Sistema supervisor central de eventos en entorno ferroviario

En el campo del ferrocarril es necesaria tecnología avanzada que ayude en la seguridad de los trenes y de los pasajeros, en caso de viajes comerciales. Para ello en los pasos a nivel es necesario tener mecanismos que detallen cualquier incidencia, o cualquier anomalía respecto a las vías, bajadas de vayas, etc. Aquí toma vida esta aplicación llamada SCSE (Sistema Supervisor Central de Eventos en Entorno Ferroviario), que ofrece una cantidad importante de información. Esta aplicación recoge en el momento toda la información de los distintos pasos a nivel; y nos dice dónde está fallando el paso, si hay un error en la subida/bajada de vayas, si el semáforo no ha cambiado de color a tiempo... y lo hace visual en la pantalla. Con esta aplicación se pretende ofrecer una mayor eficacia en seguridad, una mayor rapidez en reparación de incidencias y una organización dentro de la empresa para poder ver sobre que se está trabajando.---ABSTRACT---In the field of rail technology is needed to assist in the safety of trains and passengers in case of commercial travel. To do this on level crossings is necessary to have mechanisms that detail any incident or any matter relating to rails etc. Here comes alive this application called SCSE (Central Events Supervisor System Environment Railway), which provides a significant amount of information. This application collects in the moment all the information of the different level crossings; and it tells us where it is failing level crossing, if there is an error in the up / down, if the light has not changed color in time ... and makes visual on the screen. With this application is intended to provide more effective security, a faster repair incidents and organization inside the company to see on which they are working.

1950 En torno al Museo Louisiana 1970

La tesis “1950 En torno al Museo Louisiana 1970” analiza varias obras relacionadas con el espacio doméstico, que se realizaron entre 1950 y 1970 en Dinamarca, un periodo de esplendor de la Arquitectura Moderna. Tras el aislamiento y restricciones del conflicto bélico que asoló Europa, los jóvenes arquitectos daneses, estaban deseosos por experimentar nuevas ideas de procedencia internacional, favorecidos por diferentes circunstancias, encuentran el mejor campo de ensayo en el espacio doméstico. La mejor arquitectura doméstica en Dinamarca, de aquel periodo, debe entenderse como un sistema compuesto por diferentes autores, que tienen en común muchas más similitudes que diferencias, se complementan unos a otros. Para la comprensión y el entendimiento de ello se hace necesario el estudio de varias figuras y edificios, que completen este sistema cuya investigación está escasamente desarrollada. La tesis propone un viaje para conocer los nombres de algunos de sus protagonistas, que mostraron con su trabajo, que tradición y vanguardia no estarán reñidas. El objetivo es desvelar las claves de la Modernidad Danesa, reconocer, descubrir y recuperar el legado de algunos de sus protagonistas en el ámbito doméstico, cuya lección se considera de total actualidad. Una arquitectura que asume las aportaciones extranjeras con moderación y crítica, cuya íntima relación con la tradición arquitectónica y la artesanía propias, será una de sus notas especiales. Del estudio contrastado de varios proyectos y versiones, se obtienen valores comunes entre sus autores, al igual que se descubren sus afinidades o diferencias respecto a los mismos asuntos; que permitirán comprender sus actuaciones según las referencias e influencias, y definir las variables que configuran sus espacios arquitectónicos. La línea de conexión entre los edificios elegidos será su particular relación con la naturaleza y el lugar en que se integran. La fachada, lugar donde se negociará la relación entre el interior y el paisaje, será un elemento entendido de un modo diferente en cada uno de ellos, una relación que se extenderá en todas ellas, más allá de su perímetro. La investigación se ha estructurado en seis capítulos, que van precedidos de una Introducción. En el capítulo primero, se estudian y se señalan los antecedentes, las figuras y edificios más relevantes de la Tradición Danesa, para la comprensión y el esclarecimiento de algunas de las claves de su Modernidad en el campo de la Arquitectura, que se produce con una clara intención de encontrar su propia identidad y expresión. Esta Modernidad floreciente se caracteriza por la asimilación de otras culturas extranjeras desde la moderación, con un punto de vista crítico, y encuentra sus raíces ancladas a la tradición arquitectónica y la artesanía propia, que fragua en la aparición de un ideal común con enorme personalidad y que hoy se valora como una auténtica aportación de una cultura considerada entonces periférica. Se mostrará el debate y el camino seguido por las generaciones anteriores, a las obras análizadas. Las sensibilidades por lo vernáculo y lo clásico, que aparentemente son contradictorias, dominaran el debate con la misma veracidad y respetabilidad. La llamada tercera generación por Sigfried Giedion reanudará la práctica entre lo clásico y lo vernáculo, apoyados en el espíritu del trabajo artesanal y de la tradición, con el objetivo de conocer del acto arquitectónico su “la verdad” y “la esencia original”. El capítulo segundo, analiza la casa Varming, de 1953, situada en un área residencial de Gentofte, por Eva y Nils Koppel, que reinterpreta la visión de Asplund de un paisaje interior continuación del exterior, donde rompen la caja de ladrillo macizo convencional propia de los años 30. Es el ejemplo más poderoso de la unión de tradición e innovación en su obra residencial. Sus formas sobrias entre el Funcionalismo Danés y la Modernidad se singularizarán por su abstracción y volúmenes limpios que acentúan el efecto de su geometría, prismática y brutalista. El desplazamiento de los cuerpos que lo componen, unos sobre otros, generan un ritmo, que se producirá a otras escalas, ello unido a las variaciones de sus formas y a la elección de sus materiales, ladrillo y madera, le confieren a la casa un carácter orgánico. El edificio se ancla a la tierra resolviéndose en diferentes niveles tras el estudio del lugar y su topografía. El resultado es una versión construida del paisaje, en la cual el edificio da forma al lugar y ensalza la experiencia del escenario natural. La unidad de las estructuras primitivas, parece estar presente. Constituye un ejemplo de la “La idea de Promenade de Asplund”, el proyecto ofrece diferentes recorridos, permitiendo su propia vivencia de la casa, que ofrece la posibilidad vital de decidir. El capítulo tercero trata sobre el pabellón de invitados de Niels Bohr de 1957, situado un área boscosa, en Tisvilde Hegn, fue el primer edificio del arquitecto danés Vilhelm Wohlert. Arraigado a la Tradición Danesa, representa una renovación basada en la absorción de influencias extranjeras: la Arquitectura Americana y la Tradición Japonesa. La caja de madera, posada sobre un terreno horizontal, tiene el carácter sensible de un organismo vivo, siempre cambiante según las variaciones de luz del día o temperatura. Cuando se abre, crea una prolongación del espacio interior, que se extiende a la naturaleza circundante, y se expande hacia el espacio exterior, permitiendo su movilización. Se establece una arquitectura de flujos. Hay un interés por la materia, su textura y el efecto emocional que emana. Las proporciones y dimensiones del edificio están reguladas por un módulo, que se ajusta a la medida del hombre, destacando la gran unidad del edificio. La llave se su efecto estético está en su armonía y equilibrio, que transmiten serenidad y belleza. El encuentro con la naturaleza es la lección más básica del proyecto, donde un mundo de relaciones es amable al ser humano. El capítulo cuarto, analiza el proyecto del Museo Louisiana de 1958, en Humlebæk, primer proyecto de la pareja de arquitectos daneses Jørgen Bo y Vilhelm Wohlert. La experiencia en California de Wohlert donde será visitado por Bo, será trascendental para el desarrollo de Louisiana, donde la identidad Danesa se fusiona con la asimilación de otras culturas, la arquitectura de Frank Lloyd Wright, la del área de la Bahía y la Tradición Japonesa principalmente. La idea del proyecto es la de una obra de arte integral: arquitectura, arte y paisaje, coexistirían en un mismo lugar. Diferentes recursos realzarán su carácter residencial, como el uso de los materiales propios de un entorno doméstico, la realización a la escala del hombre, el modo de usar la iluminación. Cubiertas planas que muestran su artificialidad, parecen flotar sobre galerías acristaladas, acentuarán la fuerza del plano horizontal y establecerán un recorrido en zig-zag de marcado ritmo acompasado. Ritmo que tiene que ver con la encarnación del pulso de la naturaleza, que se acompaña de juegos de luz, y de otras vibraciones materiales a diferentes escalas, imagen, que encuentra una analogía semejante en la cultura japonesa. Todo se coordina con la trama estructural, que conlleva a una construcción y proporción disciplinada. Louisiana atiende al principio de crecimiento de la naturaleza, con la que su conexión es profunda. Hay un dinamismo expresado por el despliegue del edificio, que evoca a algunos proyectos de la Tradición Japonesa. Los blancos muros tienen su propia identidad como formas en sí mismas, avanzan prolongándose fuera de la línea del vidrio, se mueven libremente siguiendo el orden estructural, acompañando al espacio que fluye, en contacto directo con la naturaleza que está en un continuo estado de flujos. Se da todo un mundo de relaciones, donde existe un dialogo entre el paisaje, arte y arquitectura. El capítulo quinto, se dedica a analizar la segunda casa del arquitecto danés Halldor Gunnløgsson, de 1959. Evoca a la Arquitectura Japonesa y Americana, pero es principalmente resultado de una fuerte voluntad y disciplina artística personal. La cubierta, plana, suspendida sobre una gran plataforma pavimentada, que continúa la sección del terreno construyendo de lugar, tiene una gran presencia y arroja una profunda sombra bajo ella. En el interior un espacio único, que se puede dividir eventualmente, discurre en torno a un cuerpo central. El espacio libre fluye, extendiéndose a través de la transparencia de sus ventanales a dos espacios contrapuestos: un patio ajardinado íntimo, que inspira calma y sosiego; y la naturaleza salvaje del mar que proyecta el color del cielo, ambos en constante estado de cambio. El proyecto se elabora de un modo rigurosamente formal, existiendo al mismo tiempo un perfecto equilibrio entre la abstracción de su estructura y su programa. La estructura de madera cuyo orden se extiende más allá de los límites de su perímetro, está formada por pórticos completos como elementos libres, queda expuesta, guardando una estrecha relación con el concepto de modernidad de Mies, equivalente a la arquitectura clásica. La preocupación por el efecto estético es máxima, nada es improvisado. Pero además la combinación de materiales y el juego de las texturas hay una cualidad táctil, cierto erotismo, que flota alrededor de ella. La precisión constructiva y su refinamiento se acercan a Mies. La experiencia del espacio arquitectónico es una vivencia global. La influencia de la arquitectura japonesa, es más conceptual que formal, revelada en un respeto por la naturaleza, la búsqueda del refinamiento a través de la moderación, la eliminación de los objetos innecesarios que distraen de la experiencia del lugar y la preocupación por la luz y la sombra, donde se establece cierto paralelismo con el oscuro mundo del invierno nórdico. Hay un entendimiento de que el espacio, en lugar de ser un objeto inmaterial definido por superficies materiales se entiende como interacciones dinámicas. El capítulo sexto. Propone un viaje para conocer algunas de las viviendas unifamiliares más interesantes que se construyeron en el periodo, que forman parte del sistema investigado. Del estudio comparado y orientado en varios temas, se obtienen diversa conclusiones propias del sistema estudiado. La maestría de la sustancia y la forma será una característica distintiva en Dinamarca, se demuestra que hay un acercamiento a la cultura de Oriente, conceptual y formal, y unos intereses comunes con cierta arquitectura Americana. Su lección nos sensibiliza hacia un sentido fortalecido de proporción, escala, materialidad, textura y peso, densidad del espacio, se valora lo táctil y lo visual, hay una sensibilidad hacia la naturaleza, hacia lo humano, hacia el paisaje, la integridad de la obra. ABSTRACT The thesis “1950 around the Louisiana Museum 1970” analyses several works related to domestic space, which were carried out between 1950 and 1970 in Denmark, a golden age of modern architecture. After the isolation and limitations brought about by the war that blighted Europe, young Danish architects were keen to experiment with ideas of an international origin, encouraged by different circumstances. They find the best field of rehearsal to be the domestic space. The best architecture of that period in Denmark should be understood as a system composed of different authors, who have in common with each other many more similarities than differences, thus complimenting each other. In the interests of understanding, the study of a range of figures and buildings is necessary so that this system, the research of which is still in its infancy, can be completed. The thesis proposes a journey of discovery through the names of some of those protagonists who were showcased through their work so that tradition and avant- garde could go hand in hand. The objective is to unveil the keys to Danish Modernity; to recognise, discover and revive the legacy of some of its protagonists in the domestic field whose lessons are seen as entirely of the present. For an architect, the taking on of modern contributions with both moderation and caution, with its intimate relationship with architectural tradition and its own craft, will be one of his hallmarks. With the study set against several projects and versions, one can derive common values among their authors. In the same way their affinities and differences in respect of the same issue emerge. This will allow an understanding of their measures in line with references and influences and enable the defining of the variables of their architectural spaces. The common line between the buildings selected will be their particular relationship with nature and the space with which they integrate. The façade, the place where the relationship between the interior and the landscape would be negotiated, wouldl be the discriminating element in a distinct way for each one of them. It is through each of these facades that this relationship would extend, and far beyond their physical perimeter. The investigation has been structured into six chapters, preceded by an introduction. The first chapter outlines and analyses the backgrounds, figures and buildings most relevant to the Danish Tradition. This is to facilitate the understanding and elucidation of some of the keys to its modernity in the field of architecture, which came about with the clear intention to discover its own identity and expression. This thriving modernity is characterized by its moderate assimilation with foreign cultures with a critical eye, and finds its roots anchored in architectural tradition and its own handcraft. It is forged in the emergence of a common ideal of enormous personality which today has come to be valued as an authentic contribution to the sphere from a culture that was formerly seen as on the peripheries. What will be demonstrated is the path taken by previous generations to these works and the debate that surrounds them. The sensibilities for both the vernacular and the classic, which at first glance may seem contradictory, will dominate the debate with the same veracity and respectability. The so-called third generation of Sigfried Giedion will revive the process between the classic and the vernacular, supported in spirit by the handcraft work and by tradition, with the objective of discovering the “truth” and the “original essence” of the architectural act. The second chapter analyzes the Varming house, built by Eva and Nils Koppel 1953, which is situated in a residential area of Gentofte. This reinterprets Asplund’s vision of an interior landscape extending to the exterior, where we see a break with the conventional sturdy brick shell of the 1930s. It is the most powerful example of the union of tradition and innovation in his their residential work. Their sober forms caught between Danish Functionalism and modernity are characterized by their abstraction and clean shapes which accentuate their prismatic and brutal geometry, The displacement of the parts of which they are composed, one over the other, generate a rhythm. This is produced to varying scales and is closely linked to its forms and the selection of materials – brick and wood – that confer an organic character to the house. The building is anchored to the earth, finding solution at different levels through the study of place and topography. The result is an adaption constructed out of the landscape, in which the building gives form to the place and celebrates the experience of the natural setting. The unity of primitive structures appears to be present. It constitutes an example of “Asplund’s Promenade Idea”. Different routes of exploration within are available to the visitor, allowing for one’s own personal experience of the house, allowing in turn for the vital chance to decide. The third chapter deals with Niels Bohr’s guest pavilion. Built in 1957, it is situated in a wooded area of Tisvilde Hegn and was the architect Vilhelm Wohlert’s first building. Rooted in the Danish Tradition, it represents a renewal based on the absorption of foreign influences: American architecture and the Japanese tradition. The wooden box, perched atop a horizontal terrain, possesses the sensitive character of the living organism, ever-changing in accordance with the variations in daylight and temperature. When opened up, it creates an elongation of the interior space which extends into the surrounding nature and it expands towards the exterior space, allowing for its mobilisation. It establishes an architecture of flux. There is interest in the material, its texture and the emotional effect it inspires. The building’s proportions and dimensions are regulated by a module, which is adjusted by hand, bringing out the great unity of the building. The key to its aesthetic effect is its harmony and equilibrium, which convey serenity and beauty. The meeting with nature is the most fundamental lesson of the project, where a world of relationships softens the personality of the human being. The fourth chapter analyzes the Louisiana Museum project of 1958 in 1958. It was the first project of the Danish architects Jørgen Bo and Vilhelm Wohlert. Wohlert’s experience in California where he was visited by Bo would be essential to the development of Louisiana, where the Danish identity is fused in assimilation with other cultures, the architecture of Frank Lloyd Wright, that of the Bahía area and principally the Japanese tradition. The idea of the project was for an integrated work of art: architecture, art and landscape, which would coexist in the same space. A range of different resources would realize the residential character, such as the use of materials taken from a domestic environment, the attainment of human scale and the manner in which light was used. Flat roof plans that show their artificiality and appear to float over glassed galleries. They accentuate the strength of the horizontal plan and establish a zigzag route of marked and measured rhythm. It is a rhythm that has to do with the incarnation of nature’s pulse, which is accompanied with plays of light, as well as material vibrations of different scales, imagery which uncovers a parallel analogy with Japanese culture. Everything is coordinated along a structural frame, which involves a disciplined construction and proportion. Louisiana cherishes nature’s principle of growth, to which its connection is profound. Here is a dynamism expressed through the disposition of the building, which evokes in some projects the Japanese tradition. The white walls possess their own identity as forms in their own right. They advance, extending beyond the line of glass, moving freely along the structural line, accompanying a space that flows and in direct contact with nature that is itself in a constant state of flux. It creates a world of relationships, where dialogue exists between the landscape, art and architecture. The fifth chapter is dedicated to analyzing the Danish architect Halldor Gunnløgsson’s second house, built in 1959. It evokes both Japanese and American architecture but is principally the result of a strong will and personal artistic discipline. The flat roof suspended above a large paved platform – itself continuing the constructed terrain of the place – has great presence and casts a heavy shadow beneath. In the interior, a single space, which can at length be divided and which flows around a central space. The space flows freely, extending through the transparency of its windows which give out onto two contrasting locations: an intimate garden patio, inspiring calm and tranquillity, and the wild nature of the sea which projects the colour of sky, both in a constant state of change. The project is realized in a rigorously formal manner. A perfect balance exists between the abstraction of his structure and his project. The wooden structure, whose order extends beyond the limits of its perimeter, is formed of complete porticos of free elements. It remains exposed, maintaining a close relationship with Mies’ concept of modernity, analogous to classical architecture. The preoccupation with the aesthetic effect is paramount and nothing is improvised. But in addition to this - the combination of materials and the play of textures - there is a tactile quality, a certain eroticism, which lingers all about. The constructive precision and its refinement are close to Mies. The experience of the architectural space is universal. The influence of Japanese architecture, more conceptual than formal, is revealed in a respect for nature. It can be seen in the search for refinement through moderation, the elimination of the superfluous object that distract from the experience of place and the preoccupation with light and shade, where a certain parallel with the dark world of the Nordic winter is established. There is an understanding that space, rather than being an immaterial object defined by material surfaces, extends instead as dynamic interactions. The sixth chapter. This proposes a journey to discover some of the unfamiliar residences of most interest which were constructed in the period, and which form part of the system being investigated. Through the study of comparison and one which is geared towards various themes, diverse conclusions are drawn regarding the system being researched. The expertise in substance and form will be a distinctive characteristic in Denmark, demonstrating an approach to the culture of the Orient, both conceptual and formal, and some common interests in certain American architecture. Its teachings sensitize us to a strengthened sense of proportion, scale, materiality, texture and weight and density of space. It values both the tactile and the visual. There is a sensitivity to nature, to the human, to the landscape and to the integrity of the work.

Parallel Computer Vision Algorithms for Graphics Processing Units

La evolución de los teléfonos móviles inteligentes, dotados de cámaras digitales, está provocando una creciente demanda de aplicaciones cada vez más complejas que necesitan algoritmos de visión artificial en tiempo real; puesto que el tamaño de las señales de vídeo no hace sino aumentar y en cambio el rendimiento de los procesadores de un solo núcleo se ha estancado, los nuevos algoritmos que se diseñen para visión artificial han de ser paralelos para poder ejecutarse en múltiples procesadores y ser computacionalmente escalables. Una de las clases de procesadores más interesantes en la actualidad se encuentra en las tarjetas gráficas (GPU), que son dispositivos que ofrecen un alto grado de paralelismo, un excelente rendimiento numérico y una creciente versatilidad, lo que los hace interesantes para llevar a cabo computación científica. En esta tesis se exploran dos aplicaciones de visión artificial que revisten una gran complejidad computacional y no pueden ser ejecutadas en tiempo real empleando procesadores tradicionales. En cambio, como se demuestra en esta tesis, la paralelización de las distintas subtareas y su implementación sobre una GPU arrojan los resultados deseados de ejecución con tasas de refresco interactivas. Asimismo, se propone una técnica para la evaluación rápida de funciones de complejidad arbitraria especialmente indicada para su uso en una GPU. En primer lugar se estudia la aplicación de técnicas de síntesis de imágenes virtuales a partir de únicamente dos cámaras lejanas y no paralelas—en contraste con la configuración habitual en TV 3D de cámaras cercanas y paralelas—con información de color y profundidad. Empleando filtros de mediana modificados para la elaboración de un mapa de profundidad virtual y proyecciones inversas, se comprueba que estas técnicas son adecuadas para una libre elección del punto de vista. Además, se demuestra que la codificación de la información de profundidad con respecto a un sistema de referencia global es sumamente perjudicial y debería ser evitada. Por otro lado se propone un sistema de detección de objetos móviles basado en técnicas de estimación de densidad con funciones locales. Este tipo de técnicas es muy adecuada para el modelado de escenas complejas con fondos multimodales, pero ha recibido poco uso debido a su gran complejidad computacional. El sistema propuesto, implementado en tiempo real sobre una GPU, incluye propuestas para la estimación dinámica de los anchos de banda de las funciones locales, actualización selectiva del modelo de fondo, actualización de la posición de las muestras de referencia del modelo de primer plano empleando un filtro de partículas multirregión y selección automática de regiones de interés para reducir el coste computacional. Los resultados, evaluados sobre diversas bases de datos y comparados con otros algoritmos del estado del arte, demuestran la gran versatilidad y calidad de la propuesta. Finalmente se propone un método para la aproximación de funciones arbitrarias empleando funciones continuas lineales a tramos, especialmente indicada para su implementación en una GPU mediante el uso de las unidades de filtraje de texturas, normalmente no utilizadas para cómputo numérico. La propuesta incluye un riguroso análisis matemático del error cometido en la aproximación en función del número de muestras empleadas, así como un método para la obtención de una partición cuasióptima del dominio de la función para minimizar el error. ABSTRACT The evolution of smartphones, all equipped with digital cameras, is driving a growing demand for ever more complex applications that need to rely on real-time computer vision algorithms. However, video signals are only increasing in size, whereas the performance of single-core processors has somewhat stagnated in the past few years. Consequently, new computer vision algorithms will need to be parallel to run on multiple processors and be computationally scalable. One of the most promising classes of processors nowadays can be found in graphics processing units (GPU). These are devices offering a high parallelism degree, excellent numerical performance and increasing versatility, which makes them interesting to run scientific computations. In this thesis, we explore two computer vision applications with a high computational complexity that precludes them from running in real time on traditional uniprocessors. However, we show that by parallelizing subtasks and implementing them on a GPU, both applications attain their goals of running at interactive frame rates. In addition, we propose a technique for fast evaluation of arbitrarily complex functions, specially designed for GPU implementation. First, we explore the application of depth-image–based rendering techniques to the unusual configuration of two convergent, wide baseline cameras, in contrast to the usual configuration used in 3D TV, which are narrow baseline, parallel cameras. By using a backward mapping approach with a depth inpainting scheme based on median filters, we show that these techniques are adequate for free viewpoint video applications. In addition, we show that referring depth information to a global reference system is ill-advised and should be avoided. Then, we propose a background subtraction system based on kernel density estimation techniques. These techniques are very adequate for modelling complex scenes featuring multimodal backgrounds, but have not been so popular due to their huge computational and memory complexity. The proposed system, implemented in real time on a GPU, features novel proposals for dynamic kernel bandwidth estimation for the background model, selective update of the background model, update of the position of reference samples of the foreground model using a multi-region particle filter, and automatic selection of regions of interest to reduce computational cost. The results, evaluated on several databases and compared to other state-of-the-art algorithms, demonstrate the high quality and versatility of our proposal. Finally, we propose a general method for the approximation of arbitrarily complex functions using continuous piecewise linear functions, specially formulated for GPU implementation by leveraging their texture filtering units, normally unused for numerical computation. Our proposal features a rigorous mathematical analysis of the approximation error in function of the number of samples, as well as a method to obtain a suboptimal partition of the domain of the function to minimize approximation error.

Primordial nucleosynthesis

With the advent of the new extragalactic deuterium observations, Big Bang nucleosynthesis (BBN) is on the verge of undergoing a transformation. In the past, the emphasis has been on demonstrating the concordance of the BBN model with the abundances of the light isotopes extrapolated back to their primordial values by using stellar and galactic evolution theories. As a direct measure of primordial deuterium is converged upon, the nature of the field will shift to using the much more precise primordial D/H to constrain the more flexible stellar and galactic evolution models (although the question of potential systematic error in 4He abundance determinations remains open). The remarkable success of the theory to date in establishing the concordance has led to the very robust conclusion of BBN regarding the baryon density. This robustness remains even through major model variations such as an assumed first-order quark-hadron phase transition. The BBN constraints on the cosmological baryon density are reviewed and demonstrate that the bulk of the baryons are dark and also that the bulk of the matter in the universe is nonbaryonic. Comparison of baryonic density arguments from Lyman-α clouds, x-ray gas in clusters, and the microwave anisotropy are made.

Impact of artifact correction methods on R-R interbeat signals to quantifying heart rate variability (HRV) according to linear and nonlinear methods.

In the analysis of heart rate variability (HRV) are used temporal series that contains the distances between successive heartbeats in order to assess autonomic regulation of the cardiovascular system. These series are obtained from the electrocardiogram (ECG) signal analysis, which can be affected by different types of artifacts leading to incorrect interpretations in the analysis of the HRV signals. Classic approach to deal with these artifacts implies the use of correction methods, some of them based on interpolation, substitution or statistical techniques. However, there are few studies that shows the accuracy and performance of these correction methods on real HRV signals. This study aims to determine the performance of some linear and non-linear correction methods on HRV signals with induced artefacts by quantification of its linear and nonlinear HRV parameters. As part of the methodology, ECG signals of rats measured using the technique of telemetry were used to generate real heart rate variability signals without any error. In these series were simulated missing points (beats) in different quantities in order to emulate a real experimental situation as accurately as possible. In order to compare recovering efficiency, deletion (DEL), linear interpolation (LI), cubic spline interpolation (CI), moving average window (MAW) and nonlinear predictive interpolation (NPI) were used as correction methods for the series with induced artifacts. The accuracy of each correction method was known through the results obtained after the measurement of the mean value of the series (AVNN), standard deviation (SDNN), root mean square error of the differences between successive heartbeats (RMSSD), Lomb\'s periodogram (LSP), Detrended Fluctuation Analysis (DFA), multiscale entropy (MSE) and symbolic dynamics (SD) on each HRV signal with and without artifacts. The results show that, at low levels of missing points the performance of all correction techniques are very similar with very close values for each HRV parameter. However, at higher levels of losses only the NPI method allows to obtain HRV parameters with low error values and low quantity of significant differences in comparison to the values calculated for the same signals without the presence of missing points.

Projeto e desenvolvimento de uma arquitetura de baixo consumo de potência para microprocessadores.

O trabalho trata do projeto e do desenvolvimento de um processador de baixo consumo de potência, de forma simplificada, explorando técnicas de microarquitetura, para atingir menor consumo de potência. É apresentada uma sequência lógica de desenvolvimento, a partir de conceitos e estruturas básicas, até chegar a estruturas mais complexas e, por fim, mostrar a microarquitetura completa do processador. Esse novo modelo de processador é comparado com estudos prévios de três processadores, sendo o primeiro modelo síncrono, o segundo assíncrono e o terceiro uma versão melhorada do primeiro modelo, que inclui minimizações de registradores e circuitos. Uma nova metodologia de criação de padring de microcontroladores, baseada em reuso de informações de projetos anteriores, é apresentada. Essa nova metodologia foi criada para a rápida prototipagem e para diminuir possíveis erros na geração do código do padring. Comparações de resultados de consumo de potência e área são apresentadas para o processador desenvolvido e resultados obtidos com a nova metodologia de geração de padring também são apresentados. Para o processador, um modelo, no qual se utilizam múltiplos barramentos para minimizar o número de ciclos de máquina por instrução, é apresentado. Também foram ressaltadas estruturas que podem ser otimizadas e circuitos que podem ser reaproveitados para diminuir a quantidade de circuito necessário na implementação. Por fim, a nova implementação é comparada com os três modelos anteriores; os ganhos obtidos de desempenho com a implementação dessas estruturas foram de 18% que, convertidos em consumo de potência, representam economia de 13% em relação ao melhor caso dos processadores comparados. A tecnologia utilizada no desenvolvimento dos processadores foi CMOS 250nm da TSMC.

Avaliação do erro estático da ferramenta de uma máquina fresadora com arquitetura paralela.

Os mecanismos amplamente utilizados em aplicações industriais são de tipo serial, porém há algum tempo vem sendo desenvolvidos estudos sobre as vantagens que os mecanismos de arquitetura paralela oferecem em contraposição com os seriais. Rigidez, precisão, altas frequências naturais e velocidade são algumas características que os mecanismos paralelos atribuem a máquinas já consolidadas na indústria, destinadas principalmente nas operações de manipulação (pick and place). Nesse sentido, é relevante o estudo sobre a funcionalidade em outros tipos de operação como a usinagem e, particularmente o fresamento. Para isto, devem-se ainda explorar e desenvolver as capacidades dos mecanismos paralelos em relação à rigidez e à precisão nas operações mencionadas. Foi desenvolvido previamente o projeto e montagem do protótipo de uma máquina fresadora de arquitetura paralela. Também aracterizado pela redundância na atuação para o posicionamento da ferramenta. Com este intuito, pretende-se no trabalho atual, avaliar o erro estático de posicionamento da ferramenta por métodos experimentais, quantificar os deslocamentos, realizar um mapeamento experimental em diversas configurações dos membros. Por outro lado, pretende-se adaptar um modelo numérico simplificado que possa prever as deformações elásticas em diversas configurações, que contemple o efeito de juntas lineares flexíveis e que de alguma forma ajude a identificar as principais fontes de erro. Para tal, foram elaboradas rotinas de programação que através da cinemática inversa e o uso do método dos elementos finitos tentem prever o que de fato acontece nos experimentos. Foi proposta também uma implementação alternativa para o controle do mecanismo através de um software CNC e a conversão de coordenadas cartesianas em coordenadas dos atuadores, isto ajudaria na geração do código G. Finalmente, foram elaboradas algumas trajetórias que tentam avaliar a exatidão e repetitividade do mecanismo além de descrever outras trajetórias livres.

Extração de casos de teste utilizando Redes de Petri hierárquicas e validação de resultados utilizando OWL.

Este trabalho propõe dois métodos para teste de sistemas de software: o primeiro extrai ideias de teste de um modelo desenvolvido em rede de Petri hierárquica e o segundo valida os resultados após a realização dos testes utilizando um modelo em OWL-S. Estes processos aumentam a qualidade do sistema desenvolvido ao reduzir o risco de uma cobertura insuficiente ou teste incompleto de uma funcionalidade. A primeira técnica apresentada consiste de cinco etapas: i) avaliação do sistema e identificação dos módulos e entidades separáveis, ii) levantamento dos estados e transições, iii) modelagem do sistema (bottom-up), iv) validação do modelo criado avaliando o fluxo de cada funcionalidade e v) extração dos casos de teste usando uma das três coberturas de teste apresentada. O segundo método deve ser aplicado após a realização dos testes e possui cinco passos: i) primeiro constrói-se um modelo em OWL (Web Ontology Language) do sistema contendo todas as informações significativas sobre as regras de negócio da aplicação, identificando as classes, propriedades e axiomas que o regem; ii) em seguida o status inicial antes da execução é representado no modelo através da inserção das instâncias (indivíduos) presentes; iii) após a execução dos casos de testes, a situação do modelo deve ser atualizada inserindo (sem apagar as instâncias já existentes) as instâncias que representam a nova situação da aplicação; iv) próximo passo consiste em utilizar um reasoner para fazer as inferências do modelo OWL verificando se o modelo mantém a consistência, ou seja, se não existem erros na aplicação; v) finalmente, as instâncias do status inicial são comparadas com as instâncias do status final, verificando se os elementos foram alterados, criados ou apagados corretamente. O processo proposto é indicado principalmente para testes funcionais de caixa-preta, mas pode ser facilmente adaptado para testes em caixa branca. Obtiveram-se casos de testes semelhantes aos que seriam obtidos em uma análise manual mantendo a mesma cobertura do sistema. A validação provou-se condizente com os resultados esperados, bem como o modelo ontológico mostrouse bem fácil e intuitivo para aplicar manutenções.

Aplicação de métodos computacionais multidisciplinares de engenharia para otimização de carteiras de investimentos.

Este trabalho apresenta uma nova metodologia para otimizar carteiras de ativos financeiros. A metodologia proposta, baseada em interpoladores universais tais quais as Redes Neurais Artificiais e a Krigagem, permite aproximar a superfície de risco e consequentemente a solução do problema de otimização associado a ela de forma generalizada e aplicável a qualquer medida de risco disponível na literatura. Além disto, a metodologia sugerida permite que sejam relaxadas hipóteses restritivas inerentes às metodologias existentes, simplificando o problema de otimização e permitindo que sejam estimados os erros na aproximação da superfície de risco. Ilustrativamente, aplica-se a metodologia proposta ao problema de composição de carteiras com a Variância (controle), o Valor-em-Risco (VaR) e o Valor-em-Risco Condicional (CVaR) como funções objetivo. Os resultados são comparados àqueles obtidos pelos modelos de Markowitz e Rockafellar, respectivamente.

South America, 1807 (Image 2 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 2 of 7 total images of the eight sheet map, representing the northern portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

South America, 1807 (Image 3 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 3 of 7 total images of the eight sheet map, representing the eastern portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

South America, 1807 (Image 4 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 4 of 7 total images of the eight sheet map, representing the northeast portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

South America, 1807 (Image 5 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 5 of 7 total images of the eight sheet map, representing the southwest portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

South America, 1807 (Image 6 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 6 of 7 total images of the eight sheet map, representing the western portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.

South America, 1807 (Image 7 of 7) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Colombia Prima or South America : in which it has been attempted to delineate the extent of our knowledge of that continent, extracted chiefly from the original manuscript maps of ... Pinto, likewise fom those of João Joaquin da Rocha, João da Costa Ferreira ... Francisco Manuel Sobreviela &c. and from the most authentic edited accounts of those countries, digested & constructed by ... Louis Stanislas D'Arcy Delarochette. It was published by William Faden geographer to His Majesty and to His Royal Highness the Prince of Wales in June 4th, 1807. Scale [ca. 1:3,000,000]. This layer is image 7 of 7 total images of the eight sheet map, representing the southern portion of the map.The image inside the map neatline is georeferenced to the surface of the earth and fit to the South America Lambert Conformal Conic projected coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as drainage, cities and other human settlements, roads, territorial boundaries, shoreline features, mines, tribes, and more. Relief shown by hachures. Includes notes.This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection. These maps typically portray both natural and manmade features. The selection represents a range of originators, ground condition dates, scales, and map purposes.