, y por ello, participa en proyectos muy ambiciosos de los que surgen conceptos que, más allá de resultar premiados o no, han dejado una huella ideológica en el devenir de la arquitectura. Entre estos proyectos, cabe destacar su propuesta para el Parque de la Villette o la Très Grande Bibliotèque de París. Sus proyectos de esta época destilan una gran carga conceptual, que devienen en unos interiores sorprendentes pero una apariencia exterior sobria o incluso podríamos decir "povera", por el uso de materiales efímeros, poco habituales en la macro-arquitectura hasta ese momento. Súbitamente, en 1997, explotó el denominado “Efecto Bilbao”, de la mano de Frank Gehry (1). El Museo Guggenheim de Bilbao, con su espectacularidad, sus formas pregnantes e imposibles, impacta al mundo. Nace la era de la “Arquitectura del Espectáculo”; la transformación de la ciudad a través de ICONOS que actúen como nodos de atracción y concentración en torno a los cuales supuestamente se revitaliza la actividad económica, cultural y sociopolítica de la ciudad, como si a través de un único gesto se pudieran regenerar todos los tejidos internos de la urbe. Rem Koolhaas comprende rápidamente que la aproximación a la ciudad ha cambiado y, sobre todo, el mercado. En el mundo de la globalización, la única manera de llegar a materializar el “Bigness”, es encerrando sus ejercicios intelectuales en formas pregnantes, bellas, icónicas, espectaculares. Koolhaas encuentra su marca personal en la estética “Stealth”, proveniente de los aviones de combate facetados para evitar los radares, elaborados en los años 80. De esta época surgen proyectos como la Casa da Música de Oporto o la Biblioteca de Seattle; ambos edificios son iconos facetados, de belleza pregnante, que dejan una huella indeleble en la ciudad y provocan, al igual que el Guggenheim, un cierto efecto de recuperación y revitalización en el entorno en que se asientan, al menos de manera temporal. En cualquier caso, Koolhaas nunca abandona los ejercicios meramente teóricos, pero segrega su actividad en dos: OMA produce aquello que tiene vocación de ser construido y se rige por los parámetros del mercado global y AMO, la otra cara del espejo de Rem, aplica el pensamiento arquitectónico a campos no explorados, sin la dependencia de agentes externos, pudiendo permitirse ser un laboratorio puramente experimental. En este escenario, llega el 11 de septiembre de 2001 y el ataque a las Torres Gemelas de Nueva York tiene efectos devastadores a todos los niveles, significando, en un período de tiempo sorprendentemente corto, un cambio en el orden mundial. Rem Koolhaas da entonces un giro de 180 grados, dirige su mirada hacia China, donde entiende que sus aportaciones tienen un beneficio social más directo que en occidente. (2) Para presentar al mundo su nuevo cambio de rumbo y la creación del “Think Tank” AMO, plantea una gran exposición en la NeueGallerie de Berlín bajo el título de “Content”, experiencia paralela a la edición del libro con el mismo título, que inicialmente nace como “catálogo de la exposición, pero que internamente siempre se concibió como el documento más trascendente en el estudio desde “SMLXL”. Sin embargo, en muchos aspectos se trata de su opuesto: una publicación con formato revista, de tapa blanda, con paginado muy fino, formato de "folleto de supermercado" y contenido hiperdenso. Es un experimento efímero, fugaz, ligero, barato, de “usar y tirar”. De hecho, está fuera de stock, ya no se edita. Probablemente Rem Koolhaas desaprobaría que se hiciera una investigación que pusiera el foco sobre el mismo, porque diez años después de su publicación seguramente opine que su vigencia ha caducado. Sin embargo, muestra con una claridad meridiana el estado conceptual y vital de OMA en el momento de su publicación y representa, además un verdadero hito en la comunicación arquitectónica, un punto de no retorno, el máximo exponente de lo que hemos denominado “comunicación congestiva”. La presente tesis plantea que “Content” contiene la esencia de la mayor aportación de Rem Koolhaas al mundo de la arquitectura: la transformación profunda y definitiva de la comunicación arquitectónica mediante la convergencia del estado conceptual y la transmisión del mismo. Su legado arquitectónico y conceptual ha marcado a todas las generaciones posteriores de manera indeleble. Sus ensayos, sus teorías, sus proyectos y sus edificaciones ya pertenecen a la historia de la arquitectura, sin ninguna duda. Pero es su revisión del concepto de la comunicación en arquitectura lo que ha tenido y tendrá un reflejo inmediato en las generaciones futuras, no solamente en la comunicación sino en su arquitectura, a través de un intercambio biyectivo. El planteamiento a futuro sería determinar qué sucede tras “Content”, tras la hiperdensidad máxima, tras la cultura de la congestión visual; qué es lo que propone Koolhaas y qué se va a plantear también en el mundo de la comunicación arquitectónica. Para ello, estudiaremos en profundidad sus últimos proyectos relacionados con la comunicación, como su propuesta para la Biennale de Arquitectura de Venecia de 2014, su intensa investigación sobre el “Metabolismo” en “Project Japan: Metabolism Talks...”, o la dirección de sus últimos planteamientos territoriales. En los últimos tiempos Rem Koolhaas habla de “Preservación”, de “Sobriedad”, de “Esencialismo”, de “Performance”... El autor intelectual de la cultura de la congestión habla ahora de la “low density”...como no podía ser de otra manera en la otra cara del espejo. En definitiva, el color blanco como suma de todos los colores, todas las longitudes de onda del espectro visible recibidas al tiempo. ABSTRACT When talking about Rem Koolhaas, the mirror does not only reflect one but numerous images: it is nothing but a polyhedral prism. His mirror gives us the image of Rem the media celebrity, the intellectual, the conceptualizer, the builder, the analyst, the journalist, the actor... This research sets the spotlight on Rem the COMMUNICATOR. "Rem on both sides of the mirror" belongs to a research on architectural media, its influence on the architectural production and vice versa. It is aimed at getting to discern whether communication and architectural production collide and converge in the case of great communicators such as Rem Koolhaas, and whether the message and transmission media acquire the same features. Focusing on the figure of Rem Koolhaas, this thesis addresses the evolution of his communicative facet and the successive transformations in the field of architectural communication, parallel to the conceptual evolution he underwent throughout his career. Therefore, this research is not so much focused on his theoretical component or on the OMA’s architectural practice, but on the exhibition of his production to the world, especially through his essays and books. "Delirious New York" and "SMLXL" hold up a mirror to the conceptual moment they are part of, and contain a great deal of information about the graphic references that have inevitably influenced his work. Specially, the launch of "SMLXL" was a salutary shock for the architectural communication world, since it set the spotlight on the importance of leaving a linear and unifocal narrative behind in order to face communication considering multiple variables and approaches, based on a process similar to the development of an architectural project. It offers a very innovative design and an extremely careful editing, which deals with parameters much more ambitious than those merely narrative. It explores the need for a global subject and suggests the most appropriate approach for each of the projects described, giving the reader a closer insight to the sensory that goes beyond what’s strictly visual. In addition, its huge international impact and the great interest shown, not only by architects but also by graphic designers, publishers, people from all kinds of artistic trends and the general public, led to the globalisation of the architectural publications phenomenon and brought the importance of communication as a discipline in itself, within the architectural production in the age at hand, to light. Despite the importance of "SMLXL" at all levels, this thesis suggests that the communication experience really culminates in "Content", for it includes new conceptual parameters associated with the container-content conceptual fusion. It is in this book where the purpose of communication and the expression of such become a single element, ruled by similar laws. In this particular case, the fundamental law is to implement the "culture of congestion" to its extreme consequences in both the message and the media, leading to what we have agreed to refer to as "congestive communication”. This concept leads to its inevitable materialisation into an ephemeral, disposable, almost virtual product, because it meets the conditions of a very concrete and specific time, and outside that context it loses its significance. The "culture of congestion" emerged in Koolhaas’ approaches under the guidance of Elia Zenghelis, in the Architectural Association School of Architecture of London. Subsequently, his retroactive manifesto on Manhattan, "Delirious New York" developed it, waging an all-out war against the modern movement urbanism and maintaining that the really contemporary cities are those hyperdense ones that rise as a result of an unplanned development and thanks to the typical technological advances of their time. Finally it began to materialise in the Diploma Unit 9 of the AA, in which he started lecturing in 1975, leaving an indelible mark on subsequent generations of architects who passed that unit. First and foremost, Rem Koolhaas is an intellectual and, therefore, all the theoretical construct in the metropolis began to be reflected in his work through OMA since the beginnings of his production. Broadly speaking, we can say that his career is influenced by two essential historic events, which determine three different stages in his production. In the early years of his career, Koolhaas was still fascinated by the urban metropolis and the implementation of the paranoiac-critical method to his architectural production. He was then a deeply surreal architect. He understood this method as a knowledge strategy and an approach to the world around him: "let the subconscious out but hold it with the crutches of reasonableness”. However, he was actually interested in its implementation on a broad scale, the "Bigness", and therefore, he took part in ambitious projects that led to the accrual of concepts that, beyond being rewarded, left an ideological impression on the evolution of architecture. These projects included his proposal for the Parc de la Villette or the Très Grande Bibliotèque in Paris. The projects he carried out during this period showed a great conceptual background, which evolved into surprising interiors but a sober, or even "povera", exterior appearance, thanks to the use of ephemeral materials that were atypical in the macro-architecture field until that moment. Suddenly, in 1997, the so-called "Bilbao effect" boomed thanks to Frank Gehry (1). The Guggenheim Museum of Bilbao amazed the world with its spectacular nature and its pregnant and impossible shapes. It was the beginning of the era of “The architecture of spectacle”: the transformation of the city through ICONS that would act as nodes of attraction and gathering, around which the economic, cultural and socio-political activity of the city was supposed to be revitalized, as if through a single gesture all internal tissues of the city could be rebuilt. Rem Koolhaas quickly realized that the approach to the city, and especially to the global market, had changed. In the world of globalisation, the only way to get to materialise such "Bigness" was by keeping his intellectual exercises in pregnant, beautiful, iconic and spectacular shapes. Koolhaas found his personal brand in the Stealth aesthetic, resulting from the eighties American combat aircrafts whose shape was faceted in order to avoid radars. Projects such as the Casa da Música in Porto or the Seattle Library date from this period; both buildings are faceted icons of pregnant beauty that left an indelible mark on the city and caused, like the Guggenheim, some degree of recovery and revitalization on the environment in which they were based, at least temporarily. In any case, Koolhaas never gave the merely theoretical exercises up, but he segregated his work in two: OMA produced what was destined to be built and ruled by the parameters of the global market and AMO, Rem’s other side of the mirror, applied the architectural thought in unexplored fields, notwithstanding external agents and being able to work as a purely experimental laboratory. In light of this backdrop, September 11th 2001 came and the attacks on the Twin Towers in New York had devastating effects at all levels, leading to a change in the world order, in a surprisingly short period of time. Rem Koolhaas made a 180° turn directing his vision towards China, where he believed his contributions would have a more direct social benefit than in the Western world. (2) In order to introduce his new course of direction and the creation of the AMO "Think Tank", he planned a major exhibition in the Neue Nationalgalerie of Berlin under the title "Content", in parallel with edition of the book with the same title, which was at first the "exhibition catalog” but, deep down, was always conceived as the most important document of the Office since "SMLXL". However, in many ways it was just the opposite: a publication characterised by its magazine format, soft cover, very fine paging, "supermarket brochure" form and hyperdense content. It was an ephemeral, brief, light, cheap and "disposable" experiment. In fact, it is currently out of stock and out of print. Rem Koolhaas would probably disapprove of a research that sets the spotlight on him, for he would probably say that his validity has expired given that it has been ten years since its publication. However, it shows OMA’s conceptual and vital status at the time of its publication with crystalline clarity and it is also a true milestone in architectural communication. A point of no return. The epitome of the so-called "congestive communication ". This thesis suggests that "Content" contains the essence of Rem Koolhaas’ greatest contribution to the world of architecture: the deep and definitive transformation of architectural communication through the convergence of the conceptual state and the transmission thereof. His architectural and conceptual legacy has left an indelible mark on all subsequent generations. There is no doubt his essays, theories, projects and buildings already belong to the history of architecture. But it is his review on the concept of communication in architecture that has had and shall have an immediate influence on future generations, not only in their communication but also in their architecture, through a bijective exchange. Future approaches should try to determine what happens after "Content", after the maximum hyperdensity, after the visual culture of congestion; what shall Koolhaas suggest as well as what shall happen in the world of architectural communication. To this end, we shall study his latest communication-related projects, such as the design of the Venetian Architecture Biennale in 2014, his intensive research on the "Metabolism" in "Project Japan: Metabolism Talks ...", or the course of his latest territorial approaches in depth. Most recently, Rem Koolhaas has talked about "Preservation", "Sobriety" of "Essentialism", "Performance", etc. The mastermind of the culture of congestion now speaks of the "low density"... as it could not be otherwise, on the other side of the mirror. Summarizing, the white color as the sum of all colors; all wavelengths of the visible spectrum received at the same time.

Juan Navarro Baldeweg : el dibujo de la mano como herramienta en el proceso creativo

Esta investigación es una incursión en el tránsito de Juan Navarro desde sus “habitaciones y horizontes”, las manifestaciones espontáneas de la mano y el proyectar, a la obra que nos devuelve a la experiencia física y corporal del mundo. Juan Navarro debe a sus manos gran parte de sus inquietudes y capacidades. Sus manos están presentes en su obra como materia –piezas de manos-, como herramienta -el dibujo por la mano- y como desencadenante en los procesos creativos de su obra de arquitectura. Las distintas obras remiten a una preocupación común: la de visualizar el espacio a través de un imaginario personal. Sin embargo, el proceso creativo en cada disciplina se desarrolla teniendo en cuenta la especificidad del medio y la experiencia que provoca en el espectador. La obra, como concreción del proceso creativo, se explica por las continuidades y discontinuidades entre las herramientas, mecanismos y estrategias utilizadas en los distintos medios. La tesis se estructura en dos partes, en la primera se estudia cómo se producen los procesos creativos, sus mecanismos en los distintos medios plásticos y el dibujo como herramienta transversal. Se identifican los conceptos y temas que dan lugar a la obra profundizando en el papel de la mano como presencia orgánica, biológica y responsable de una forma de representación personal. La segunda parte se articula en dos capítulos que, a través del dibujo, muestran la arquitectura como modelo e identifican los mecanismos utilizados en su forma de proyectar y su relación con la obra en distintos proyectos. El texto se estructura como una secuencia de ideas articuladas alrededor de un universo gráfico que nos conduce por múltiples itinerarios desde los que atisbar los procesos creativos de Juan Navarro. Estos caminos son hilos con los que se teje una visión personal de la relación entre las herramientas y mecanismos utilizados por Juan Navarro y su obra. La manera cómo se produce el proceso creativo, los mecanismos y las herramientas que los ponen en marcha constituyen una forma de abordar la obra, que hasta la fecha, se ha tratado aisladamente sin una intención de construir un cuerpo estructurado de conocimiento. En la arquitectura Juan Navarro existe un vacío de conocimiento teórico y gráfico sobre el propio proceso y su forma de proyectar. Se ha persistido en la explicación de la obra, sus referencias, temas abordados, relaciones y trasvases sin ahondar en la especificidad del medio. Estos vacíos establecen la necesidad y justificación de esta tesis doctoral. La investigación comienza descifrando una obra que desde sus inicios trabaja con la dualidad de lo gestual y lo conceptual. Plantea una forma de ordenación del mundo, de la sensación sometida a la medida en la que finalmente la obra se recibe como signo que desencadena sentimientos y te devuelve al mundo. Propone la recuperación de los sentidos a través de una arquitectura como vivencia no reductible al espacio geométrico. Identifica los mecanismos y herramientas que se establecen en este proceso y termina concluyendo que el dibujo es la herramienta doblemente transversal porque atiende de forma desigual a las distintas disciplinas y a los dos extremos en que se presenta la actividad creatividad en el trabajo de Juan Navarro. Estos extremos se corresponden con un conocimiento corporal inconsciente y un trabajo constante guiado por la motivación, la predeterminación y la conceptualización. El dibujo por la mano es el espacio de encuentro entre lo que representa la mano y la posibilidad de expresión proyectual codificada. Se produce en un territorio que se extiende desde lo analógico subyacente –que se nutre de imágenes complejas- y el dominio simbólico construido. Abstract. This research is a foray into Juan Navarro’s transition from his "Rooms and Horizons", -spontaneous demonstrations of the hand-, to the project, -the work that brings us back to experiencing the physical world-. Juan Navarro owes his hands much of his capacities and inquisitiveness. His hands are present in his work as the subject –“Hand Pieces”-, as a tool -through hand-drawing - and as a trigger in the creative processes of his work of architecture. The various works refer to a common theme: the viewing space through a personal imagery. However, the creative process in each discipline develops taking into account the specificity of the medium and the experience that arouses in the observer. The work, as completion of the creative process, is explained by the continuities and discontinuities between the tools, mechanisms and strategies used in the different media. The thesis is structured in two parts, the first studies how the creative processes are iniciated, their mechanisms in the different plastic art media, as well as drawing as a transversal tool. In this section the investigation identifies the concepts and themes that give rise to the art work, exploring the role of the hand as the organic, biological presence responsible for a way of personal representation. The second part is divided into two chapters, which, via the drawing, show the architecture as a model and identify the mechanisms used in the his way of projecting form of the project and its the relationship of hand-drawing to with his work ilustrated with different projects. The text is structured as a sequence of ideas, articulated around a graphic universe that leads us by multiple paths, letting us glimpse into the creative processes of Juan Navarro. These paths are threads that weave a personal vision of the relationship between the tools and mechanisms used by Juan Navarro in his work. The way the creative process takes place, the mechanisms and tools that set it in action, constitutes a way of dealing with the work, that, hithergo, has been treated in isolation without an intention to build a structured body of knowledge. In Navarro Baldeweg’s architecture there is a vacuum of theoretical and graphic knowledge of the process itself and his way of projecting. So far, emphasis has been placed mainly on his work’s explanation, its references, the subjects covered, connections and transfers, without delving into the specificity of each medium. These academic gaps justify the need for this doctoral thesis. The investigation begins deciphering a work that, since its very beginning, deals with the duality of the gesture and the concept. It poses a way of managing the world and the sensations which are submitted until it finally detects the work as a sign that triggers feelings and returns the observer to the real world. It proposes the recovery of the senses through an architecture that is sensed as an experience and not merely reduced to geometric space. It identifies the mechanisms and tools that are set out in this process and concludes that drawing is a core tool working in two directions, because it caters unevenly to the various disciplines and to both ends of the creative activity presented in the work of Juan Navarro. These ends correspond with an unconscious physical knowledge and a continuous work guided by motivation, predetermination and conceptualization. Hand-drawing is the meeting space between what the hand represents, and the possibility of an encoded, projectual expression. Thus, hand-drawing takes place in a territory that covers the underlying analogue - which feeds on complex images - to the symbolic built domain.

A hierarchical neuronal network for planning behavior

Planning a goal-directed sequence of behavior is a higher function of the human brain that relies on the integrity of prefrontal cortical areas. In the Tower of London test, a puzzle in which beads sliding on pegs must be moved to match a designated goal configuration, patients with lesioned prefrontal cortex show deficits in planning a goal-directed sequence of moves. We propose a neuronal network model of sequence planning that passes this test and, when lesioned, fails in a way that mimics prefrontal patients’ behavior. Our model comprises a descending planning system with hierarchically organized plan, operation, and gesture levels, and an ascending evaluative system that analyzes the problem and computes internal reward signals that index the correct/erroneous status of the plan. Multiple parallel pathways connecting the evaluative and planning systems amend the plan and adapt it to the current problem. The model illustrates how specialized hierarchically organized neuronal assemblies may collectively emulate central executive or supervisory functions of the human brain.

Pleasant sweeping grooming touch in rhesus monkey: effects on autonomic nervous system and its codification in posterior insular and secondary somatosensory cortex

Il tatto assume un'importanza fondamentale nella vita quotidiana, in quanto ci permette di discriminare le caratteristiche fisiche di un oggetto specifico, di identificarlo e di eventualmente integrare le suddette informazioni tattili con informazioni provenienti da altri canali sensoriali. Questa è la componente sensoriale-discriminativa del tatto. Tuttavia quotidianamente il tatto assume un ruolo fondamentale durante le diverse interazioni sociali, positive, come quando abbracciamo o accarezziamo una persona con cui abbiamo un rapporto affettivo e negative, per esempio quando allontaniamo una persona estranea dal nostro spazio peri-personale. Questa componente è la cosiddetta dimensione affettiva-motivazionale, la quale determina la codifica della valenza emotiva che l'interazione assume. Questa componente ci permette di creare, mantenere o distruggere i legami sociali in relazione al significato che il tocco assume durante l'interazione. Se per esempio riceviamo una carezza da un familiare, questa verrà percepita come piacevole e assumerà un significato affiliativo. Questo tipo di tocco è comunente definito come Tocco Sociale (Social Touch). Gli aspetti discriminativi del tatto sono stati ben caratterizzati, in quanto storicamente, il ruolo del tatto è stato considerato quello di discriminare le caratteristiche di ciò che viene toccato, mentre gli aspetti affettivi sono stati solo recentemente indagati considerando la loro importanza nelle interazioni sociali. Il tocco statico responsabile dell'aspetto discriminante attiva a livello della pelle le grandi fibre mieliniche (Aβ), modulando a livello del sistema nervoso centrale le cortecce sensoriali, sia primarie che secondarie. Questo permette la codifica a livello del sistema nervoso centrale delle caratteristiche fisiche oggettive degli oggetti toccati. Studi riguardanti le caratteristiche del tocco affiliativo sociale hanno messo in evidenza che suddetta stimolazione tattile 1) è un particolare tocco dinamico che avviene sul lato peloso delle pelle con una velocità di 1-10 cm/sec; 2) attiva le fibre amieliniche (fibre CT o C-LTMRs); 3) induce positivi effetti autonomici, ad esempio la diminuzione della frequenza cardiaca e l'aumento della variabilità della frequenza cardiaca; e 4) determina la modulazione di regioni cerebrali coinvolte nella codifica del significato affiliativo dello stimolo sensoriale periferico, in particolare la corteccia insulare. Il senso del tatto, con le sue due dimensioni discriminativa e affiliativa, è quotidianamente usato non solo negli esseri umani, ma anche tra i primati non umani. Infatti, tutti i primati non umani utilizzano la componente discriminativa del tatto per identificare gli oggetti e il cibo e l'aspetto emotivo durante le interazioni sociali, sia negative come durante un combattimento, che positive, come durante i comportamenti affiliativi tra cui il grooming. I meccanismi di codifica della componente discriminativa dei primati non umani sono simili a quelli umani. Tuttavia, si conosce ben poco dei meccanismi alla base della codifica del tocco piacevole affiliativo. Pur essendo ben noto che i meccanorecettori amilienici C-LTMRs sono presenti anche sul lato peloso della pelle dei primati non umani, attualmente non ci sono studi riguardanti la correlazione tra il tocco piacevole e la loro modulazione, come invece è stato ampiamente dimostrato nell'uomo. Recentemente è stato ipotizzato (Dunbar, 2010) il ruolo delle fibre C-LTMRs durante il grooming, in particolare durante il cosiddetto swepping. Il grooming è costituito da due azioni motorie, lo sweeping e il picking che vengono eseguite in modo ritmico. Durante lo sweeping la scimmia agente muove il pelo della scimmia ricevente con un movimento a mano aperta, per poter vedere il preciso punto della pelle dove eseguire il picking, ovvero dove prendere la pelle a livello della radice del pelo con le unghie dell'indice e del pollice e tirare per rimuovere parassiti o uova di parassiti e ciò che è rimasto incastrato nel pelo. Oltre il noto ruolo igenico, il grooming sembra avere anche una importante funzione sociale affiliativa. Come la carezza nella società umana, cosi il grooming tra i primati non umani è considerato un comportamento. Secondo l'ipotesi di Dunbar l'attivazione delle C-LTMRs avverrebbe durante lo sweeping e questo porta a supporre che lo sweeping, come la carezza umana, costituisca una componente affiliativa del grooming, determinando quindi a contribuire alla sua codifica come comportamento sociale. Fino ad ora non vi è però alcuna prova diretta a sostegno di questa ipotesi. In particolare, 1) la velocità cui viene eseguito lo sweeping è compatibile con la velocità di attivazione delle fibre CT nell'uomo e quindi con la velocità tipica della carezza piacevole di carattere sociale affiliativo (1-10 cm/sec)?; 2) lo sweeping induce la stessa modulazione del sistema nervoso autonomo in direzione della modulazione del sistema vagale, come il tocco piacevole nell'uomo, attraverso l'attivazione delle fibre CT?; 3) lo sweeping modula la corteccia insulare, cosi come il tocco piacevole viene codificato come affiliativo nell'uomo mediante le proiezioni delle fibre CT a livello dell'insula posteriore? Lo scopo del presente lavoro è quella di testare l'ipotesi di Dunbar sopra citata, cercando quindi di rispondere alle suddette domande. Le risposte potrebbero consentire di ipotizzare la somiglianza tra lo sweeping, caratteristico del comportamento affiliativo di grooming tra i primati non umani e la carezza. In particolare, abbiamo eseguito 4 studi pilota. Nello Studio 1 abbiamo valutato la velocità con cui viene eseguito lo sweeping tra scimmie Rhesus, mediante una analisi cinematica di video registrati tra un gruppo di scimmie Rhesus. Negli Studi 2 e 3 abbiamo valutato gli effetti sul sistema nervoso autonomo dello sweeping eseguito dallo sperimentatore su una scimmia Rhesus di sesso maschile in una tipica situazione sperimentale. La stimolazione tattile è stata eseguita a diverse velocità, in accordo con i risultati dello Studio 1 e degli studi umani che hanno dimostrato la velocità ottimale e non ottimale per l'attivazione delle C-LTMRs. In particolare, nello Studio 2 abbiamo misurato la frequenza cardiaca e la variabilità di questa, come indice della modulatione vagale, mentre nello Studio 3 abbiamo valutato gli effetti dello sweeping sul sistema nervoso autonomo in termini di variazioni di temperatura del corpo, nello specifico a livello del muso della scimmia. Infine, nello Studio 4 abbiamo studiato il ruolo della corteccia somatosensoriale secondaria e insulare nella codifica dello sweeping. A questo scopo abbiamo eseguito registrazioni di singoli neuroni mentre la medesima scimmia soggetto sperimentale dello Studio 2 e 3, riceveva lo sweeping a due velocità, una ottimale per l'attivazione delle C-LTMRs secondo gli studi umani e i risultati dei tre studi sopra citati, ed una non ottimale. I dati preliminari ottenuti, dimostrano che 1) (Studio 1) lo sweeping tra scimmie Rhesus viene eseguito con una velocità media di 9.31 cm/sec, all'interno dell'intervallo di attivazione delle fibre CT nell'uomo; 2) (Studio 2) lo sweeping eseguito dallo sperimentatore sulla schiena di una scimmia Rhesus di sesso maschile in una situazione sperimentale determina una diminuzione della frequenza cardiaca e l'aumento della variabilità della frequenza cardiaca se eseguito alla velocità di 5 e 10 cm/sec. Al contrario, lo sweeping eseguito ad una velocità minore di 1 cm/sec o maggiore di 10 cm/sec, determina l'aumento della frequenza cardiaca e la diminuzione della variabilità di questa, quindi il decremento dell'attivazione del sistema nervoso parasimpatico; 3) (Studio 3) lo sweeping eseguito dallo sperimentatore sulla schiena di una scimmia Rhesus di sesso maschile in una situazione sperimentale determina l'aumento della temperatura corporea a livello del muso della scimmia se eseguito alla velocità di 5-10 cm/sec. Al contrario, lo sweeping eseguito ad una velocità minore di 5 cm/sec o maggiore di 10 cm/sec, determina la diminuzione della temperatura del muso; 4) (Studio 4) la corteccia somatosensoriale secondaria e la corteccia insulare posteriore presentano neuroni selettivamente modulati durante lo sweeping eseguito ad una velocità di 5-13 cm/sec ma non neuroni selettivi per la codifica della velocità dello sweeping minore di 5 cm/sec. Questi risultati supportano l'ipotesi di Dunbar relativa al coinvolgimento delle fibre CT durante lo sweeping. Infatti i dati mettono in luce che lo sweeping viene eseguito con una velocità (9.31 cm/sec), simile a quella di attivazione delle fibre CT nell'uomo (1-10 cm/sec), determina gli stessi effetti fisiologici positivi in termini di frequenza cardiaca (diminuzione) e variabilità della frequenza cardiaca (incremento) e la modulazione delle medesime aree a livello del sistema nervoso centrale (in particolare la corteccia insulare). Inoltre, abbiamo dimostrato per la prima volta che suddetta stimolazione tattile determina l'aumento della temperatura del muso della scimmia. Il presente studio rappresenta la prima prova indiretta dell'ipotesi relativa alla modulazione del sistema delle fibre C-LTMRs durante lo sweeping e quindi della codifica della stimolazione tattile piacevole affiliativa a livello del sistema nervoso centrale ed autonomo, nei primati non umani. I dati preliminari qui presentati evidenziano la somiglianza tra il sistema delle fibre CT dell'uomo e del sistema C-LTMRs nei primati non umano, riguardanti il Social Touch. Nonostante ciò abbiamo riscontrato alcune discrepanze tra i risultati da noi ottenuti e quelli invece ottenuti dagli studi umani. La velocità media dello sweeping è di 9.31 cm / sec, rasente il limite superiore dell’intervallo di velocità che attiva le fibre CT nell'uomo. Inoltre, gli effetti autonomici positivi, in termini di battito cardiaco, variabilità della frequenza cardiaca e temperatura a livello del muso, sono stati evidenziati durante lo sweeping eseguito con una velocità di 5 e 10 cm/sec, quindi al limite superiore dell’intervallo ottimale che attiva le fibre CT nell’uomo. Al contrario, lo sweeping eseguito con una velocità inferiore a 5 cm/sec e superiore a 10 cm/sec determina effetti fisiologici negativo. Infine, la corteccia insula sembra essere selettivamente modulata dallo stimolazione eseguita alla velocità di 5-13 cm/sec, ma non 1-5 cm/sec. Quindi, gli studi sul sistema delle fibre CT nell’uomo hanno dimostrato che la velocità ottimale è 1-10 cm/sec, mentre dai nostri risultati la velocità ottimale sembra essere 5-13 cm / sec. Quindi, nonostante l'omologia tra il sistema delle fibre CT nell'umano deputato alla codifica del tocco piacevole affiliativo ed il sistema delle fibre C-LTMRs nei primati non umani, ulteriori studi saranno necessari per definire con maggiore precisione la velocità ottimale di attivazione delle fibre C-LTMR e per dimostrare direttamente la loro attivazione durante lo sweeping, mediante la misurazione diretta della loro modulazione. Studi in questa direzione potranno confermare l'omologia tra lo sweeping in qualità di tocco affiliativo piacevole tra i primati non umani e la carezza tra gli uomini. Infine, il presente studio potrebbe essere un importante punto di partenza per esplorare il meccanismo evolutivo dietro la trasformazione dello sweeping tra primati non umani, azione utilitaria eseguita durante il grooming, a carezza, gesto puramente affiliativo tra gli uomini.

Neural basis of lexical-semantic processing and integration of symbolic gestures with words

Three studies investigated the relation between symbolic gestures and words, aiming at discover the neural basis and behavioural features of the lexical semantic processing and integration of the two communicative signals. The first study aimed at determining whether elaboration of communicative signals (symbolic gestures and words) is always accompanied by integration with each other and, if present, this integration can be considered in support of the existence of a same control mechanism. Experiment 1 aimed at determining whether and how gesture is integrated with word. Participants were administered with a semantic priming paradigm with a lexical decision task and pronounced a target word, which was preceded by a meaningful or meaningless prime gesture. When meaningful, the gesture could be either congruent or incongruent with word meaning. Duration of prime presentation (100, 250, 400 ms) randomly varied. Voice spectra, lip kinematics, and time to response were recorded and analyzed. Formant 1 of voice spectra, and mean velocity in lip kinematics increased when the prime was meaningful and congruent with the word, as compared to meaningless gesture. In other words, parameters of voice and movement were magnified by congruence, but this occurred only when prime duration was 250 ms. Time to response to meaningful gesture was shorter in the condition of congruence compared to incongruence. Experiment 2 aimed at determining whether the mechanism of integration of a prime word with a target word is similar to that of a prime gesture with a target word. Formant 1 of the target word increased when word prime was meaningful and congruent, as compared to meaningless congruent prime. Increase was, however, present for whatever prime word duration. In the second study, experiment 3 aimed at determining whether symbolic prime gesture comprehension makes use of motor simulation. Transcranial Magnetic Stimulation was delivered to left primary motor cortex 100, 250, 500 ms after prime gesture presentation. Motor Evoked Potential of First Dorsal Interosseus increased when stimulation occurred 100 ms post-stimulus. Thus, gesture was understood within 100ms and integrated with the target word within 250 ms. Experiment 4 excluded any hand motor simulation in order to comprehend prime word. The effect of the prior presentation of a symbolic gesture on congruent target word processing was investigated in study 3. In experiment 5, symbolic gestures were presented as primes, followed by semantically congruent target word or pseudowords. In this case, lexical-semantic decision was accompanied by a motor simulation at 100ms after the onset of the verbal stimuli. Summing up, the same type of integration with a word was present for both prime gesture and word. It was probably subsequent to understanding of the signal, which used motor simulation for gesture and direct access to semantics for words. However, gesture and words could be understood at the same motor level through simulation if words were preceded by an adequate gestural context. Results are discussed in the prospective of a continuum between transitive actions and emblems, in parallelism with language; the grounded/symbolic content of the different signals evidences relation between sensorimotor and linguistic systems, which could interact at different levels.