Belleza y Felicidad en la vorágine del 2001 : Algunas percepciones contemporáneas sobre las condiciones de un arte político

Muy discutida en su momento, la producción de Belleza y Felicidad, y especialmente los debates que generó en torno suyo, permite iluminar retrospectivamente los conceptos y valoraciones subyacentes en las discusiones sobre arte y poesía de fines de los noventa y principios de la década del dos mil. Este artículo recorre, desde esta premisa, tres textos críticos publicados en el período por Martín Prieto y Daniel García Helder, César Aira y Mario Ortiz, en los que a propósito de la lectura crítica de Belleza y Felicidad, se ordenan ciertos modos posibles de la vinculación entre poesía y política.

El elefante : Un caso paradigmático en la historia del contacto entre las culturas de la India, Grecia y Roma

La historia del conocimiento que el mundo mediterráneo, primero Grecia y luego Roma, tuvo de la India, comienza en forma paulatina con la llegada, por ejemplo, de objetos de marfil. A partir de la expedición de Alejandro, tiempo en el que ya circulaban fantasiosas historias, vinieron las cosas reales, como el elefante, que no dejaron menos pasmados a los occidentales. Un seguimiento de las actitudes de ambas culturas en relación con el elefante ayuda a comprender la mentalidad de una y otra, y también la situación histórica en que experimentaron el contacto

Efficient Model-based 3D Tracking by Using Direct Image Registration

This thesis deals with the problem of efficiently tracking 3D objects in sequences of images. We tackle the efficient 3D tracking problem by using direct image registration. This problem is posed as an iterative optimization procedure that minimizes a brightness error norm. We review the most popular iterative methods for image registration in the literature, turning our attention to those algorithms that use efficient optimization techniques. Two forms of efficient registration algorithms are investigated. The first type comprises the additive registration algorithms: these algorithms incrementally compute the motion parameters by linearly approximating the brightness error function. We centre our attention on Hager and Belhumeur’s factorization-based algorithm for image registration. We propose a fundamental requirement that factorization-based algorithms must satisfy to guarantee good convergence, and introduce a systematic procedure that automatically computes the factorization. Finally, we also bring out two warp functions to register rigid and nonrigid 3D targets that satisfy the requirement. The second type comprises the compositional registration algorithms, where the brightness function error is written by using function composition. We study the current approaches to compositional image alignment, and we emphasize the importance of the Inverse Compositional method, which is known to be the most efficient image registration algorithm. We introduce a new algorithm, the Efficient Forward Compositional image registration: this algorithm avoids the necessity of inverting the warping function, and provides a new interpretation of the working mechanisms of the inverse compositional alignment. By using this information, we propose two fundamental requirements that guarantee the convergence of compositional image registration methods. Finally, we support our claims by using extensive experimental testing with synthetic and real-world data. We propose a distinction between image registration and tracking when using efficient algorithms. We show that, depending whether the fundamental requirements are hold, some efficient algorithms are eligible for image registration but not for tracking.

Visual Servoing for the Robotenis System: a Strategy for a 3 DOF Parallel Robot to Hit a Ping-Pong Ball

This article describes a new visual servo control and strategies that are used to carry out dynamic tasks by the Robotenis platform. This platform is basically a parallel robot that is equipped with an acquisition and processing system of visual information, its main feature is that it has a completely open architecture control, and planned in order to design, implement, test and compare control strategies and algorithms (visual and actuated joint controllers). Following sections describe a new visual control strategy specially designed to track and intercept objects in 3D space. The results are compared with a controller shown in previous woks, where the end effector of the robot keeps a constant distance from the tracked object. In this work, the controller is specially designed in order to allow changes in the tracking reference. Changes in the tracking reference can be used to grip an object that is under movement, or as in this case, hitting a hanging Ping-Pong ball. Lyapunov stability is taken into account in the controller design.

A Novel Method for Radio Propagation Simulation Based on Automatic 3D Environment Reconstruction

In this paper, a novel method to simulate radio propagation is presented. The method consists of two steps: automatic 3D scenario reconstruction and propagation modeling. For 3D reconstruction, a machine learning algorithm is adopted and improved to automatically recognize objects in pictures taken from target regions, and 3D models are generated based on the recognized objects. The propagation model employs a ray tracing algorithm to compute signal strength for each point on the constructed 3D map. Our proposition reduces, or even eliminates, infrastructure cost and human efforts during the construction of realistic 3D scenes used in radio propagation modeling. In addition, the results obtained from our propagation model proves to be both accurate and efficient

See-and-avoid quadcopter using fuzzy control optimized by cross-entropy

In this work we present an optimized fuzzy visual servoing system for obstacle avoidance using an unmanned aerial vehicle. The cross-entropy theory is used to optimise the gains of our controllers. The optimization process was made using the ROS-Gazebo 3D simulation with purposeful extensions developed for our experiments. Visual servoing is achieved through an image processing front-end that uses the Camshift algorithm to detect and track objects in the scene. Experimental flight trials using a small quadrotor were performed to validate the parameters estimated from simulation. The integration of crossentropy methods is a straightforward way to estimate optimal gains achieving excellent results when tested in real flights.

Proyectando entre ruinas : lógicas de intervención continua en la arquitectura contemporánea

Los cambios percibidos hacia finales del siglo XX y a principios del nuevo milenio, nos ha mostrado que la crisis cultural de la que somos participes refleja también una crisis de los modelos universales. Nuestra situación contemporánea, parece indicar que ya no es posible formular un sistema estético para atribuirle una vigencia universal e intemporal más allá de su estricta eficacia puntual. La referencia organizada, delimitada, invariable y específica que ofrecía cualquier emplazamiento, en tanto preexistencia, reflejaba una jerarquía del sistema formal basado en lo extensivo: la medida, las normas, el movimiento, el tiempo, la modulación, los códigos y las reglas. Sin embargo, actualmente, algunos aspectos que permanecían latentes sobre lo construido, emergen bajo connotaciones intensivas, transgrediendo la simple manifestación visual y expresiva, para centrase en las propiedades del comportamiento de la materia y la energía como determinantes de un proceso de adaptación en el entorno. A lo largo del todo el siglo XX, el desarrollo de la relación del proyecto sobre lo construido ha sido abordado, casi en exclusiva, entre acciones de preservación o intervención. Ambas perspectivas, manifestaban esfuerzos por articular un pensamiento que diera una consistencia teórica, como soporte para la producción de la acción aditiva. No obstante, en las últimas décadas de finales de siglo, la teoría arquitectónica terminó por incluir pensamientos de otros campos que parecen contaminar la visión sesgada que nos refería lo construido. Todo este entramado conceptual previo, aglomeraba valiosos intentos por dar contenido a una teoría que pudiese ser entendida desde una sola posición argumental. Es así, que en 1979 Ignasi Solá-Morales integró todas las imprecisiones que referían una actuación sobre una arquitectura existente, bajo el termino de “intervención”, el cual fue argumentado en dos sentidos: El primero referido a cualquier tipo de actuación que se puede hacer en un edificio, desde la defensa, preservación, conservación, reutilización, y demás acciones. Se trata de un ámbito donde permanece latente el sentido de intensidad, como factor común de entendimiento de una misma acción. En segundo lugar, más restringido, la idea de intervención se erige como el acto crítico a las ideas anteriores. Ambos representan en definitiva, formas de interpretación de un nuevo discurso. “Una intervención, es tanto como intentar que el edificio vuelva a decir algo o lo diga en una determinada dirección”. A mediados de 1985, motivado por la corriente de revisión historiográfica y la preocupación del deterioro de los centros históricos que recorría toda Europa, Solá-Morales se propone reflexionar sobre “la relación” entre una intervención de nueva arquitectura y la arquitectura previamente existente. Relación condicionada estrictamente bajo consideraciones lingüísticas, a su entender, en sintonía con toda la producción arquitectónica de todo el siglo XX. Del Contraste a la Analogía, resumirá las transformaciones en la concepción discursiva de la intervención arquitectónica, como un fenómeno cambiante en función de los valores culturales, pero a su vez, mostrando una clara tendencia dialógica entres dos categorías formales: El Contraste, enfatizando las posibilidades de la novedad y la diferencia; y por otro lado la emergente Analogía, como una nueva sensibilidad de interpretación del edificio antiguo, donde la semejanza y la diversidad se manifiestan simultáneamente. El aporte reflexivo de los escritos de Solá-Morales podría ser definitivo, si en las últimas décadas antes del fin de siglo, no se hubiesen percibido ciertos cambios sobre la continuidad de la expresión lingüística que fomentaba la arquitectura, hacia una especie de hipertrofia figurativa. Entre muchos argumentos: La disolución de la consistencia compositiva y el estilo unitario, la incorporación volumétrica del proyecto como dispositivo reactivo, y el cambio de visión desde lo retrospectivo hacia lo prospectivo que sugiere la nueva conservación. En este contexto de desintegración, el proyecto, en tanto incorporación o añadido sobre un edificio construido, deja de ser considerado como un apéndice volumétrico subordinado por la reglas compositivas y formales de lo antiguo, para ser considerado como un organismo de orden reactivo, que produce en el soporte existente una alteración en su conformación estructural y sistémica. La extensión, antes espacial, se considera ahora una extensión sensorial y morfológica con la implementación de la tecnología y la hiper-información, pero a su vez, marcados por una fuerte tendencia de optimización energética en su rol operativo, ante el surgimiento del factor ecológico en la producción contemporánea. En una sociedad, como la nuestra, que se está modernizando intensamente, es difícil compartir una adecuada sintonía con las formas del pasado. Desde 1790, fecha de la primera convención francesa para la conservación de monumentos, la escala de lo que se pretende preservar es cada vez más ambiciosa, tanto es así, que al día de hoy el repertorio de lo que se conserva incluye prácticamente todas las tipologías del entorno construido. Para Koolhaas, el intervalo entre el objeto y el momento en el cual se decide su conservación se ha reducido, desde dos milenios en 1882 a unas décadas hoy en día. En breve este lapso desaparecerá, demostrando un cambio radical desde lo retrospectivo hacia lo prospectivo, es decir, que dentro de poco habrá que decidir que es lo que se conserva antes de construir. Solá-Morales, en su momento, distinguió la relación entre lo nuevo y lo antiguo, entre el contraste y la analogía. Hoy casi tres décadas después, el objetivo consiste en evaluar si el modelo de intervención arquitectónica sobre lo construido se ha mantenido desde entonces o si han aparecido nuevas formas de posicionamiento del proyecto sobre lo construido. Nuestro trabajo pretende demostrar el cambio de enfoque proyectual con la preexistencia y que éste tiene estrecha relación con la incorporación de nuevos conceptos, técnicas, herramientas y necesidades que imprimen el contexto cultural, producido por el cambio de siglo. Esta suposición nos orienta a establecer un paralelismo arquitectónico entre los modos de relación en que se manifiesta lo nuevo, entre una posición comúnmente asumida (Tópica), genérica y ortodoxa, fundamentada en lo visual y expresivo de las últimas décadas del siglo XX, y una realidad emergente (Heterotópica), extraordinaria y heterodoxa que estimula lo inmaterial y que parece emerger con creciente intensidad en el siglo XXI. Si a lo largo de todo el siglo XX, el proyecto de intervención arquitectónico, se debatía entre la continuidad y discontinuidad de las categorías formales marcadas por la expresión del edificio preexistente, la nueva intervención contemporánea, como dispositivo reactivo en el paisaje y en el territorio, demanda una absoluta continuidad, ya no visual, expresiva, ni funcional, sino una continuidad fisiológica de adaptación y cambio con la propia dinámica del territorio, bajo nuevas reglas de juego y desplegando planes y estrategias operativas (proyectivas) desde su propia lógica y contingencia. El objeto de esta investigación es determinar los nuevos modos de continuidad y las posibles lógicas de producción que se manifiestan dentro de la Intervención Arquitectónica, intentando superar lo aparente de su relación física y visual, como resultado de la incorporación del factor operativo desplegado por el nuevo dispositivo contemporáneo. Creemos que es acertado mantener la senda connotativa que marca la denominación intervención arquitectónica, por aglutinar conceptos y acercamientos teóricos previos que han ido evolucionando en el tiempo. Si bien el término adolece de mayor alcance operativo desde su formulación, una cualidad que infieren nuestras lógicas contemporáneas, podría ser la reformulación y consolidación de un concepto de intervención más idóneo con nuestros tiempos, anteponiendo un procedimiento lógico desde su propia necesidad y contingencia. Finalmente, nuestro planteamiento inicial aspira a constituir un nueva forma de reflexión que nos permita comprender las complejas implicaciones que infiere la nueva arquitectura sobre la preexistencia, motivada por las incorporación de factores externos al simple juicio formal y expresivo preponderante a finales del siglo XX. Del mismo modo, nuestro camino propuesto, como alternativa, permite proyectar posibles sendas de prospección, al considerar lo preexistente como un ámbito que abarca la totalidad del territorio con dinámicas emergentes de cambio, y con ellas, sus lógicas de intervención.Abstract The perceived changes towards the end of the XXth century and at the beginning of the new milennium have shown us that the cultural crisis in which we participate also reflects a crisis of the universal models. The difference between our contemporary situation and the typical situations of modern orthodoxy and post-modernistic fragmentation, seems to indicate that it is no longer possible to formulate a valid esthetic system, to assign a universal and eternal validity to it beyond its strictly punctual effectiveness; which is even subject to questioning because of the continuous transformations that take place in time and in the sensibility of the subject itself every time it takes over the place. The organised reference that any location offered, limited, invariable and specific, while pre-existing, reflected a hierarchy of the formal system based on the applicable: measure, standards, movement, time, modulation, codes and rules. Authors like Marshall Mc Luhan, Paul Virilio, or Marc Augé anticipated a reality where the conventional system already did not seem to respond to the new architectural requests in which information, speed, disappearance and the virtual had blurred the traditional limits of place; pre-existence did no longer possess a specific delimitation and, on the contrary, they expect to reach a global scale. Currently, some aspects that stayed latent relating to the constructed, surface from intensive connotations, transgressing the simple visual and expressive manifestation in order to focus on the traits of the behaviour of material and energy as determinants of a process of adaptation to the surroundings. Throughout the entire Century, the development of the relation of the project relating to the constructed has been addressed, almost exclusively, in preservational or interventianal actions. Both perspectives showed efforts in order to express a thought that would give a theoretical consistency as a base for the production of the additive action. Nevertheless, the last decades of the Century, architectural theory ended up including thoughts from other fields that seem to contaminate the biased vision 15 which the constructed related us. Ecology, planning, philosophy, global economy, etc, suggest new approaches to the construction of the contemporary city; but this time with a determined idea of change and continuous transformation, that enriches the panorama of thought and architectural practice, at the same time, according to some, it puts disciplinary specification at risk, given that there is no architecture without destruction, the constructed organism requires mutation in order to adjust to the change of shape. All of this previous conceptual framework gathered valuable intents to give importance to a theory that could be understood solely from an argumental position. Thusly, in 1979 Ignasi Solá-Morales integrated all of the imprecisions that referred to an action in existing architecture under the term of “Intervention”, which was explained in two ways: The first referring to any type of intervention that can be carried out in a building, regarding protection, conservation, reuse, etc. It is about a scope where the meaning of intensity stays latent as a common factor of the understanding of a single action. Secondly, more limitedly, the idea of intervention is established as the critical act to the other previous ideas such as restauration, conservation, reuse, etc. Both ultimately represent ways of interpretation of a new speech. “An intervention, is as much as trying to make the building say something again or that it be said in a certain direction”. Mid 1985, motivated by the current of historiographical revision and the concerns regarding the deterioration of historical centres that traversed Europe, Solá-Morales decides to reflect on “the relationship” between an intervention of the new architecture and the previously existing architecture. A relationship determined strictly by linguistic considerations, to his understanding, in harmony with all of the architectural production of the XXth century. From Contrast to Analogy would summarise transformations in the discursive perception of architectural intervention, as a changing phenomenon depending on cultural values, but at the same time, showing a clear dialogical tendency between two formal categories: Contrast, emphasising the possibilities of novelty and difference; and on the other hand the emerging Analogy, as a new awareness of interpretation of the ancient building, where the similarity and diversity are manifested simultaneously. For Solá-Morales the analogical procedure is not based on the visible simultaneity of formal orders, but on associations that the subject establishes throughout time. Through analogy it is tried to overcome the simple visual relationship with the antique, to focus on its spacial, physical and geographical nature. If the analogical attempt guides an opening towards a new continuity; it still persists in the connection of dimensional, typological and figurative factors, subordinate to the formal hierarchy of the preexisting subjects. 16 The reflexive contribution of Solá-Morales’ works could be final, if in the last decades before the end of the century there had not been certain changes regarding linguistic expression, encouraged by architecture, towards a kind of figurative hypertrophy, amongst many arguments we are in this case interested in three moments: The dissolution of the compositional consistency and the united style, the volumetric incorporation of the project as a reactive mechanism, and the change of the vision from retrospective towards prospective that the new conservation suggests. The recurrence to the history of architecture and its recognisable forms, as a way of perpetuating memory and establishing a reference, dissolved any instinct of compositive unity and style, provoking permanent relationships to tend to disappear. The composition and coherence lead to suppose a type of discontinuity of isolated objects in which only possible relationships could appear; no longer as an order of certain formal and compositive rules, but as a special way of setting elements in a specific work. The new globalised field required new forms of consistency between the project and the pre-existent subject, motivated amongst others by the higher pace of market evolution, increase of consumer tax and the level of information and competence between different locations; aspects which finally made stylistic consistence inefficient. In this context of disintegration, the project, in incorporation as well as added to a constructed building, stops being considered as a volumetric appendix subordinate to compositive and formal rules of old, to be considered as an organism of reactive order, that causes a change in the structural and systematic configuration of the existing foundation. The extension, previsouly spatial, is now considered a sensorial and morphological extension, with the implementation of technology and hyper-information, but at the same time, marked by a strong tendency of energetic optimization in its operational role, facing the emergence of the ecological factor in contemporary production. The technological world turns into a new nature, a nature that should be analysed from ecological terms; in other words, as an event of transition in the continuous redistribution of energy. In this area, effectiveness is not only determined by the capacity of adaptation to changing conditions, but also by its transforming capacity “expressly” in order to change an environment. In a society, like ours, that is modernising intensively, it is difficult to share an adecuate agreement with the forms of the past. From 1790, the date of the first French convention for the conservation of monuments, the scale of what is expexted to be preserved is more and more ambitious, so much so that nowadays the repertoire of that what is conserved includes practically all typologies of the constructed surroundings. For Koolhaas, the ínterval between the object and the moment when its conservation is decided has been reduced, from two 17 milennia in 1882 to a few decades nowadays. Shortly this lapse will disappear, showing a radical change of retrospective towards prospective, that is to say, that soon it will be necessary to decide what to conserve before constructing. The shapes of cities are the result of the continuous incorporation of architecture, and perhaps that only through architecture the response to the universe can be understood, the continuity of what has already been constructed. Our work is understood also within that system, modifying the field of action and leaving the road ready for the next movement of those that will follow after us. Continuity does not mean conservatism, continuity means being conscient of the transitory value of our answers to specific needs, accepting the change that we have received. That what has been constructed to remain and last, should cause future interventions to be integrated in it. It is necessary to accept continuity as a rule. Solá-Morales, in his time, distinguished between the relationship with new and old, between contrast and analogy. Today, almost three decades later, the objective consists of evaluating whether the model of architectural intervention in the constructed has been maintained since then or if new ways of positioning the project regarding the constructed have appeared. Our work claims to show the change of the approach of projects with pre-existing subjects and that this has got a close relation to the incorporation of new concepts, techniques, tools and necessities that impress the cultural context, caused by the change of centuries. This assumption guides us to establish a parallelism between the forms of connection where that what is new is manifested between a commonly assumed (topical), generic and orthodox position, based on that what is visual and expressive in the last decades of the XXth century, and an emerging (heterotopical), extraordinary and heterodox reality that stimulates the immaterial and that seems to emerge with growing intensity in the XXIst century. If throughout the XXth century the project of architectural intervention was considered from the continuity and discontinuity of formal categories, marked by the expression of the pre-existing building, the new contemporary intervention, as a reactive device in the landscape and territory, demands an absolute continuity. No longer a visual, expressive or functional one but a morphological continuity of adaptation and change with its own territorial dynamics, under new game rules and unfolding new operative (projective) strategies from its own logic and contingency. 18 The aim of this research is to determine new forms of continuity and the possible logic of production that are expressed in the Architectural Intervention, trying to overcome the obviousness of its physical and visual relationship, at the beginning of this new century, as a result of the incorporation of the operative factor that the new architectural device unfolds. We think it is correct to maintain the connotative path that marks the name architectural intervention by bringing previous concepts and theorical approaches that have been evolving through time together. If the name suffers from a wider operational range because of its formulation, a quality that our contemporary logic provokes, the reformulation and consolidation of an interventional concept could be more suitable for our times, giving preference to a logical method from its own necessity and contingency. It seems that now time shapes the topics, it is no longer about materialising a certain time but about expressing the changes that its new temporality generates. Finally, our initial approach aspires to form a new way of reflection that permits us to understand the complex implications that the new architecture submits the pre-existing subject to, motivated by the incorporation of factors external to simple formal and expressive judgement, prevailing at the end of the XXth century. In the same way, our set road, as an alternative, permits the contemplation of possible research paths, considering that what is pre-existing as an area that spans the whole territory with emerging changing dynamics and, with them, their interventional logics.

A novel method for radio propagation simulation based on automatic 3D environment reconstruction

In this paper, a novel method to simulate radio propagation is presented. The method consists of two steps: automatic 3D scenario reconstruction and propagation modeling. For 3D reconstruction, a machine learning algorithm is adopted and improved to automatically recognize objects in pictures taken from target region, and 3D models are generated based on the recognized objects. The propagation model employs a ray tracing algorithm to compute signal strength for each point on the constructed 3D map. By comparing with other methods, the work presented in this paper makes contributions on reducing human efforts and cost in constructing 3D scene; moreover, the developed propagation model proves its potential in both accuracy and efficiency.

Los tratados y el jardín renacentista en Italia. Principios, metodologías y técnicas

La tesis destaca la influencia que ejerció la teoría, las técnicas y la metodología de proyecto de los principales tratados de la época renacentista en la concepción, diseño y realización de algunos de los más importantes jardines de la época. Los tratados de Vitruvio, Alberti, Filarete, Di Giorgio, Serlio, Palladio, Colonna y Del Riccio establecen una nueva estética y una nueva visión del mundo, basadas en la geometría elemental y en los números simples. En la Grecia antigua, Platón y Pitágoras intuyeron la necesidad existencial del hombre de apoyarse en unas leyes seguras de orden superior. Sus teorías sobre las leyes del Universo son retomadas y aplicadas en el arte y en el jardín por Vitruvio y por los tratadistas del Renacimiento. Según los tratadistas, la estética es el núcleo generador del que se activan la información y las leyes hacia todos los campos del conocimiento y de la vida social y, por lo tanto, la finalidad de los tratados es buscar, a través de un procedimiento científico y racional, las reglas de la belleza. Las leyes estéticas formuladas por los tratadistas examinados se aplican con el mismo rigor y respeto ya sea al paisaje que al jardín, exaltando el elemento natural al igual que el construido (la ciudad y la arquitectura). De los tratados renacentistas se han extraídos términos y conceptos que ayudan a revalorizar, reinterpretar e integrar en el debate los temas del paisaje y del jardín. La tesis sostiene que: 1) una idea moderna de jardín se tiene que fundar en la historia; 2) que la historia es indispensable incluso para enfrentar el problema del mantenimiento y de la restauración de los jardines históricos; 3) que la teoría y las ideas que tienen valor, así como nos enseña Alberti, producen obras que también tienen valor; 4) la influencia de la estética de los tratadistas se encuentra incluso en algunos importantes jardines de época moderna y contemporánea. El capítulo 1 contiene la definición de tratado y la concepción estética del Renacimiento, analizada por medio de: a) la idea de ciencia y b) a través de las pinturas. Los capítulos 2 y 3 contienen respectivamente los principios teóricos de los tratados y el diseño, la metodología, las técnicas constructivas y los métodos de representación del proyecto según los tratadistas. Estos capítulos resultan propedéuticos de los capítulos siguientes por proporcionar el instrumento de lectura e interpretación de los jardines renacentistas y modernos. El capítulo 4 destaca la gran influencia de los tratados sobre las villas y jardines renacentistas y describe sus elementos. El último capítulo, el quinto, contiene un análisis de algunos jardines modernos. Entre ellos: Chiswick, la Villa “I Tatti”, Sutton Place, y la Villa “Il Roseto” que renuevan y prosiguen, en nuestra opinión, la lección de los tratadistas. El primer anexo contiene la propuesta de líneas de investigación que surgen a la luz de la tesis, y el segundo anexo contiene las noticias biográficas de los tratadistas examinados. ABSTRACT The thesis investigates the influence exercised by the theory, techniques and project methodology contained in the most relevant essays on art and architecture of the Renaissance on the concept, design and making of some of the most important gardens of that time. The essays of Vitruvius, Alberti, Filarete, Di Giorgio, Serlio, Palladio, Colonna y Del Riccio established a new concept of aesthetics and a vision of the world based on basic geometry and simple numbers. In ancient Greece, Plato and Pythagoras understood that humans needed “superior laws” to anchor their existences. Their theories on laws of the Universe were adopted and applied in art and gardening by Vitruvius and Renaissance essays authors. According to the authors of these essays, aesthetics represents the core generating information and laws that branch out toward all the fields of knowledge and social life. Therefore, the purpose of art and architecture essays consists in exploring, through a scientific and rational process, the rules of beauty. The laws of aesthetics proposed by the authors apply to landscaping and gardening with the same rigor and exalt the natural component as much as the artificial one (city and architecture). Several terms and concepts are also extracted that, despite their age, still help us to understand and enrich the contemporary debate revolving around landscaping and gardening. The thesis argues that: 1) the modern idea of gardening must be based on history; 2) history is fundamental even to address the topics of maintenance and restoration of historical gardens; 3) like Leon Battista Alberti maintains, valid theory and ideas produce valuable works; 4) the influence played by aesthetics on authors can be found in many important modern and contemporary gardens. Chapter 1 contains the definition of essay and of the Renaissance concept of aesthetics, analyzed by: a) the idea of science and 2) the analysis of some paintings of the period. Chapters 2 and 3 discuss respectively the theoretical principles of the essays and the design, methodology, construction techniques and the methods of representation of the project according to the authors. These chapters are preparatory toward the following chapters and provide us with the keys necessary to read and interpret Renaissance and modern gardens. Chapter 4 highlights the great influence exercised by those authors on the planning of important villas and gardens from the Renaissance while describing their elements. The 5th and final chapter analyzes some modern gardens among which Chiswick, Villa “I Tatti”, Sutton Place, Villa “Il Roseto”. These villas renew and in our opinion carry on the lesson of the essays written in the Renaissance. The first addendum suggests future lines of research derived from the thesis, while the second addendum contains biographical information regarding the authors examined.

A new method to analyse the perception of size

In living bodies, the correct perceptual representation of size constancy requires that an object's size appear the same when it changes its location with respect to the observer. At the same time, it is necessary that objects at different locations appear to be the same size if they are. In order to do that, the perceptual system must recover from the stimuli impinging on the individual, from the light falling on the retina, a representation of the relative sizes of objects in the environment. Moreover, at the same time, image perception is related to another type of phenomena. It corresponds to the well known perceptual illusions. To analyze this facts, we propose a system based on a particular arrays of receptive points composed by optical fibers and dummy fibers. The structure is based on the first layers of the mammalians primary visual cortex. At that part of the brain, the neurons located at certain columns, respond to particular directions. This orientation changes in a systematic way as one moves across the cortical surface. In our case, the signals from the above-mentioned array are analyzed and information concerning orientation and size of a particular line is obtained. With this system, the Muelle-Lyer illusion has been studied and some rules to interpret why equal length objects give rise to different interpretations are presented.

An approach to a model of the visual cortex: disorders of vision

One of the most challenging problems that must be solved by any theoretical model purporting to explain the competence of the human brain for relational tasks is the one related with the analysis and representation of the internal structure in an extended spatial layout of múltiple objects. In this way, some of the problems are related with specific aims as how can we extract and represent spatial relationships among objects, how can we represent the movement of a selected object and so on. The main objective of this paper is the study of some plausible brain structures that can provide answers in these problems. Moreover, in order to achieve a more concrete knowledge, our study will be focused on the response of the retinal layers for optical information processing and how this information can be processed in the first cortex layers. The model to be reported is just a first trial and some major additions are needed to complete the whole vision process.

On the design of a planar phased array radar antenna architecture for space debris situational awareness

The Space Situational Awareness (SSA) program from the European Space Agency (ESA) protects Europe's citizens and their satellite-based services by detecting space hazards. ESA Ground Systems (GS) division is currently designing a phased array radar composed of thousands of radiating elements for future stages of the SSA program [1]. The radar shall guarantee the detection of most of the Low Earth Orbit (LEO) space debris, providing a general map of space junk. While range accuracy is mainly dictated by the radar waveform, the detection and tracking of small objects in LEO regimes is highly dependent on the angular accuracy achieved by the smart phased array antenna, demonstrating the important of the performance of this architecture.

NFC based remote control of services for interactive spaces

Ubiquitous computing (one person, many computers) is the third era in the history of computing. It follows the mainframe era (many people, one computer) and the PC era (one person, one computer). Ubiquitous computing empowers people to communicate with services by interacting with their surroundings. Most of these so called smart environments contain sensors sensing users’ actions and try to predict the users’ intentions and necessities based on sensor data. The main drawback of this approach is that the system might perform unexpected or unwanted actions, making the user feel out of control. In this master thesis we propose a different procedure based on Interactive Spaces: instead of predicting users’ intentions based on sensor data, the system reacts to users’ explicit predefined actions. To that end, we present REACHeS, a server platform which enables communication among services, resources and users located in the same environment. With REACHeS, a user controls services and resources by interacting with everyday life objects and using a mobile phone as a mediator between himself/herself, the system and the environment. REACHeS’ interfaces with a user are built upon NFC (Near Field Communication) technology. NFC tags are attached to objects in the environment. A tag stores commands that are sent to services when a user touches the tag with his/her NFC enabled device. The prototypes and usability tests presented in this thesis show the great potential of NFC to build such user interfaces.

Diseño e implementación de un módulo para la anotación de imágenes médicas

Se comenzó el trabajo recabando información sobre los distintos enfoques que se le había dado a la anotación a lo largo del tiempo, desde anotación de imágenes a mano, pasando por anotación de imágenes utilizando características de bajo nivel, como color y textura, hasta la anotación automática. Tras entrar en materia, se procedió a estudiar artículos relativos a los diferentes algoritmos utilizados para la anotación automática de imágenes. Dado que la anotación automática es un campo bastante abierto, hay un gran numero de enfoques. Teniendo las características de las imágenes en particular en las que se iba a centrar el proyecto, se fueron descartando los poco idoneos, bien por un coste computacional elevado, o porque estaba centrado en un tipo diferente de imágenes, entre otras cosas. Finalmente, se encontró un algoritmo basado en formas (Active Shape Model) que se consideró que podría funcionar adecuadamente. Básicamente, los diferentes objetos de la imagen son identicados a partir de un contorno base generado a partir de imágenes de muestra, siendo modicado automáticamente para cubrir la zona deseada. Dado que las imágenes usadas son todas muy similares en composición, se cree que puede funcionar bien. Se partió de una implementación del algoritmo programada en MATLAB. Para empezar, se obtuvieron una serie de radiografías del tórax ya anotadas. Las imágenes contenían datos de contorno para ambos pulmones, las dos clavículas y el corazón. El primer paso fue la creación de una serie de scripts en MATLAB que permitieran: - Leer y transformar las imágenes recibidas en RAW, para adaptarlas al tamaño y la posición de los contornos anotados - Leer los archivos de texto con los datos de los puntos del contorno y transformarlos en variables de MATLAB - Unir la imagen transformada con los puntos y guardarla en un formato que la implementación del algoritmo entendiera. Tras conseguir los ficheros necesarios, se procedió a crear un modelo para cada órgano utilizando para el entrenamiento una pequeña parte de las imágenes. El modelo obtenido se probó con varias imágenes de las restantes. Sin embargo, se encontro bastante variación dependiendo de la imagen utilizada y el órgano detectado. ---ABSTRACT---The project was started by procuring information about the diferent approaches to image annotation over time, from manual image anotation to automatic annotation. The next step was to study several articles about the diferent algorithms used for automatic image annotation. Given that automatic annotation is an open field, there is a great number of approaches. Taking into account the features of the images that would be used, the less suitable algorithms were rejected. Eventually, a shape-based algorithm (Active Shape Model) was found. Basically, the diferent objects in the image are identified from a base contour, which is generated from training images. Then this contour is automatically modified to cover the desired area. Given that all the images that would be used are similar in object placement, the algorithm would probably work nicely. The work started from a MATLAB implementation of the algorithm. To begin with, a set of chest radiographs already annotated were obtained. These images came with contour data for both lungs, both clavicles and the heart. The first step was the creation of a series of MATLAB scripts to join the RAW images with the annotation data and transform them into a format that the algorithm could read. After obtaining the necessary files, a model for each organ was created using part of the images for training. The trained model was tested on several of the reimaining images. However, there was much variation in the results from one image to another. Generally, lungs were detected pretty accurately, whereas clavicles and the heart gave more problems. To improve the method, a new model was trained using half of the available images. With this model, a significant inprovement of the results can be seen.