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

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

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

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

Reproductive interference between honey bee species in artificial sympatry

Reproductive isolation between closely related species is often incomplete. The Western honey bee, Apis mellifera, and the Eastern hive bee, A. cerana have been allopatric for millions of years, but are nonetheless similar in morphology and behaviour. During the last century the two species were brought into contact anthropogenically, providing potential opportunities for interspecific matings. Hybrids between A. mellifera and A. cerana are inviable, so natural interspecific matings are of concern because they may reduce the viability of A. cerana and A. mellifera populations – two of the world's most important pollinators. We examined the mating behaviour of A. mellifera and A. cerana queens and drones from Caoba Basin, China and Cairns, Australia. Drone mating flight times overlap in both areas. Analysis of the spermathecal contents of queens with species-specific genetic markers indicated that in Caoba Basin, 14% of A. mellifera queens mated with at least one A. cerana male, but we detected no A. cerana queens that had mated with A. mellifera males. Similarly, in Cairns, no A. cerana queens carried A. mellifera sperm, but one third of A. mellifera queens had mated with at least one A. cerana male. No hybrid embryos were detected in eggs laid by interspecifically-mated A. mellifera queens in either location. However A. mellifera queens artificially inseminated with A. cerana sperm produced inviable hybrid eggs, or unfertilised drones. This suggests that reproductive interference will impact the viability of honey bee populations wherever A. cerana and A. mellifera are in contact. This article is protected by copyright. All rights reserved.

Temporal variation of tonal spectrum of tambura

Tambura is an essential drone accompaniment used in Indian music concerts. It acts as an immediate reference of pitch for both the artists and listeners. The four strings of Tambura are tuned to the frequency ratio :1:1: . Careful listening to Tambura sound reveals that the tonal spectrum is not stationary but is time varying. The object of this study is to make a detailed spectrum analysis to find out the nature of temporal variation of the tonal spectrum of Tambura sound. Results of the analysis are correlated with perceptual evaluation conducted in a controlled acoustic environment. A significant result of this study is to demonstrate the presence of several notes which are normally not noticed even by a professional artist. The effect of bridge in Tambura in producing the so called “live tone” is explained through time and frequency parameters of Tambura sounds.

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

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

Experimentos de coordinación multi-robot con quadcopteros

El objetivo principal de este proyecto es crear un sistema capaz de controlar varios UAVs y hacer experimentos con ellos de manera coordinada. El UAV utilizado será la plataforma robótica aérea AR.Drone. Estos drones son cuadricópteros con sus cuatro servomotores eléctricos que permiten un control muy robusto de sus maniobras en el aire. El sistema completo estará compuesto por varios drones y un controlador, que en este caso será un ordenador. A partir de la creación de la red compuesta por los drones y el controlador, se detallarán los programas que se han utilizado para controlar los drones, ya sea en los vuelos autónomos o vuelos controlados. El objetivo de estos vuelos será transportar objetos lineales, como pueden ser mangueras o cuerdas, mediante el vuelo coordinado de los drones dotados de sistemas de jación para que los puedan transportar. Esto es, gracias a un sistema de sujeción que le añadiremos a cada drone probaremos el transporte de varios tipos de cuerdas por dos o más drones a la vez guiados por un solo controlador. Los programas creados tendrán el objetivo de corregir el vuelo e intentar conseguir la estabilidad necesaria para que los drones puedan transportar las cuerdas o mangueras sin perder el control debido a su peso o algún efecto producido por los otros drones, como corrientes de aire inducidas por los rotores. Este proyecto tiene dos partes importantes: La primera es la creación del sistema que nos permite transportar las cuerdas y la segunda es observar y analizar el comportamiento del sistema durante diferentes experimentos. A la hora de explicar las pruebas experimentales se detallará la situación del sistema con el número de drones y el objeto a transportar. Además, se resumirán los resultados de los experimentos re ejados en valores de parámetros de vuelo recibidos de los drones. Para acabar, se detallarán las diferentes conclusiones a las que se ha llegado mediante los experimentos y que nos han servido también para escribir las lineas futuras de trabajo que se detallan al nal.

Módulo de generación de trayectorias para el vuelo autónomo de un cuadricóptero.

[ES]La finalidad de este TFG es dotar a un Parrot AR Drone de un módulo que, en conjunto con otros desarrollos anteriores, sea capaz de realizar trayectorias evitando obstáculos. Después de realizar las simulaciones necesarias, utilizando un software de comunicación con el cuadricóptero, se pretenden obtener pruebas físicas de los avances en la programación.

Robot and insect navigation by polarized skylight

A study of a large number of published experiments on the behaviour of insects navigating by skylight has led to the design of a system for navigation in lightly clouded skies, suitable for a robot or drone. The design is based on the measurement of the directions in the sky at which the polarization angle, i.e. the angle χ between the polarized E-vector and the meridian, equals ±π/4 or ±(π/4 + π/3) or ±(π/4 - π/3). For any one of these three options, at any given elevation, there are usually 4 such directions and these directions can give the azimuth of the sun accurately in a few short steps, as an insect can do. A simulation shows that this compass is accurate as well as simple and well suited for an insect or robot. A major advantage of this design is that it is close to being invariant to variable cloud cover. Also if at least two of these 12 directions are observed the solar azimuth can still be found by a robot, and possibly by an insect.

Dublin 1916: theatre of revolt

In his essay, Anti-Object, Kengo Kuma proposes that architecture cannot and should not be understood as object alone but instead always as series of networks and connections, relationships within space and through form. Some of these relationships are tangible, others are invisible. Stan Allen and James Corner have also called for an architecture that is more performative and operative – ‘less concerned with what buildings look like and more concerned with what they do’ – as means of effecting a more intimate and promiscuous relationship between infrastructure, urbanism and buildings. According to Allen this expanding filed offers a reclamation of some of the areas ceded by architecture following disciplinary specialization:

‘Territory, communication and speed are properly infrastructural problems and architecture as a discipline has developed specific technical means to deal with these variables. Mapping, projection, calculation, notation and visualization are among architecture’s traditional tools for operating at the very large scale’.

The motorway may not look like it – partly because we are no longer accustomed to think about it as such – but it is a site for and of architecture, a territory where architecture can be critical and active. If the limits of the discipline have narrowed, then one of the functions of a school of architecture must be an attempt occupy those areas of the built environment where architecture is no longer, or has yet to reach. If this is a project about reclamation of a landscape, it is also a challenge to some of the boundaries that surround architecture and often confine it, as Kuma suggests, to the appreciation of isolated objects.

M:NI 2014-15
We tend to think of the motorway as a thing or an object, something that has a singular function. Historically this is how it has been seen, with engineers designing bridges and embankments and suchlike with zeal … These objects like the M3 Urban Motorway, Belfast’s own Westway, are beautiful of course, but they have caused considerable damage to the city they were inflicted upon.

Actually, it’s the fact that we have seen the motorway as a solid object that has caused this problem. The motorway actually is a fluid and dynamic thing, and it should be seen as such: in fact it’s not an organ at all but actually tissue – something that connects rather than is. Once we start to see the motorway as tissue, it opens up new propositions about what the motorway is, is used for and does. This new dynamic and connective view unlocks the stasis of the motorway as edifice, and allows adaptation to happen: adaptation to old contexts that were ignored by the planners, and adaptation to new contexts that have arisen because of or in spite of our best efforts.

Motorways as tissue are more than just infrastructures: they are landscapes. These landscapes can be seen as surfaces on which flows take place, not only of cars, buses and lorries, but also of the globalized goods carried and the lifestyles and mobilities enabled. Here the infinite speed of urban change of thought transcends the declared speed limit [70 mph] of the motorway, in that a consignment of bananas can cause soil erosion in Equador, or the delivery of a new iphone can unlock connections and ideas the world over.

So what is this new landscape to be like? It may be a parallax-shifting, cognitive looking glass; a drone scape of energy transformation; a collective farm, or maybe part of a hospital. But what’s for sure, is that it is never fixed nor static: it pulses like a heartbeat through that most bland of landscapes, the countryside. It transmits forces like a Caribbean hurricane creating surf on an Atlantic Storm Beach: alien forces that mutate and re-form these places screaming into new, unclear and unintended futures.

And this future is clear: the future is urban. In this small rural country, motorways as tissue have made the whole of it: countryside, mountain, sea and town, into one singular, homogenous and hyper-connected, generic city.

Goodbye, place. Hello, surface!

MNI: Motorway Notation Network

In his essay, Anti-Object, Kengo Kuma proposes that architecture cannot and should not be understood as object alone but instead always as series of networks and connections, relationships within space and through form. Some of these relationships are tangible, others are invisible. Stan Allen and James Corner have also called for an architecture that is more performative and operative – ‘less concerned with what buildings look like and more concerned with what they do’ – as means of effecting a more intimate and promiscuous relationship between infrastructure, urbanism and buildings. According to Allen this expanding filed offers a reclamation of some of the areas ceded by architecture following disciplinary specialization:

‘Territory, communication and speed are properly infrastructural problems and architecture as a discipline has developed specific technical means to deal with these variables. Mapping, projection, calculation, notation and visualization are among architecture’s traditional tools for operating at the very large scale’.

The motorway may not look like it – partly because we are no longer accustomed to think about it as such – but it is a site for and of architecture, a territory where architecture can be critical and active. If the limits of the discipline have narrowed, then one of the functions of a school of architecture must be an attempt occupy those areas of the built environment where architecture is no longer, or has yet to reach. If this is a project about reclamation of a landscape, it is also a challenge to some of the boundaries that surround architecture and often confine it, as Kuma suggests, to the appreciation of isolated objects.

M:NI 2014-15
We tend to think of the motorway as a thing or an object, something that has a singular function. Historically this is how it has been seen, with engineers designing bridges and embankments and suchlike with zeal … These objects like the M3 Urban Motorway, Belfast’s own Westway, are beautiful of course, but they have caused considerable damage to the city they were inflicted upon.

Actually, it’s the fact that we have seen the motorway as a solid object that has caused this problem. The motorway actually is a fluid and dynamic thing, and it should be seen as such: in fact it’s not an organ at all but actually tissue – something that connects rather than is. Once we start to see the motorway as tissue, it opens up new propositions about what the motorway is, is used for and does. This new dynamic and connective view unlocks the stasis of the motorway as edifice, and allows adaptation to happen: adaptation to old contexts that were ignored by the planners, and adaptation to new contexts that have arisen because of or in spite of our best efforts.

Motorways as tissue are more than just infrastructures: they are landscapes. These landscapes can be seen as surfaces on which flows take place, not only of cars, buses and lorries, but also of the globalized goods carried and the lifestyles and mobilities enabled. Here the infinite speed of urban change of thought transcends the declared speed limit [70 mph] of the motorway, in that a consignment of bananas can cause soil erosion in Equador, or the delivery of a new iphone can unlock connections and ideas the world over.

So what is this new landscape to be like? It may be a parallax-shifting, cognitive looking glass; a drone scape of energy transformation; a collective farm, or maybe part of a hospital. But what’s for sure, is that it is never fixed nor static: it pulses like a heartbeat through that most bland of landscapes, the countryside. It transmits forces like a Caribbean hurricane creating surf on an Atlantic Storm Beach: alien forces that mutate and re-form these places screaming into new, unclear and unintended futures.

And this future is clear: the future is urban. In this small rural country, motorways as tissue have made the whole of it: countryside, mountain, sea and town, into one singular, homogenous and hyper-connected, generic city.

Goodbye, place. Hello, surface!

Route planning in wireless sensor networks for data gathering purposes

Dissertação de Mestrado, Engenharia Informática, Faculdade de Ciências e Tecnologia, Universidade do Algarve, 2015

Análisis de las relaciones bilaterales entre Pakistán y Estados Unidos en materia de seguridad (Periodo 2007 - 2010)

Después de los ataques del 11 de septiembre de 2001, Pakistán se ha convertido en uno de los principales aliados de Estados Unidos para combatir las fuerzas terroristas de Al-Qaeda y los talibán en el centro y sur de Asia. La alianza bilateral no ha manifestado resultados determinantes para aliviar los problemas de seguridad en Pakistán, por el contrario, la yihad islámica se ha fortalecido en su población y los ataques terroristas que atentan contra la población civil y el aparato estatal se vuelven cada vez mas frecuentes, en razón de lo anterior, los grupos insurgentes en Pakistán han fortalecido su capacidad operativa y expandido su escenario de influencia.

Implementación de estrategias de poder por parte de Irán, Turquía y Arabia Saudita en la disputa por la hegemonía de Medio Oriente. Periodo 2005-2012.

El interés de esta monografía es analizar las distintas estrategias políticas, económicas y militares que han implementado Irán, Turquía y Arabia Saudita en busca de la hegemonía de Medio Oriente. A lo largo del trabajo de investigación se analiza por medio del realismo ofensivo de John Mearsheimer las distintas estrategias de los tres Estados antes mencionados, con el fin de establecer la voluntad y las capacidades de cada uno para alcanzar la hegemonía regional. Finalmente, por medio de la medición de percepción de poder establecida por David Jablonsky se examinan las capacidades y la proyección de poder que poseen Irán, Turquía y Arabia Saudita para obtener la hegemonía de Medio Oriente.

Estrategia de intervención militar de Estados Unidos en Medio Oriente: dinámicas y consecuencias del uso de drones en Yemen y Pakistán entre 2009 a 2013

Este es un estudio sobre la estrategia de guerra estadounidense en Medio Oriente basada en el uso sistemático de drones durante el periodo comprendido entre 2009 y 2013. Se busca explicar de qué manera puede considerarse el uso de este tipo de armamento como una práctica basada en la proyección de poder sin mayor vulnerabilidad. Los casos de Pakistán y Yemen son abordados, ya que evidencian las características de las operaciones selectivas por las que ha abogado el Presidente Obama. El estudio se inscribe dentro del realismo ofensivo, haciendo también referencia a sus limitaciones explicativas. Empero, se afirma que las dinámicas y consecuencias de la utilización de drones son intrínsecas a la necesidad estadounidense de combatir actores no estatales mediante prácticas que garanticen su seguridad y pretensiones hegemónicas a pesar de las implicaciones políticas , legales y sociales en las que puede incurrir.

Another Proof of the Preceding Theory

Another Proof of the Preceding Theory was produced as part of a residency run by Artists in Archeology in conjunction with the Stonehenge Riverside project. The film explores the relationship between science, work and ritual, imagining archaeology as a future cult. As two robed disciples stray off from the dig, they are drawn to the drone of the stones and proceed to play the henge like a gigantic Theremin. Just as a Theremin is played with the hand interfering in an electric circuit and producing sound without contact, so the stones respond to the choreographed bodily proximity. Finally, one of the two continues alone to the avenue at Avebury, where the magnetic pull of the stones reaches its climax. Shot on VHS, the film features a score by Zuzushi Monkey, with percussion and theremin sounds mirroring the action. The performers are mostly artists and archeologists from the art and archaeology teams. The archeologists were encouraged to perform their normal work in the robes, in an attempt to explore the meeting points of science and ritual and interrogate our relationship to an ultimately unknowable prehistoric past where activities we do not understand are relegated to the realm of religion. Stonehenge has unique acoustic properties, it’s large sarsen stones are finely worked on the inside, left rough on the outside, intensifying sound waves within the inner horseshoe, but since their real use, having been built over centuries, remains ambiguous, the film proposes that our attempts to decode them may themselves become encoded in their cumulative meaning for future researchers.