Doctor of Philosophy

dissertationPrecise optical neural stimulation is an essential element in the use of optogenetics to elicit predictable neural action potentials within the brain, but accessing specific neocortical layers, light scattering, columniation, and ease of tissue damage pose unique challenges to the device engineer. This dissertation presents the design, simulation, microfabrication, and characterization of the Utah Optrode Array (UOA) for precise neural tissue targeting through three main objectives: 1. Maskless wafer-level microfabrication of optical penetrating neural arrays out of soda- lime glass: Utah Optrode Array. 2. Utah Optrode Array customization using stereotactic brain atlases and 3D CAD modeling for optogenetic neocortical interrogation in small rodents and nonhuman primates. 3. Single optrode characterization of the UOA for neocortical illumination. Maskless microfabrication techniques were used to create 169 individual 9 × 9 arrays 3.85 mm × 3.85 mm with 1.1 mm long optrodes from a single two inch glass wafer. The 9 × 9 UOA was too large for precise targeting of the upper layers of the cortex in smaller animals such as mice, so an array customization method was developed using Solidworks and off-the-shelf brain atlases to create 8 × 6 arrays 3.45 mm × 2.45 mm with 400 μm long optrodes. Stereotactic atlases were imported into Solidworks, splined, and lofted together to create a single 3D CAD model of a specific region of interest in the brain. Chronic and acute brain trauma showed excellent results for the 8 × 6 arrays in C57BL/6 wild-type mice (Mus musculus) and macaque monkey (Macaca fascicularis). Simulation, characterization, and radiometric testing of a single optrode of the 9 × 9 array was necessary to prove the ability to transmit light directly to specific tissue. Zemax optical design software was used to predict the light transmission capabilities, and then these results were compared to actual bench-top results. Insertion loss was both predicted and measured to be 3.7 dB. Power budgeting showed 9% of the light was lost at the interfaces of the UOA's backplane and tip in air, and 48% was lost through back-scattering, leaving 43% transmitting through the optrode with no measurable taper loss. Scanning electron microscopy showed small amounts of devitrification of the glass, and atomic force microscopy showed average surface roughness to be 13.5 nm and a root mean square roughness of 20.6 nm. The output beam was profiled in fluorescein dye with a total divergence angle of 63◦ with a cross over distance to adjacent beams at 255 μm

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference

XR, music and neurodiversity: design and application of new mixed reality technologies that facilitate musical intervention for children with autism spectrum conditions

This thesis, accompanied by the practice outputs,investigates sensory integration, social interaction and creativity through a newly developed VR-musical interface designed exclusively for children with a high-functioning autism spectrum condition (ASC).The results aim to contribute to the limited expanse of literature and research surrounding Virtual Reality (VR) musical interventions and Immersive Virtual Environments (IVEs) designed to support individuals with neurodevelopmental conditions. The author has developed bespoke hardware, software and a new methodology to conduct field investigations. These outputs include a Virtual Immersive Musical Reality Intervention (ViMRI) protocol, a Supplemental Personalised, immersive Musical Experience(SPiME) programme, the Assisted Real-time Three-dimensional Immersive Musical Intervention System’ (ARTIMIS) and a bespoke (and fully configurable) ‘Creative immersive interactive Musical Software’ application (CiiMS). The outputs are each implemented within a series of institutional investigations of 18 autistic child participants. Four groups are evaluated using newly developed virtual assessment and scoring mechanisms devised exclusively from long-established rating scales. Key quantitative indicators from the datasets demonstrate consistent findings and significant improvements for individual preferences (likes), fear reduction efficacy, and social interaction. Six individual case studies present positive qualitative results demonstrating improved decision-making and sensorimotor processing. The preliminary research trials further indicate that using this virtual-reality music technology system and newly developed protocols produces notable improvements for participants with an ASC. More significantly, there is evidence that the supplemental technology facilitates a reduction in psychological anxiety and improvements in dexterity. The virtual music composition and improvisation system presented here require further extensive testing in different spheres for proof of concept

Reports to the President

A compilation of annual reports for the 1999-2000 academic year, including a report from the President of the Massachusetts Institute of Technology, as well as reports from the academic and administrative units of the Institute. The reports outline the year's goals, accomplishments, honors and awards, and future plans

IAIMS newsletter

NewsletterThe IAIMS Newsletter (1996-2005) provides valuable information about library activities and resources as well as informative articles related to information technology

Proceedings of the 9th international conference on disability, virtual reality and associated technologies (ICDVRAT 2012)

The proceedings of the conferenc

Project knole: an autocosmic approach to authoring resonant computational characters

Project knole, consisting of this thesis and a mixed reality installation artwork centred around a computational simulation, is a practice-based response to the question of how a character in a work of computational narrative art might maintain their defining quality of dynamic agency within a system (arguably one of the key potentials of the form), while achieving the ‘resonant’ qualities of characters in more materially-static artforms. In all aspects of this project, I explore a new design philosophy for achieving this balance; between the authorship of a procedural computational system, and the ability of that system to ‘resonate’ with the imagination of an audience. This philosophy, which I term the ‘autocosmic’, seeks inspiration for the curation of audience response outside the obvious boundaries of artistic discipline, across the wider spectrum of human imaginative engagement; examples often drawn from mostly non-aesthetic domains. As well as defining the terms ‘resonance’ and ‘autocosmic’, and delineating my methodology more generally, this thesis demonstrates how the ‘autocosmic’ was employed within my creative work. In particular, it shows how some of the perennial problems of computational character development might be mediated by exploring other non-aesthetic examples of imaginative, narrative engagement with personified systems. In the context of this project, such examples come from the historio-cultural relationship between human beings and the environments they inhabit, outside of formal artistic practice. From this ‘autocosmic’ launchpad, I have developed an artwork that starts to explore how this rich cultural and biological lineage of human social engagement with systemic place can be applied fruitfully to the development of a ‘resonant’ computational character

Proceedings of the 7th international conference on disability, virtual reality and associated technologies, with ArtAbilitation (ICDVRAT 2008)

The proceedings of the conferenc