Interactive Chemical Reactivity Exploration

Elucidating chemical reactivity in complex molecular assemblies of a few hundred atoms is, despite the remarkable progress in quantum chemistry, still a major challenge. Black-box search methods to find intermediates and transition-state structures might fail in such situations because of the high-dimensionality of the potential energy surface. Here, we propose the concept of interactive chemical reactivity exploration to effectively introduce the chemist's intuition into the search process. We employ a haptic pointer device with force-feedback to allow the operator the direct manipulation of structures in three dimensions along with simultaneous perception of the quantum mechanical response upon structure modification as forces. We elaborate on the details of how such an interactive exploration should proceed and which technical difficulties need to be overcome. All reactivity-exploration concepts developed for this purpose have been implemented in the Samson programming environment.Comment: 36 pages, 14 figure

Lateral Strategies for Scientists and Those Who Study Them

The thesis Adapting in the Knowledge Economy investigates the strategies deployed by academic scientists when trying to adapt and maneuver within an increasingly complex mixture of scientific, industrial and governmental agendas. Chapter one “From insights to invoice” summarizes the last decade of Danish research policy as a tendency towards intensified focus on interaction between the university and “outside” actors. Looking at Danish policy documents and interview data the chapter shows how policy changes responded to an idea of “ivory tower” researchers isolating themselves in Danish universities. Furthermore, the interaction agenda was motivated by the perception that knowledge was produced but not sufficiently used. Strongly influenced by the concept of the knowledge economy and that of mode 2 knowledge production, policy changes were directed at bridging a gap between the producers and the consumers of knowledge. A series of reforms and initiatives were launched to facilitate more interaction between science and industry as well as more responsiveness towards societies’ problems on behalf of the universities. This interaction agenda was coupled with an increase in the economic investment in research and an increased focus on competition between researchers in order to ensure high quality in knowledge production...

Museum of Contemporary Commodities: a research performance

The materialities and injustices of the 'prolific present' are overwhelming, making attention to the production, consumption and disposal of 'stuff' an urgent matter of concern. Presenting as automatic and only partially visible, creatively constructive acts of ‘dataveillance’ are integral to this explosion of stuff; conditioning our daily lives as milieus of consumption that channel profit to the propertied classes, often with socially and environmentally damaging consequences (Gabrys 2016, van Dijck, 2014, Tsing, 2013). Constructing the agency to intervene in these socio-technical valuing practices and cultural performances, requires us to consider our roles in those performances, as much as theorising the constituting structures, strategies, and (in)justices of their production. The Museum of Contemporary Commodities is an art geography research performance that is both a collaboratively produced dramaturgy of valuing, and an experiment in public curation as transformative process (Heathfield 2016, Graeber, 2013, Richter 2017). The project manifests as a series of digitally networked hacks, prototypes and events that attempt to configure new alignments between the social, material and digital that are localised and mobile, stable and reconfigurable, familiar and new (Suchman et al., 2002). These are art geographies as collectively produced critical making and social practices, which encourage audience-as-participant move from 'automatic' taking part in the unfolding immanence of the world, to feeling it more deeply. By extension attending to and caring for the ethical and political implications, and the material things that participation produces (Cull, 2011, Puig de la Bellacasa 2012)

The Physicist - Philosophers: The Legacy of James Clerk Maxwell and Herrmann von Helmholtz

One of the most effective, and most mysterious, tools of modern theoretical physics is a mathematical method including what is here called “field theory.” The success of this procedure in unraveling the “zoology” of fundamental particles and their behavior is a marvel. The philosophical context of this marvel is the source of endless academic controversy. The core of the method is a blend of mathematics and description created by “physicist-philosophers,” from Maxwell and Helmholtz to Einstein and Schrödinger. This book tries to unravel the mystery, or at least chronicle it.https://digitalcommons.bard.edu/facbooks/1000/thumbnail.jp

Enhancing the E-Commerce Experience through Haptic Feedback Interaction

The sense of touch is important in our everyday lives and its absence makes it difficult to explore and manipulate everyday objects. Existing online shopping practice lacks the opportunity for physical evaluation, that people often use and value when making product choices. However, with recent advances in haptic research and technology, it is possible to simulate various physical properties such as heaviness, softness, deformation, and temperature. The research described here investigates the use of haptic feedback interaction to enhance e-commerce product evaluation, particularly haptic weight and texture evaluation. While other properties are equally important, besides being fundamental to the shopping experience of many online products, weight and texture can be simulated using cost-effective devices. Two initial psychophysical experiments were conducted using free motion haptic exploration in order to more closely resemble conventional shopping. One experiment was to measure weight force thresholds and another to measure texture force thresholds. The measurements can provide better understanding of haptic device limitation for online shopping in terms of the availability of different stimuli to represent physical products. The outcomes of the initial psychophysical experimental studies were then used to produce various absolute stimuli that were used in a comparative experimental study to evaluate user experience of haptic product evaluation. Although free haptic exploration was exercised on both psychophysical experiments, results were relatively consistent with previous work on haptic discrimination. The threshold for weight force discrimination represented as downward forces was 10 percent. The threshold for texture force discrimination represented as friction forces was 14.1 percent, when using dynamic coefficient of friction at any level of static coefficient of friction. On the other hand, the comparative experimental study to evaluate user experience of haptic product information indicated that haptic product evaluation does not change user performance significantly. However, although there was an increase in the time taken to complete the task, the number of button click actions tended to decrease. The results showed that haptic product evaluation could significantly increase the confidence of shopping decision. Nevertheless, the availability of haptic product evaluation does not necessarily impose different product choices but it complements other selection criteria such as price and appearance. The research findings from this work are a first step towards exploring haptic-based environments in e-commerce environments. The findings not only lay the foundation for designing online haptic shopping but also provide empirical support to research in this direction

For an echology of microbe-artworks : thinking in between art and science

Une entité scientifique, tout en ayant son propre devenir dans le domaine scientifique, s’étend aussi souvent à d’autres domaines d’activité. Parallèlement à la diffusion des découvertes scientifiques, elle peut susciter un intérêt artistique ou conceptuel. Les études sur le microbiome humain ont nourri un tel intérêt pour les microbes et ont encouragé de nombreux artistes à entrer dans un laboratoire de biologie et à produire des oeuvres artistiques avec et à travers les microbes. Ces oeuvres d’art établissent une relation étroite avec les découvertes scientifiques récentes, les procédures et les protocoles, et posent des questions philosophiques sur la vie et la mort, la nature, l’humanité, et les relations entre les êtres vivants. Cette thèse vise à examiner les processus sociaux, techniques, politiques et économiques qui traversent les sciences des microbes et à déterminer comment ils aboutissent dans les oeuvres d’Elaine Whittaker, Tarsh Bates, François-Joseph Lapointe, Günes-Helen Isitan, le collectif Interspecifics, Victoria Shennan, Saša Spačal, Sonja Bäumel, Raphael Kim et Kathy High. Lorsque nous trouvons un microbe dans un contexte particulier, que trouvons-nous d’autre avec lui ? Dans quelles conditions apparaît-il dans une oeuvre d’art et avec quels éléments l’oeuvre compose-t-elle pour produire des effets esthétiques ? Dans cette thèse, l’histoire des microbes considérée du point de vue des formes d’art les mobilisant (ou « microbe-oeuvres d’art » pour microbe-artworks) commence en fait avec des animalcules qui n’étaient pas encore des entités scientifiques à part entière, mais qui présentaient virtuellement les forces qui seraient réunies plus tard sous le terme scientifique de « microbe ». Dans un premier temps, les animalcules, nommés après des observations d’Antonie von Leeuwenhoek, ont suscité l’intérêt de philosophes comme Leibniz et Spinoza et intensifié la curiosité de peintres comme Johannes Vermeer pour les éléments microscopiques de la vision, initiant ainsi des voyages entre les champs scientifiques et artistiques. Cette étude propose de problématiser ces voyages à l’aide du concept d’« échologie », un terme oublié d’une thèse écrite dans les années 1970 par Jean Milet sur la sociologie de Gabriel Tarde. Mais les théories d’autres philosophes tels que Georges Canguilhem, Michel Foucault, Gilles Deleuze, Félix Guattari, Marie-José Mondzain, et Gilbert Simondon, et des penseurs contemporains tels que Thierry Bardini et Brian Massumi sont également mobilisées pour donner à ce terme toute sa cohérence. Selon l’échologie, les entités sont constituées des motifs (patterns) d’interférence et de résonance avec d’autres choses, qui précèdent leur représentation. Ainsi, une 5 entité donnée est un complexe de forces, et son apparition, le résultat de certaines techniques qui la mettent en relation avec d’autres complexes ne peut s’expliquer comme un effet associé à une seule cause, mais se donne comme un effet supplémentaire, un extra-effet ou un surplus qui laisse toujours une trace ou un résidu. D’un point de vue échologique, une microbe-oeuvre d’art s’opère comme une interface qui intègre des potentiels qui se rendent visibles à travers les traces en vertu de multiples processus recoupant les activités scientifiques et les stratégies artistiques. Chaque chapitre de la thèse est ainsi une étape dans un voyage conceptuel expérimental, révélant les dimensions des oeuvres d’art considérées au regard de l’analyse de ces traces. Au cours de ce voyage, les éléments des théories scientifiques concernées, des entretiens avec des artistes, des sorties sur des sites de pratique des arts biologiques, lors d’ateliers, de conférence et d’écoles d’été sont mobilisés comme facteurs contribuant à la construction des champs problématiques dans chaque chapitre. Les microbes considérés comme des objets de beauté apparaissent comme le résultat d’une transformation discursive des sciences biologiques. D’une conception pathogène des microbes aux approches écologiques, l’iconicité des microbes associés aux microbe-images, l’échologie des microbe-sons, le devenir-milieu de certaines microbe-oeuvres d’art, et enfin la question de l’individuation de la pensée, et l’éthique corrélée compris comme le problème de la valorisation des microbes dans des microbe-oeuvres d’art, le devenir-microbe découle de cette transformation discursive à travers le champ artistique.A scientific entity, while having its own becoming in the scientific field, often also spreads to other fields of activity, such as art and philosophy. Microbiome studies fed such an interest towards microbes and encouraged many artists to enter a biology laboratory and produce a work of art with and through microbes. These artworks establish a close relationship with recent scientific findings, procedures and protocols, and ask philosophical questions about life and death, nature, humanness, and the relationships between living beings. This thesis aims to examine the social, technical, political, and economic processes that go through the microbe sciences and determine how they come together in the artworks of Elaine Whittaker, Tarsh Bates, François-Joseph Lapointe, Günes-Helen Isitan, the collective Interspecifics, Victoria Shennan, Saša Spačal, Sonja Bäumel, Raphael Kim, and Kathy High. When we find a microbe in a particular context, what else do we find with it? Under which conditions does it appear in an artwork and which elements does the artwork compose with to produce aesthetic effects? In this thesis, the story of microbes is recounted from the perspective of microbe-artworks and starts with animalcules, the not yet full-fledged scientific entity which virtually present the forces that would be brought together under the scientific term “microbe”. At first, animalcules––named after Antonie van Leeuwenhoek’s observations, attracted the interest of philosophers such as Leibniz and Spinoza and intensified the curiosity of painters such as Johannes Vermeer towards the microscopic elements of seeing, hereby initiating journeys between scientific and artistic fields. This study proposes to problematize these journeys as an “echology”. Echology is a forgotten term first introduced in the ‘70s by Jean Milet in his thesis about the sociology of Gabriel Tarde. Here, the theories of other philosophers such as Georges Canguilhem, Michel Foucault, Gilles Deleuze, Félix Guattari, Marie-José Mondzain, Gilbert Simondon, and contemporary thinkers such as Thierry Bardini and Brian Massumi are mobilized in order to give this term its full consistency. According to echology, entities consist of patterns of interference and resonance with other things, which arise before their representation. Thus, a given entity is a complex of forces and its apparition the result of certain techniques which put it into relation with other complexes cannot be explained as an effect associated with a single cause but gives itself as an extra-effect or surplus that always leaves a remainder. From an echological perspective, a microbe- 7 artwork operates as an interface that incorporates potentials that make themselves visible through the remainders by virtue of multiple processes cutting across scientific activities and artistic strategies. Each chapter of the thesis is thus a way station in a conceptual journey of experimentation, revealing the dimensions of the artworks under consideration with respect to the analysis of these remainders. During this journey, elements of scientific theories, interviews with artists, field trips to sites of practice of the biological arts, related workshops and summer schools are mobilized as contributory factors of the construction of the problematic fields in each chapter. Microbes considered as objects of beauty hence appear as the result of discursive transformation of biological sciences. From earlier pathogenic conceptions of microbes to contemporary ecological approaches, the iconicity of microbes associated with microbe-images, echology of microbe-sounds, becoming-milieu of certain microbe-artworks, and finally, the question of individuation of thought and the correlated ethics understood as the problem of valuation of microbe-artworks, the becoming-microbe stems from this discursive transformation through the art field

Evaluation of the effects of user profile and interface characteristics on performance during robotic teleoperation.

Programa de P?s-Gradua??o em Instrumenta??o, Controle e Automa??o de Processos de Minera??o. Departamento de Engenharia de Controle e Automa??o, Escola de Minas, Universidade Federal de Ouro Preto.In the mining industry, operator safety has always been a crucial point, and therefore demands attention. In addition, given the high investments made in the enterprise, the search for a consistent and e cient production process is also relevant. To increase productivity and safety, teleoperation techniques can be used to allow the operator to be removed from the risk areas and operate the equipment from a safe distance. The work presented in this master's thesis was developed at the Instituto Tecnol?gico Vale (ITV) as a part of a broader project that aims the development of a conceptual framework that enables the analysis and validation of the application of teleoperation techniques in mining equipment. These equipment could be either used for exploration, engineering or extraction. More speci cally, this framework will permit the analysis of relevant information for teleoperation. This work represents the initial step taken, which comprises the execution of proof-of-concept tests in laboratory using a robotic system. Di erent teleoperation interfaces schemes consisting of video and haptic devices are analyzed under di erent aspects and the user point of view is taken into account. The goal is to analyze the e ects of the force feedback and of di erent visual feedback during teleoperation and to evaluate which prede ned users characteristics can contribute to better performance during teleoperation. Experimental tests were performed using a commercial mobile robotic platform Seekur Jr and teleoperation interfaces consisting of the haptic devices Novint Falcon and Geomagic Touch. This platform can be programmed in such a way that it operates emulating a mining equipment. For practical application-oriented tests, di erent operations from a mining process can be used as application of study (e.g. explosive charging or excavators operations). For the purposes of this work, interfaces for the control of the robotic platform locomotion were analyzed. In order to evaluate the in uence of interface characteristics and users pro le on performance during teleoperation two experiments were conducted. The experiments consisted of guiding the robotic platform in a scenario containing obstacles, using the di erent interfaces. In this work, delays in communication during teleoperation were not addressed. Results show that the use of force feedback e ectively contributes for better performances in term of task execution time, number of collisions with obstacles and task completion in teleoperation activities. Moreover, additional visual information, such as the environment map, can also increase perception of obstacles.Na ind?stria da minera??o, a seguran?a do operador sempre foi um ponto crucial, demandando, portanto, cuidadosa aten??o. Al?m disso, dados os altos investimentos realizados no empreendimento, a busca por um processo de produ??o consistente e e ciente ? tamb?m relevante. Com o objetivo de aumentar a produtividade e a seguran?a nas opera??es dentro da minera??o, t?cnicas de teleopera??o podem ser utilizadas para permitir que o operador seja removido das ?reas de risco e opere o equipamento ? dist?ncia. Em ess?ncia, a teleopera??o significa que ? poss?vel haver uma separa??o f?sica entre a unidade de comando (sistema local) e a unidade de execu??o (sistema remoto), ainda mantendo a rela??o entre os dois. Isto ?, apesar da separa??o f?sica, o sistema local ? ainda capaz de comandar o sistema remoto. Idealmente, para que tal comando seja feito de maneira mais e caz poss?vel, deseja-se prover ao operador uma experi?ncia com o ambiente remoto de forma natural e realista, de tal forma que ele tenha a sensa??o de estar interagindo diretamente com o ambiente remoto, por?m sem as perturba??es t?picas desses ambientes (ru?do, vibra??es, calor, etc.) e com a possibilidade de amplia??o dessa percep??o. Com a utiliza??o da teleopera??o, ? poss?vel, al?m de reduzir os riscos a que o operador est? exposto em suas atividades, melhorar seu desempenho na opera??o destes equipamentos durante a realiza??o das tarefas. O trabalho apresentado nesta disserta??o de mestrado foi desenvolvido no Instituto Tecnol?gico Vale (ITV) como parte de um projeto mais amplo que visa o desenvolvimento de um arcabou?o que permita a an?lise e valida??o da aplica??o de t?cnicas de teleopera??o a equipamentos de minera??o. Estes equipamentos podem ser usados tanto para tarefas de explora??o, quanto de engenharia ou extra??o. Mais especificamente, este arcabou?o permitir? a an?lise de qual informa??o ? relevante e auxilia o operador durante a opera??o do equipamento. No ?mbito deste projeto, o trabalho descrito nesta disserta??o de mestrado representa o primeiro passo dado, que compreende a execu??o de testes de conceito em laborat?rio usando um sistema rob?tico. Diferentes interfaces de teleopera??o compostas por dispositivos h?pticos e de v?deo s?o analisadas diante de diferentes aspectos e o ponto de vista do usu?rio ? levado em considera??o. O objetivo ? analisar os efeitos da realimenta??o de for?a e da realimenta??o visual durante a realiza??o de tarefas de maneira teleoperada e avaliar quais caracter?sticas predefinidas dos operadores podem contribuir para um melhor desempenho durante a teleopera??o de um equipamento. Para realizar os testes, a plataforma rob?tica m?vel comercial Seekur Jr e interfaces de teleopera??o compostas por dispositivos h?pticos Novint Falcon e Geomagic Touch s?o utilizados. Esta plataforma rob?tica pode ser programada de tal forma a operar emulando um equipamento de minera??o. Para a realiza??o de testes voltados a aplica??es pr?ticas, diferentes opera??es de um processo de minera??o podem ser utilizadas como aplica??o de estudo (carregamento de explosivos, opera??o de uma escavadeira, por exemplo). Para os fins de estudo deste trabalho, foram analisadas as interfaces para o controle da locomo??o da plataforma rob?tica. Para avaliar a influ?ncia das caracter?sticas da interface e do perfil dos usu?rios no desempenho durante a teleopera??o dois experimentos foram conduzidos. Os experimentos consistiram em comandar a plataforma rob?tica em um cen?rio contendo obst?culos utilizando as diferentes interfaces desenvolvidas. Neste trabalho, a presen?a de atrasos na comunica??o durante a teleopera??o n?o foi considerada. Os resultados mostram que o uso da realimenta??o de for?a efetivamente contribui para melhor desempenho durante a execu??o de tarefas de forma teleoperada, em termos do tempo de execu??o da tarefa, do n?mero de obst?culos colididos e do n?vel de conclus?o da tarefa. Al?m disso, informa??es visuais adicionais tais como um mapa do ambiente aumentam a percep??o de obst?culos

Psychotropes: Models of Authorship, Psychopathology, and Molecular Politics in Aldous Huxley and Philip K. Dick

Among the so-called “anti-psychiatrists” of the 1960s and ‘70s, it was Félix Guattari who first identified that psychiatry had undergone a “molecular revolution.” It was in fact in a book titled Molecular Revolutions, published in 1984, that Guattari proposed that psychotherapy had become, in the de¬cades following the Second World War, far less personal and increasingly alienating. The newly “molecular” practices of psychiatry, Guattari mourned, had served only to fundamentally distance both patients and practitioners from their own minds; they had largely restricted our access, he suggested, to human subjectivity and consciousness. This thesis resumes Guattari’s work on the “molecular” model of the subject. Extending on Guattari’s various “schizoanalytic metamodels” of hu¬man consciousness and ontology, it rigorously meditates on a simple ques¬tion: Should we now accept the likely finding that there is no neat, singular, reductive, utilitarian, or unifying “model” for thinking about the human subject, and more specifically the human “author”? Part 1 of this thesis carefully examines a range of psychoanalytic, psychi¬atric, philosophical, and biomedical models of the human. It studies and re¬formulates each of them in turn and, all the while, returns to a fundamental position: that no single model, nor combination of them, will suffice. What part 1 seeks to demonstrate, then, is that envisioning these models as differ¬ent attempts to “know” the human is fruitless—a futile game. Instead, these models should be understood in much the same way as literary critics treat literary commonplaces or topoi; they are akin, I argue, to what Deleuze and Guattari called “images of thought.” In my terminology, they are “psycho¬tropes”: images with their own particular symbolic and mythical functions. Having thus developed a range of theoretical footholds in part 1, part 2 of the thesis—beginning in chapter 4—will put into practice the work of this first part. It will do so by examining various representations of authorship by two authors in particular: Aldous Huxley and Philip K. Dick. This part will thus demonstrate how these author figures function as “psychoactive scriv¬eners”: they are fictionalising philosophers who both produce and quarrel with an array of paradigmatic psychotropes, disputing those of others and inventing their own to substitute for them. More than this, however, the second part offers a range of detailed and original readings of these authors’s psychobiographies; it argues that even individual authors such as Huxley and Dick can be seen as “psychotropic.” It offers, that is, a series of broad-ranging and speculative explanations for the ideas and themes that appear in their works—explanations rooted in the theoretical work of the first part. Finally, this thesis concludes by reaffirming the importance of these authors’s narcoliteratures—both for present-day and future literary studies, and beyond. For while Huxley and Dick allow us to countenance afresh the range of failures in the history and philosophy of science, they also prom¬ise to instruct us—and instruct science—about the ways in which we might move beyond our received mimetic models of the human