Engineering derivatives from biological systems for advanced aerospace applications

The present study consisted of a literature survey, a survey of researchers, and a workshop on bionics. These tasks produced an extensive annotated bibliography of bionics research (282 citations), a directory of bionics researchers, and a workshop report on specific bionics research topics applicable to space technology. These deliverables are included as Appendix A, Appendix B, and Section 5.0, respectively. To provide organization to this highly interdisciplinary field and to serve as a guide for interested researchers, we have also prepared a taxonomy or classification of the various subelements of natural engineering systems. Finally, we have synthesized the results of the various components of this study into a discussion of the most promising opportunities for accelerated research, seeking solutions which apply engineering principles from natural systems to advanced aerospace problems. A discussion of opportunities within the areas of materials, structures, sensors, information processing, robotics, autonomous systems, life support systems, and aeronautics is given. Following the conclusions are six discipline summaries that highlight the potential benefits of research in these areas for NASA's space technology programs

Proceedings of the 10th International Conference on Ecological Informatics: translating ecological data into knowledge and decisions in a rapidly changing world: ICEI 2018

The Conference Proceedings are an impressive display of the current scope of Ecological Informatics. Whilst Data Management, Analysis, Synthesis and Forecasting have been lasting popular themes over the past nine biannual ICEI conferences, ICEI 2018 addresses distinctively novel developments in Data Acquisition enabled by cutting edge in situ and remote sensing technology. The here presented ICEI 2018 abstracts captures well current trends and challenges of Ecological Informatics towards: • regional, continental and global sharing of ecological data, • thorough integration of complementing monitoring technologies including DNA-barcoding, • sophisticated pattern recognition by deep learning, • advanced exploration of valuable information in ‘big data’ by means of machine learning and process modelling, • decision-informing solutions for biodiversity conservation and sustainable ecosystem management in light of global changes

Proceedings of the 10th International Conference on Ecological Informatics: translating ecological data into knowledge and decisions in a rapidly changing world: ICEI 2018

The Conference Proceedings are an impressive display of the current scope of Ecological Informatics. Whilst Data Management, Analysis, Synthesis and Forecasting have been lasting popular themes over the past nine biannual ICEI conferences, ICEI 2018 addresses distinctively novel developments in Data Acquisition enabled by cutting edge in situ and remote sensing technology. The here presented ICEI 2018 abstracts captures well current trends and challenges of Ecological Informatics towards: • regional, continental and global sharing of ecological data, • thorough integration of complementing monitoring technologies including DNA-barcoding, • sophisticated pattern recognition by deep learning, • advanced exploration of valuable information in ‘big data’ by means of machine learning and process modelling, • decision-informing solutions for biodiversity conservation and sustainable ecosystem management in light of global changes

Oceanus.

v. 35, no. 3 (1992

Algorithms for VLSI stereo vision circuits applied to autonomous robots

Since the inception of Robotics, visual information has been incorporated in order to allow the robots to perform tasks that require an interaction with their environment, particularly when it is a changing environment. Depth perception is a most useful information for a mobile robot to navigate in its environment and interact with its surroundings. Among the different methods capable of measuring the distance to the objects in the scene, stereo vision is the most advantageous for a small, mobile robot with limited energy and computational power. Stereoscopy implies a low power consumption because it uses passive sensors and it does not require the robot to move. Furthermore, it is more robust, because it does not require a complex optic system with moving elements. On the other hand, stereo vision is computationally intensive. Objects in the scene have to be detected and matched across images. Biological sensory systems are based on simple computational elements that process information in parallel and communicate among them. Analog VLSI chips are an ideal substrate to mimic the massive parallelism and collective computation present in biological nervous systems. For mobile robotics they have the added advantage of low power consumption and high computational power, thus freeing the CPU for other tasks. This dissertation discusses two stereoscopic methods that are based on simple, parallel cal- culations requiring communication only among neighboring processing units (local communication). Algorithms with these properties are easy to implement in analog VLSI and they are also very convenient for digital systems. The first algorithm is phase-based. Disparity, i.e., the spatial shift between left and right images, is recovered as a phase shift in the spatial-frequency domain. Gábor functions are used to recover the frequency spectrum of the image because of their optimum joint spatial and spatial-frequency properties. The Gábor-based algorithm is discussed and tested on a Khepera miniature mobile robot. Two further approximations are introduced to ease the analog VLSI and digital implementations. The second stereoscopic algorithm is difference-based. Disparity is recovered by a simple calculation using the image differences and their spatial derivatives. The algorithm is simulated on a digital system and an analog VLSI implementation is proposed and discussed. The thesis concludes with the description of some tools used in this research project. A stereo vision system has been developed for the Webots mobile robotics simulator, to simplify the testing of different stereo algorithms. Similarly, two stereo vision turrets have been built for the Khepera robot

Proceedings of the 123rd Annual Meeting of the Iowa Academy of Science [Program, 2011]

https://scholarworks.uni.edu/ias_docs/1003/thumbnail.jp

USING VIRTUAL REALITY TO INVESTIGATE ‘PROTEAN’ ANTI-PREDATOR BEHAVIOUR

Prey animals have evolved a wide variety of behaviours to combat the threat of predation, many of which have received considerable empirical and theoretical attention and are generally well understood in terms of their function and mechanistic underpinning. However, one of the most commonly observed and taxonomically widespread antipredator behaviours of all has, remarkably, received almost no experimental investigation: so-called ‘protean’ behaviour. This is defined as ‘behaviour that is sufficiently unpredictable to prevent a predator anticipating in detail the future position or actions of its prey’. In this thesis, I have elucidated the mechanisms that allow protean behaviour to be an effective anti-predatory response. This was explored with two approaches. Firstly, through the novel and extremely timely use of virtual reality to allow human ‘predators’ to attack and chase virtual prey in three-dimensions from a first-person perspective, thereby bringing the realism that has been missing from previous studies on predator-prey dynamics. Secondly through the three-dimensional tracking of protean behaviour in a highly tractable model species, the painted lady butterfly (Vanessa cardui). I explored this phenomenon in multiple contexts. Firstly, I simulated individual protean prey and explored the effects of unpredictability in their movement rules with respect to targeting accuracy of human ‘predators’ in virtual reality. Next, I examined the concept of ‘protean insurance’ via digitised movements of the painted lady butterfly, exploring the qualities of this animals’ movement paths related to human targeting ability. I then explored how the dynamics of animal groupings affected protean movement. Specifically, I investigated how increasing movement path complexity interacted with the well-documented ‘confusion effect’. I explored this question using both an experimental study and a VR citizen science game disseminated to the general public via the video game digital distribution service ‘Steam’. Subsequently, I explored another phenomenon associated with groupings of prey items; the ‘oddity effect’, which describes the preferential targeting of phenotypically odd individuals by predators. Typically, this phenomenon is associated with oddity of colouration or size. In this case, I investigated whether oddity of protean movement patterns relative to other group members could induce a ‘behavioural oddity effect’. Finally, I used a specialised genetic algorithm (GA) that was driven by human performance with respect to targeting prey items. I investigated the emergent protean movement paths that resulted from sustained predation pressure from humans. Specifically, I examined the qualities of the most fit movement paths with respect to control evolutions that were not under the selection pressure of human performance (randomised evolution). In the course of this thesis, I have gained a deeper understanding of a near ubiquitous component of predator prey interactions that has until recently been the subject of little empirical study. These findings provide important insights into the understudied phenomenon of protean movement, which are directly applicable to predator –prey dynamics within a broad range of taxa

FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality