A Survey on Intermediation Architectures for Underwater Robotics

Currently, there is a plethora of solutions regarding interconnectivity and interoperability for networked robots so that they will fulfill their purposes in a coordinated manner. In addition to that, middleware architectures are becoming increasingly popular due to the advantages that they are capable of guaranteeing (hardware abstraction, information homogenization, easy access for the applications above, etc.). However, there are still scarce contributions regarding the global state of the art in intermediation architectures for underwater robotics. As far as the area of robotics is concerned, this is a major issue that must be tackled in order to get a holistic view of the existing proposals. This challenge is addressed in this paper by studying the most compelling pieces of work for this kind of software development in the current literature. The studied works have been assessed according to their most prominent features and capabilities. Furthermore, by studying the individual pieces of work and classifying them several common weaknesses have been revealed and are highlighted. This provides a starting ground for the development of a middleware architecture for underwater robotics capable of dealing with these issues.

Lo intermedio como lugar : lo intersticial, lo fronterizo y lo impreciso en la arquitectura contemporánea

1. Nuestra investigación se centra en el estudio de los “ámbitos o espacios intermedios” en momentos de la arquitectura contemporánea, en un período de transición entre finales de los años 80 y nuestros días. Pretendemos analizar cómo se presenta el ámbito intermedio en el objeto o lugar arquitectónico y su función o relación con el entorno cercano, desde el proyecto hasta su repercusión en la experiencia vivida. 2. El concepto de intermedio entendido como ámbito o espacio intersticial, fronterizo y ambivalente (o multivalente), atraviesa en la presente investigación el campo de la etimología, de la ciencia, del pensamiento y del arte, para detenerse en la arquitectura actual, llevándose a cabo una indagación concreta en el proceso de concepción, en la propuesta formal, espacial y funcional, así como en la percepción y demás experiencias o vivencias en el lugar arquitectónico. 3. En primer lugar nos proponemos estudiar y explorar el concepto de “intermedio” en sus características, funciones y ubicaciones dentro de la cultura contemporánea, detectando sus antecedentes culturales más importantes, para a continuación aplicarlo reflexivamente a obras significativas de arquitectura. La investigación se enfoca en la modalidad figural (imprecisa) de lo intermedio (en alusión al “figural” deleuziano), cuyas metáforas base son lo translúcido, la penumbra y la espuma, vinculadas al actual paradigma cultural de la complejidad (C. Jencks). A continuación se analizan las relaciones o implicaciones de dicha modalidad figural en obras de arquitectos como Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel y Bos, y Siza, comprobando su valor operativo y poniendo de manifiesto su sentido e importancia en la actualidad y en la disciplina. El estudio tiene como trasfondo el concepto de in-between de la obra de Eisenman, y utiliza conceptos de la filosofía del límite de Trías como algunos de sus principales fundamentos. 4. En cada una de las obras de arquitectura presentadas esta modalidad imprecisa se traduce en un ámbito o espacio intermedio figural específico. Son obras en las que real y virtual, matricial y objetual, arquitectura y territorio, existente y nuevo, colectivo e individual, social e íntimo, interior y exterior, y demás usos y funciones se entrelazan o funden. Son arquitecturas cuya geometría ya no se encuentra tan determinada por aspectos bi o tridimensionales del dibujo o de la construcción. A través de la manipulación de estas geometrías más o menos complejas, dinámicas e intersticiales, estas obras reflejan (o intuyen) las premisas del actual Zeitgeist: un cambio de esquemas de objetos a relaciones basado en un pensamiento más holístico, transdisciplinar, sistémico o complejo (E. Morin), y una nueva conciencia colectiva sobre la realidad que anuncia la crisis de la percepción, el cambio de paradigma y nuevos valores (F. Capra). Emerge otra forma de sentir y percibir el mundo, los lugares y los espacios, que poco a poco está cambiando el modo de pensar y dibujar la arquitectura, y consecuentemente de interaccionar con ella. 5. El sentido del espacio intermedio figural, emerge en las cada vez más complejas cualidades morfológico-espaciales y funcionales de una parte importante de la arquitectura actual. Arquitectura, geometría y tecnología informática están más entrelazadas que nunca, y de un modo más libre, para así poder indagar en nuevas formas de pensar y crear lugares en que los “espacios intermedios” que investigamos son un testimonio. El espacio arquitectónico se vuelve afectivo e interactivo, un lugar intermedio figural, formalizado por espacialidades intersticiales que parecen aludir a lo líquido, donde la forma es más matriz que configuración, el espacio más espacialidad que compartimiento, la función más versátil y multivalente que específica o autónoma, y la perplejidad, la imaginación y la evocación se entrecruzan y vuelven patentes. 6. La arquitectura de los lugares intermedios valora no solamente el “plano”, la “configuración” y la “transparencia”, sino sobre todo el “espacio” y la “relación” en sus interrelaciones con los usuarios y demás contextos. De la identidad a la relacionalidad, de la representación a la presentación, es una arquitectura que propone “otros espacios” que más que espacios son topografías y espacialidades intersticiales, de tensión, transición, transformación, relación, intercambio e interacción. Son lugares intermedios reales y virtuales, que se sirven tanto de la morfología como de la topología para conquistar nuevas espacialidades, pretendiendo salir de la estricta operación de “forming”/”morphing”/formación/”conformación” para explorar la de “spacing”/espaciamiento. Son lugares que se basan en conceptos como la zona de indiscernibilidad de Deleuze, la imagen- flujo de Buci-Glucksmann, la suspensión-entre de Sloterdijk, o el espacio no-objetivo al que se refiere José Gil, plasmándose en la arquitectura contemporánea como tropos de lo intersticial. 7. Son los lugares intermedios de la arquitectura actual, de espacialidad háptica, más “afectiva”, generativa e interactiva, donde ese ámbito intermedio transforma y es transformado, “afecta”, “con-mueve” (nos hace mover/accionar) y evoca otros lugares, otras posibilidades de espacio habitable u ocupable. Emerge lo intermedio como lugar, algo que anuncia y exhibe, de manera paradigmática y manifiesta, el monumento de Eisenman en Berlín. ABSTRACT 1. Our research focuses on the study of “in-between spaces or environments” at particular times in contemporary architecture, in a transition period from the end of the 1980’s through to today. We aim to analyse how in-between environments are presented in the architectural object or place and their function or their relationship with the nearby surroundings, from the project through to the experience had. 2. In this research, the in-between concept, understood as an interstitial, border and ambivalent (or multi-purpose) environment or space, is assessed from the viewpoint of etymology, science, thought and art, to conclude in current architecture, with specific exploration of the conception process, of the formal, spatial and functional proposal, together with the perception and other experiences in the architectural place. 3. Firstly, we aim to study and explore the “in-between” concept as regards its features, functions and locations within contemporary culture, revealing its most important cultural background, to then apply it reflexively to important works of architecture. The research focuses on the figural (imprecise) mode of in-between (in allusion to Deleuze’s “figural” approach) whose base metaphors are the translucent, semi-darkness and foam, linked to the current cultural paradigm of complexity (C. Jenks). We then go on to assess the relationships or implications of said figural mode in architectural works by Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel and Bos, and Siza, verifying their operational worth and revealing their meaning and importance today and in this discipline. The backdrop of the study is the in-between concept of Eisenman’s work and it also uses concepts from the philosophy of the limit of Trías as its main underpinnings. 4. In each of the architectural works presented, this imprecise mode is translated into a specific in-between environment or space. They are works in which real and virtual, matricial and objectual, architecture and territory, existing and new, collective and individual, social and intimate, interior and exterior and other uses and functions all intertwine or blend together. They are architectures the geometry of which is not so much determined by bi- or tri-dimensional aspects of the drawing or construction. Through the manipulation of these more or less complex, dynamic and interstitial geometries, these works reflect (or insinuate) the premises of the current Zeitgeist: A change in the scheme of objects to relationships towards a more holistic, transdisciplinary, systemic or complex thought (E. Morin), and a new collective conscience about the reality which announces the crisis of perception, the change in paradigm and new values (F. Capra). Another way of feeling and perceiving the world, places and spaces, which little by little is changing the way of thinking and drawing architecture and hence of interacting with it. 5. The meaning of figural in-between space emerges in the increasingly complex, morphological-spatial and functional qualities of a large part of architecture today. Architecture, geometry and computer technology are more than ever intertwined in a freer way to inquire into other ways of thinking and making places, where the “in-between” spaces we research are a testimony. Architectural space becomes affective and interactive, a figural in-between place, formed by interstitial spatiality which seems to allude to something liquid, where shape is more matrix than configuration, space more spatiality than compartment, its function more versatile and multi-purpose than specific or autonomous, and perplexity, imagination and evocation criss-cross each other, becoming obvious. 6. The architecture of in-between places values not only “flat”, “configuration” and “transparency”, but above all “space” and the “relationship” in its interrelations with users and other contexts. From identity to relationality, from representation to presentation, it is an architecture that proposes “other spaces”, which more than spaces are topographies and interstitial spatialities, of tension, transition, transformation, relation, exchange and interaction. They are real and virtual in-between places, that take in both morphology and topology to conquer new spatialities, aiming to depart from the strict “forming”/”morphing” operation in order to explore “spacing”. They are places that derive both from Deleuze’s indiscernibility zone concept, from Buci-Glucksmann´s image-flow concept, from Sloterdijk’s suspension-between, and from the non-objective space referred to by José Gil, and they are embodied in contemporary architecture as tropes of the interstitial. 7. They are the in-between places in architecture today, of haptic spatiality, more “affective”, generative and interactive, where that in-between environment transforms and is transformed, “affects”, “moves” (it makes us move/act) and evokes other places, other possibilities of habitable or occupiable space. The in-between emerges as a place, which paradigmatically and declaredly, Eisenman´s monument in Berlin announces and exhibits. RESUMO 1. A investigação centra-se no estudo dos “âmbitos ou espaços intermédios” em momentos da arquitectura contemporânea, no período de transição entre os finais dos anos 80 e os nossos dias. Pretende-se analisar como se apresenta o âmbito intermédio no objecto ou lugar arquitectónico e sua função ou relação com o meio envolvente, desde o projecto até à sua repercussão na experiencia vivenciada. 2. O conceito de intermédio entendido como âmbito ou espaço intersticial, fronteiriço e ambivalente (ou multivalente), atravessa na presente investigação o campo da etimologia, da ciência, do pensamento e da arte, para deter-se na arquitectura actual, realizando-se uma indagação concreta no processo de concepção, na proposta formal, espacial e funcional, assim como na percepção e demais experiencias ou vivencias no lugar arquitectónico. 3. Em primeiro lugar, explora-se o conceito de “intermédio” nas suas características, funções e concretizações na cultura contemporânea, detectando os seus antecedentes culturais mais importantes, para em seguida aplicá-lo reflexivamente a obras significativas de arquitectura. A investigação centra-se na modalidade figural (imprecisa) do intermédio (alusão ao figural deleuziano) cujas metáforas base são o translúcido, a penumbra e a espuma, relacionadas com o actual paradigma da complexidade (C. Jencks). Em seguida analisam-se as relações ou implicações da referida modalidade figural em obras de arquitectos como Eisenman, Holl, Tschumi, Ito, Fujimoto, Van Berkel e Bos, e Siza, como modo de comprovar o seu valor operativo e revelar o seu sentido e importância na actualidade e na disciplina. O estudo tem como referencia o conceito de in-between da obra de Eisenman, e utiliza conceitos da filosofia do limite de Trias como alguns dos seus principais fundamentos. 4. Em cada uma das obras de arquitectura apresentadas esta modalidade imprecisa traduz-se num âmbito ou espaço intermédia figural especifico. São obras nas quais real e virtual, matricial e objectual, arquitectura e território, existente e novo, colectivo e individual, social e intimo, interior e exterior, e outros usos e funções se entrelaçam ou fundem. São arquitecturas cuja geometria já não está tão determinada por aspectos bi ou tridimensionais do desenho ou da construção. Através do uso destas geometrias mais ou menos complexas, dinâmicas e intersticiais, estas obras reflectem (ou intuem) as premissas do actual zeitgeist: uma mudança de esquemas de objectos a relações para um pensamento mais holístico, transdisciplinar, sistémico ou complexo (E. Morin) e uma nova consciência colectiva sobre a realidade, que anuncia a crise da percepção, a mudança de paradigma e novos valores (F. Capra). Emerge uma outra forma de sentir e perceber o mundo, os lugares e os espaços, que gradualmente vai alterando o modo de pensar e desenhar a arquitectura, e consequentemente de interagir com ela. 5. O sentido do espaço intermédio figural, emerge nas cada vez mais complexas qualidades morfológico-espaciais e funcionais de uma parte importante da arquitectura actual. Cada vez mais, arquitectura, geometria e tecnologia informática, relacionam-se de um modo mais livre para indagar outras formas de pensar e fazer lugares, onde os espaços intermédios que investigamos são um testemunho. O espaço arquitectónico torna-se afectivo e interactivo, um lugar intermédio figural, formalizado por espacialidades intersticiais que parecem aludir ao estado liquido, onde a forma é mais matriz que configuração, o espaço mais espacialidade que compartimento, a função mais versátil e multivalente que especifica ou autónoma, e a perplexidade, a imaginação e a evocação entrecruzam-se e tornam-se patentes. 6. A arquitectura dos lugares intermédios valoriza não só o “plano”, a “configuração” e a “transparência”, mas sobretudo o” espaço” e a ”relação” nas suas inter-relações com os utentes e restante contextos. Da identidade à relacionalidade, da representação à apresentação, é uma arquitectura que propõe “outros espaços”, que além de espaços são topografias e espacialidades intersticiais, de tensão, transição, transformação, relação, intercambio e interacção. São lugares intermédios reais e virtuais que utilizam tanto a morfologia como a topologia para conquistar novas espacialidades, pretendendo ultrapassar a estrita operação de “forming”/“morphing”/formação para explorar a de “spacing”/espaçamento. São lugares que se apoiam tanto no conceito de zona de indescernibilidade de Deleuze, como na de imagem-fluxo de Buci-Glucksmann como no de suspensão–entre de Sloterdijk ou de espaço-não objectivo que refere José Gil, e se plasmam na arquitectura contemporânea como tropos do intersticial. 7. São os lugares intermédios da arquitectura actual, de espacialidade háptica, mais “afectiva”, generativa e interactiva, onde esse âmbito intermédio transforma e é transformado, “afecta”, ”co-move “(nos faz mover/agir) e evoca outros lugares, outras possibilidades de espaço habitável ou ocupável. Emerge o intermédio como lugar que, paradigmática e manifestamente, o monumento de Eisenmann em Berlim, anuncia e exibe.

Toward a consolidation of the CPV-specific-test procedures for inverters

The inverter in a photovoltaic system assures two essential functions. The first is to track the maximum power point of the system IV curve throughout variable environmental conditions. The second is to convert DC power delivered by the PV panels into AC power. Nowadays, in order to qualify inverters, manufacturers and certifying organisms use mainly European and/or CEC efficiency standards. The question arises if these are still representative of CPV system behaviour. We propose to use a set of CPV – specific weighted average and a representative dynamic response to have a better determination of the static and dynamic MPPT efficiencies. Four string-sized commercial inverters used in real CPV plants have been tested.

Escaparates de la modernidad : la tienda como laboratorio de arquitectura

El proyecto de una tienda concentra un poco de todo aquello que interesa al arquitecto: conforma una suerte de encrucijada en la que se dan cita, junto a cuestiones disciplinares que la hacen muy atractiva y ponen a prueba su habilidad como proyectista, la necesidad de aunar recursos compositivos procedentes de otros terrenos periféricos a la arquitectura para dar una respuesta adecuada a los requerimientos específicos de imagen y persuasión que la actividad comercial comporta. Las difíciles condiciones de partida, habitualmente configuraciones espaciales no excesivamente favorables, donde las preexistencias y los contornos coartan y encierran un espacio al que hay que dotar de un nuevo orden; el tamaño reducido y las posibilidades de control total de la obra que de éste se derivan; el corto plazo de tiempo y la rapidez de respuesta que la estrategia comercial impone; su posición estratégica, en relación directa con la calle, y la mayor evidencia que, por tanto, se le asigna a la fachada y al escaparate como ‘primeros anuncios’ de la actividad; la integración y el comentario recíproco entre arquitectura y objeto que tiene lugar en su seno…, son algunas de las razones que explican este interés y justifican que la tienda −ese espacio acotado tan apto para el invento y la innovación−, constituya un banco de pruebas donde poder ensayar nuevos conceptos de la arquitectura al reunir espacial y temporalmente los condicionantes ideales requeridos para la experimentación y la comprobación de hallazgos. Aunque escasas, existen en la arquitectura contemporánea tiendas que han logrado ocupar por méritos propios un lugar destacado dentro de la obra de sus autores. Entre las merecedoras de ese reconocimiento habría que citar la ‘mítica’ sastrería Kniže proyectada por Adolf Loos a comienzos del siglo XX en Viena, el Negozio Vitrum que Giuseppe Terragni diseñara en Como en los años treinta, o la sucursal londinense de las líneas aéreas de Iraq construida en los sesenta por Alison y Peter Smithson. La elección, lejos de ser gratuita, obedece a razones fundadas. Dentro de las circunstancias temporales en las que se gestaron −las tres fueron proyectadas y construidas a lo largo del pasado siglo en un arco que abarca algo más de cincuenta años (1907-1961)−, los ejemplos seleccionados aúnan toda una serie de ‘coincidencias’ entre las que no resulta difícil establecer ciertos paralelismos: las tres marcan la talla de unos creadores que fueron capaces de dedicar la misma intensidad creativa a estos temas ‘menores’, corroborando que el carácter de la arquitectura también puede hacerse grande en lo pequeño; las tres, debido al momento de madurez en el que se abordó su diseño, reflejan su condición de laboratorio experimental al servicio de los intereses proyectuales que en ese momento ocupaban la mente de los arquitectos; las tres corroboran hipótesis ya apuntadas en arquitecturas anteriores, prueban líneas de trabajo no materializadas por falta de oportunidad y testan de manera menos comprometida soluciones que luego se trasladarán a obras con mayor vocación de permanencia; obras −y esto es algo especialmente sorprendente− con las que mantuvieron una estrecha relación en el espacio y en el tiempo, convirtiéndose incluso en plataformas de experimentación paralelas: baste en este sentido con apuntar la cercanía física −a ‘metros’ de distancia− y temporal −realizadas en los mismos años− entre la sastrería Kniže (1907- 1913;1928) y la Casa en la Michaelerplatz (1910-11); la tienda Vitrum (1930) y la Casa del Fascio (1929; 1932-36) o las oficinas de venta de las Iraqi Airways (1960-61) y la sede del The Economist (1959-64). Esta potencialidad que la tienda encierra para erigirse en laboratorio de experimentación y ensayo de la arquitectura, constituye la clave de la investigación que la tesis propone. ABSTRACT A little of everything that interests the architect is concentrated in the designing of a shop: it forms a kind of crossroads bringing together, apart from certain disciplinary questions rendering it particularly attractive and testing one’s ability as a designer, the need to coordinate compositional resources from fields peripheral to architecture in order to devise an adequate response to the specific requirements of image and persuasion that are part and parcel of business activity. The difficult start-up conditions, the generally not overly favourable spatial configurations ‒where the pre-existing conditions and shape of the site encroach on and enclose a space which has to be given a new order‒, the reduced size and possibilities afforded in terms of controlling the work, the short time frame and the rapid response imposed by the business tactics and its strategic position and direct frontal relationship with the street, make the shopfront and the display window are the ‘first advertisements” of the activity, or the integration and the reciprocal commentary between architecture and what takes place within: these are but some of the reasons explaining this interest and justifying the claim that the shop –a dimensional space so well suited to invention and innovation− constitutes a test-bed for trying out new concepts of architecture, combining in space and time the ideal conditions for experiment and the examination of its findings. Albeit not numerous, there are shops in contemporary architecture which have managed on their own merit to obtain a special place among the works of their authors. Among those earning such recognition, one should mention the ‘mythical’ Kniže tailoring establishment designed by Adolf Loos at the beginning of the 20th century in Vienna, the Negozio Vitrum designed by Giuseppe Terragni in Como in the thirties, or the London offices of Iraqi Airways built in the sixties by Alison and Peter Smithson. This selection, far from gratuitous, is based on well-founded reasons. Within the circumstances of the time-frame in which they were developed −the three were designed and built during the 20th century in a period that spans just over fifty years (1907-1961)− the chosen examples bring together a whole series of ‘coincidences’ where it is not difficult to draw certain parallels: the three bear witness to the stature of creators who were capable of devoting the same creative intensity to these ‘minor’ themes, thus corroborating the fact that the nature of the architecture can also be great in less important works; the three, thanks to the moment of maturity in which their design was carried out, reflect their condition as an experimental laboratory at the service of the particular designing interests which at the time occupied the minds of these architects; the three confirm hypotheses already displayed in previous architectures, they test lines of work which had not materialised through lack of opportunity, and in a less comprised manner check solutions that were later transferred to works with a greater vocation for permanence; works −and this is something especially surprising – with which they maintained a close relationship in time and space, even becoming parallel experimental platforms: in this sense, we need only to mention the physical proximity –just metres away− and proximity in time –built within the same years− between the Kniže shop (1907-1913; 1928) and the House of Michaelerplatz (1910-11); the Vitrum shop (1930) and the Casa del Fascio (1929;1932-36); and the Iraqi Airways sales offices (1960-61) and the headquarters of The Economist (1959-64). The potential of the shop to set itself up as an experimental laboratory and architectural rehearsal constitutes the main focus of the research put forward by this thesis.

Direct isolation of human transcribed sequences from yeast artificial chromosomes through the application of RNA fingerprinting

The identification of cDNA clones from genomic regions known to contain human genes is usually the rate-limiting factor in positional cloning strategies. We demonstrate here that human genes present on yeast artificial chromosomes (YACs) are transcribed in yeast host cells. We have used the arbitrarily primed RNA (RAP) fingerprinting method to identify human-specific, transcribed sequences from YACs located in the 13q12 chromosome region. By comparing the RAP fingerprints generated using defined, arbitrary primers from various fragmented YACs, megaYACs, and host yeast, we were able to identify and map 20 products transcribed from the human YAC inserts. This method, therefore, permits the simultaneous isolation and mapping of novel expressed sequences directly from whole YACs.

Fluorescence-intensity distribution analysis and its application in biomolecular detection technology

A methodology, fluorescence-intensity distribution analysis, has been developed for confocal microscopy studies in which the fluorescence intensity of a sample with a heterogeneous brightness profile is monitored. An adjustable formula, modeling the spatial brightness distribution, and the technique of generating functions for calculation of theoretical photon count number distributions serve as the two cornerstones of the methodology. The method permits the simultaneous determination of concentrations and specific brightness values of a number of individual fluorescent species in solution. Accordingly, we present an extremely sensitive tool to monitor the interaction of fluorescently labeled molecules or other microparticles with their respective biological counterparts that should find a wide application in life sciences, medicine, and drug discovery. Its potential is demonstrated by studying the hybridization of 5′-(6-carboxytetramethylrhodamine)-labeled and nonlabeled complementary oligonucleotides and the subsequent cleavage of the DNA hybrids by restriction enzymes.

Segment-specific pattern of sympathetic preganglionic projections in the chicken embryo spinal cord is altered by retinoids

Sympathetic preganglionic neurons exhibit segment-specific projections. Preganglionic neurons located in rostral spinal segments project rostrally within the sympathetic chain, those located in caudal spinal segments project caudally, and those in midthoracic segments project either rostrally or caudally in segmentally graded proportions. Moreover, rostrally and caudally projecting preganglionic neurons are skewed toward the rostral and caudal regions, respectively, of each midthoracic segment. The mechanisms that establish these segment-specific projections are unknown. Here we show that experimental manipulation of retinoid signaling in the chicken embryo alters the segment-specific pattern of sympathetic preganglionic projections and that this effect is mediated by the somitic mesoderm. Application of exogenous retinoic acid to a single rostral thoracic somite decreases the number of rostrally projecting preganglionic neurons at that level. Conversely, disrupting endogenous synthesis of retinoic acid in a single caudal thoracic somite increases the number of rostrally projecting preganglionic neurons at that level. The number of caudally projecting neurons does not change in either case, indicating that the effect is specific for rostrally projecting preganglionic neurons. These results indicate that the sizes of the rostrally and caudally projecting populations may be independently regulated by different factors. Opposing gradients of such factors along the longitudinal axis of the thoracic region of the embryo could be sufficient, in combination, to determine the segment-specific identity of preganglionic projections.

T-cell epitope analysis using subtracted expression libraries (TEASEL): application to a 38-kDA autoantigen recognized by T cells from an insulin-dependent diabetic patient.

Studies on circulating T cells and antibodies in newly diagnosed type 1 diabetic patients and rodent models of autoimmune diabetes suggest that beta-cell membrane proteins of 38 kDa may be important molecular targets of autoimmune attack. Biochemical approaches to the isolation and identification of the 38-kDa autoantigen have been hampered by the restricted availability of islet tissue and the low abundance of the protein. A procedure of epitope analysis for CD4+ T cells using subtracted expression libraries (TEASEL) was developed and used to clone a 70-amino acid pancreatic beta-cell peptide incorporating an epitope recognized by a 38-kDa-reactive CD4+ T-cell clone (1C6) isolated from a human diabetic patient. The minimal epitope was mapped to a 10-amino acid synthetic peptide containing a DR1 consensus binding motif. Data base searches did not reveal the identity of the protein, though a weak homology to the bacterial superantigens SEA (Streptococcus pyogenes exotoxin A) and SEB (Staphylococcus aureus enterotoxin B) (23% identity) was evident. The TEASEL procedure might be used to identify epitopes of other autoantigens recognized by CD4+ T cells in diabetes as well as be more generally applicable to the study low-abundance autoantigens in other tissue-specific autoimmune diseases.

A general genetic approach in Escherichia coli for determining the mechanism(s) of action of tumoricidal agents: application to DMP 840, a tumoricidal agent.

We describe here a simple and easily manipulatable Escherichia coli-based genetic system that permits us to identify bacterial gene products that modulate the sensitivity of bacteria to tumoricidal agents, such as DMP 840, a bisnaphthalimide drug. To the extent that the action of these agents is conserved, these studies may expand our understanding agents is conserved, these studies may expand our understanding of how the agents work in mammalian cells. The approach briefly is to use a library of E. coli genes that are overexpressed in a high copy number vector to select bacterial clones that are resistant to the cytotoxic effects of drugs. AtolC bacterial mutant is used to maximize permeability of cells to hydrophobic organic molecules. By using DMP 840 to model the system, we have identified two genes, designated mdaA and mdaB, that impart resistance to DMP 840 when they are expressed at elevated levels. mdaB maps to E. coli map coordinate 66, is located between the parE and parC genes, and encodes a protein of 22 kDa. mdaA maps to E. coli map coordinate 18, is located adjacent to the glutaredoxin (grx) gene, and encodes a protein of 24 kDa. Specific and regulatable overproduction of both of these proteins correlates with DMP 840 resistance. Overproduction of the MdaB protein also imparts resistance to two mammalian topoisomerase inhibitors, Adriamycin and etoposide. In contrast, overproduction of the MdaA protein produces resistance only to Adriamycin. Based on its drug-resistance properties and its location between genes that encode the two subunits of the bacterial topoisomerase IV, we suggest that mdaB acts by modulating topoisomerase IV activity. The location of the mdaA gene adjacent to grx suggests it acts by a drug detoxification mechanism.

Expression of a flower-specific Myb protein in leaf cells using a viral vector causes ectopic activation of a target promoter.

The promoter of the bean PAL2 gene (encoding phenylalanine ammonia-lyase; EC 4.3.1.5) is a model for studies of tissue-restricted gene expression in plants. Petal epidermis is one of the tissues in which this promoter is activated in tobacco. Previous work suggested that a major factor establishing the pattern of PAL2 expression in tobacco petals is the tissue distribution of a protein closely related to Myb305, which is a Myb-like transcriptional activator from snapdragon. In the present work, we show that Myb305 expression in tobacco leaves causes ectopic activation of the PAL2 promoter. To achieve Myb305 expression in planta, a viral expression vector was used. This approach combines the utility of transient assays with the possibility of direct biochemical detection of the introduced factor and may have wider application for studying the function of plant transcription factors.

Microcanonical finite-size scaling in second-order phase transitions with diverging specific heat

A microcanonical finite-size ansatz in terms of quantities measurable in a finite lattice allows extending phenomenological renormalization the so-called quotients method to the microcanonical ensemble. The ansatz is tested numerically in two models where the canonical specific heat diverges at criticality, thus implying Fisher renormalization of the critical exponents: the three-dimensional ferromagnetic Ising model and the two-dimensional four-state Potts model (where large logarithmic corrections are known to occur in the canonical ensemble). A recently proposed microcanonical cluster method allows simulating systems as large as L = 1024 Potts or L= 128 (Ising). The quotients method provides accurate determinations of the anomalous dimension, η, and of the (Fisher-renormalized) thermal ν exponent. While in the Ising model the numerical agreement with our theoretical expectations is very good, in the Potts case, we need to carefully incorporate logarithmic corrections to the microcanonical ansatz in order to rationalize our data.

Critical behavior of the specific heat in glass formers

We show numeric evidence that, at low enough temperatures, the potential energy density of a glass-forming liquid fluctuates over length scales much larger than the interaction range. We focus on the behavior of translationally invariant quantities. The growing correlation length is unveiled by studying the finite-size effects. In the thermodynamic limit, the specific heat and the relaxation time diverge as a power law. Both features point towards the existence of a critical point in the metastable supercooled liquid phase.

Finite size effects in the specific heat of glass-formers

We report clear finite size effects in the specific heat and in the relaxation times of a model glass former at temperatures considerably smaller than the Mode Coupling transition. A crucial ingredient to reach this result is a new Monte Carlo algorithm which allows us to reduce the relaxation time by two order of magnitudes. These effects signal the existence of a large correlation length in static quantities.

Robotic control systems based on bioinspired multi-agent systems: application of the principles of neuroscience to robotics

Robotics is a field that presents a large number of problems because it depends on a large number of disciplines, devices, technologies and tasks. Its expansion from perfectly controlled industrial environments toward open and dynamic environment presents a many new challenges, such as robots household robots or professional robots. To facilitate the rapid development of robotic systems, low cost, reusability of code, its medium and long term maintainability and robustness are required novel approaches to provide generic models and software systems who develop paradigms capable of solving these problems. For this purpose, in this paper we propose a model based on multi-agent systems inspired by the human nervous system able to transfer the control characteristics of the biological system and able to take advantage of the best properties of distributed software systems.

Decomposition of human behavior using model of competencies: application to robotic control system

For many years, humans and machines have shared the same physical space. To facilitate their interaction with humans, their social integration and for more rational behavior has been sought that the robots demonstrate human-like behavior. For this it is necessary to understand how human behavior is generated, discuss what tasks are performed and how relate to themselves, for subsequent implementation in robots. In this paper, we propose a model of competencies based on human neuroregulator system for analysis and decomposition of behavior into functional modules. Using this model allow separate and locate the tasks to be implemented in a robot that displays human-like behavior. As an example, we show the application of model to the autonomous movement behavior on unfamiliar environments and its implementation in various simulated and real robots with different physical configurations and physical devices of different nature. The main result of this work has been to build a model of competencies that is being used to build robotic systems capable of displaying behaviors similar to humans and consider the specific characteristics of robots.