Morphology and the gradient of a symmetric potential predicts gait transitions of dogs

Gaits and gait transitions play a central role in the movement of animals. Symmetry is thought to govern the structure of the nervous system, and constrain the limb motions of quadrupeds. We quantify the symmetry of dog gaits with respect to combinations of bilateral, fore-aft, and spatio-temporal symmetry groups. We tested the ability of symmetries to model motion capture data of dogs walking, trotting and transitioning between those gaits. Fully symmetric models performed comparably to asymmetric with only a 22% increase in the residual sum of squares and only one-quarter of the parameters. This required adding a spatio-temporal shift representing a lag between fore and hind limbs. Without this shift, the symmetric model residual sum of squares was 1700% larger. This shift is related to (linear regression, n = 5, p = 0.0328) dog morphology. That this symmetry is respected throughout the gaits and transitions indicates that it generalizes outside a single gait. We propose that relative phasing of limb motions can be described by an interaction potential with a symmetric structure. This approach can be extended to the study of interaction of neurodynamic and kinematic variables, providing a system-level model that couples neuronal central pattern generator networks and mechanical models

Flora robotica -- An Architectural System Combining Living Natural Plants and Distributed Robots

Key to our project flora robotica is the idea of creating a bio-hybrid system of tightly coupled natural plants and distributed robots to grow architectural artifacts and spaces. Our motivation with this ground research project is to lay a principled foundation towards the design and implementation of living architectural systems that provide functionalities beyond those of orthodox building practice, such as self-repair, material accumulation and self-organization. Plants and robots work together to create a living organism that is inhabited by human beings. User-defined design objectives help to steer the directional growth of the plants, but also the system's interactions with its inhabitants determine locations where growth is prohibited or desired (e.g., partitions, windows, occupiable space). We report our plant species selection process and aspects of living architecture. A leitmotif of our project is the rich concept of braiding: braids are produced by robots from continuous material and serve as both scaffolds and initial architectural artifacts before plants take over and grow the desired architecture. We use light and hormones as attraction stimuli and far-red light as repelling stimulus to influence the plants. Applied sensors range from simple proximity sensing to detect the presence of plants to sophisticated sensing technology, such as electrophysiology and measurements of sap flow. We conclude by discussing our anticipated final demonstrator that integrates key features of flora robotica, such as the continuous growth process of architectural artifacts and self-repair of living architecture.Comment: 16 pages, 12 figure

Grids and the Virtual Observatory

We consider several projects from astronomy that benefit from the Grid paradigm and associated technology, many of which involve either massive datasets or the federation of multiple datasets. We cover image computation (mosaicking, multi-wavelength images, and synoptic surveys); database computation (representation through XML, data mining, and visualization); and semantic interoperability (publishing, ontologies, directories, and service descriptions)

Soft thought (in architecture and choreography)

This article is an introduction to and exploration of the concept of ‘soft thought’. What we want to propose through the definition of this concept is an aesthetic of digital code that does not necessarily presuppose a relation with the generative aspects of coding, nor with its sensorial perception and evaluation. Numbers do not have to produce something, and do not need to be transduced into colours and sounds, in order to be considered as aesthetic objects. Starting from this assumption, our main aim will be to reconnect the numerical aesthetic of code with a more ‘abstract’ kind of feeling, the feeling of numbers indirectly felt as conceptual contagions’, that are ‘conceptually felt but not directly sensed. The following pages will be dedicated to the explication and exemplification of this particular mode of feeling, and to its possible definition as ‘soft thought’