Validation procedures in radiological diagnostic models. Neural network and logistic regression

The objective of this paper is to compare the performance of two predictive radiological models, logistic regression (LR) and neural network (NN), with five different resampling methods. One hundred and sixty-seven patients with proven calvarial lesions as the only known disease were enrolled. Clinical and CT data were used for LR and NN models. Both models were developed with cross validation, leave-one-out and three different bootstrap algorithms. The final results of each model were compared with error rate and the area under receiver operating characteristic curves (Az). The neural network obtained statistically higher Az than LR with cross validation. The remaining resampling validation methods did not reveal statistically significant differences between LR and NN rules. The neural network classifier performs better than the one based on logistic regression. This advantage is well detected by three-fold cross-validation, but remains unnoticed when leave-one-out or bootstrap algorithms are used.Skull, neoplasms, logistic regression, neural networks, receiver operating characteristic curve, statistics, resampling

The Alonso Solana Map of Florida, 1683

Map No. 7 at the end of Verne E. Chatelain’s The Defenses of Spanish Florida 1565-1763 is entitled Mapa de la Ysla de la Florida. It is of Spanish origin, but its printed legend admits the anonymity of the cartographer and the uncertainty of the date. Although Woodbury Lowery listed maps from the same repository, he was unaware of the existence of this one. It was Professor Louis C. Karpinski of the University of Michigan who discovered this paper representation of Florida in the war ministry in Madrid, while searching for American history materials in Spanish archives. His original typed entry of it does not show author or date, but an added handwritten notation in brackets indicates its date to be 1683. This marking is identical with that appearing in brackets on the northeast margin of the map itself, placed there possibly by ministry personnel. A second publication of the Mapa . . . attests that the date is indeed 1683 and that a Don Juan Marquez Cabrera remitted it to Spain. The mapmaker is still unknown, although strong circumstantial evidence points definitely to reformado 5 Adjutant Alonso Solana, the Younger, public and governmental notary of the presidio of St. Augustine in 1678-96, as the author of this Florida map of 1683

The Day Governor Cabrera Left Florida

On Sunday, April 13, 1687, the presidio of St. Augustine, Florida was going about routine activities. Captain Antonio de Arguelles’ infantry company had guard duty, and the captain was at the presidio’s main guardhouse. A galliot, one of the vessels of the garrison’s naval complement, rode at anchor in Matanzas Bay. She was ready to sail that afternoon. Her crew (partly made up of sailors under contract for just that trip), supplies, arms (including 36 flintlock muskets), and ammunition, were already on board. Adjutant Juan Pinto, one of the three regular adjutants, was the galliot’s officer in charge

Conservation and Reutilization of the Castillo De San Marcos and Fort Matanzas

On July 10, 1821, at four o’clock in the afternoon, Spanish gunners in the Castillo de San Marcos in St. Augustine fired a twenty-one gun salute. On the last round they lowered the royal colors and marched out of the fortification, abandoning twenty-five pieces of unserviceable artillery. Passing in front of the line of American soldiers waiting to enter the Castillo, the Spanish soldiers exchanged salutes with the representatives of the new proprietors of the Florida territory. Five days earlier, ruined Fort Matanzas, some twenty kilometers south of St. Augustine at Matanzas Inlet, had been evacuated by its three-man garrison, who abandoned two guns there. Under the terms of the Adams-Onis Treaty, negotiated two years earlier, Spain had effected the transfer of its sovereignty over East Florida to the United States of America

Building a utopie autre [Amazing Archigram! - 50 years of Zoom!/ Zzzzrrtt!/ Thud!/ Blaam!]

Desde su tímida aparición en 1961, y fundamentalmente a partir de su consolidación definitiva a mediados de la misma década, Archigram, revista y grupo, ha pasado a ser un sine-qua-non del panorama utópico y de las historias de las agrupaciones arquitectónicas. El punto de inflexión en su consolidación como un elemento indispensable de la historia de la arquitectura del siglo XX, sería, en cualquier caso, la aparición en 1964 de Amazing Archigram!, el cuarto número de la revista, dedicado a la ciencia ficción. Con su imaginería mecánica y espacial, y su estética de comic book americano, el “Zoom Issue” tendría un papel crucial en la conformación de la imagen y el propio ethos de Archigram. Por una parte, el número catapultaría su marca hacia un panorama internacional. Por otra, su potencia visual, formal y transgresora, unida a una aparente coherencia en el mensaje, instaló en el ojo colectivo de la arquitectura la idea de Archigram no sólo como una revista, sino como un estudio de arquitectura con una agenda común. Sin embargo, “Amazing Archigram” también instauró la visión del grupo como un conjunto de “provocateurs”, y de su arquitectura como perteneciente al terreno de la ciencia ficción, algo muy alejado de la intención de sus autores, cuyas propuestas, visionarias o no, se orientaban hacia el muy real objetivo de dar forma arquitectónica a esa “realitas ludens” que impregnaba la propia realidad de los 60.Since its timid first appearance in 1961, and fundamentally after their ultimate consolidation in the mid of the same decade, Archigram, both magazine and group, became a sine-qua-non of the utopian scene and of the history of architectural teams in general. The turning point in their encoding as an indispensable element in the history of XXth Century architecture would be, however, the publication, in 1964, of Amazing Archigram!, the fourth issue of the magazine devoted to science fiction. With its mechanical and space age imagery, and its American comic book aesthetics, the “Zoom Issue” would have a prominent role in conforming the public image and the very public perception of Archigram’s ethos. On the one hand, the issue would catapult their brand to the international scene. On the other, its visual punch, and the transgressive consistency of its message, installed in the collective eye of architecture the idea of Archigram not just as a magazine, but as an architectural office with a common agenda. However, “Amazing Archigram” also established the vision of the team as a group of “provocateurs”, and the regard of their architecture as something belonging in the world of science fiction, which was far from being the intent of their authors, whose proposals, visionary or else, certainly helped shape that “realitas ludens” that impregnated the very architectural reality of the 1960s

Los medios de comunicación y la experiencia urbana posmoderna. De Metrópolis a Blade Runner; del cine a la realidad virtual

Since their inception in the XIX Century, mass media have been crucial in shaping the image of the urban environment on our collective subconscious. In the early 20th Century, newspapers and magazines bustled with exacerbated but fascinating images of the city of the future, which appeared as hyperbolic portrayals of the perception that the contemporary citizen had of his own effervescing modern environment. Cinema soon joined this process, as a privileged, mechanical eye that could record, analyse and reinvent the accelerated modern city and its evolution. Fritz Lang’s Metropolis (1926) epitomized the powers of the new medium, providing the viewers with a window that allowed them to see this Lacanian Other come alive, somehow encapsulating their own experience of the new urban reality. Over half a century later films such as Alien (1979) and Blade Runner (1982) took the torch as fictional future representations of postmodern space that provided the postmodern citizen with a suitably hyper-real substitute of reality. Three decades after that, the videogames and virtual reality experiences based on those very films promise to break the final barrier, allowing us to cross to the other side of the membrane, and freely move through that which is, literally, an augmented reality.Desde su creación en el siglo XIX, los medios de comunicación han sido cruciales en la configuración de la imagen del entorno urbano en nuestro subconsciente colectivo. A principios del siglo XX, periódicos y revistas bullían con imágenes de una exacerbada pero fascinante ciudad futura, que aparecían como representaciones hiperbólicas de la percepción que el ciudadano contemporáneo tenía de su propia, efervescente realidad moderna. El cine pronto se sumaría a este proceso, como ojo privilegiado y mecánico capaz de registrar, analizar, pero también reinventar la acelerada ciudad moderna y su evolución. Metrópolis, de Fritz Lang (1926), epitomizaría las posibilidades del nuevo medio, ofreciendo a los espectadores una ventana que les permitía ver a este Otro Lacaniano cobrar vida, y encapsulando en cierta forma su propia experiencia de la nueva realidad urbana. Más de medio siglo después, Alien (1979) o Blade Runner (1982) recogían el testigo, como representaciones ficticias de un espacio postmoderno futuro que proporcionaban al ciudadano de la postmodernidad un sustituto convenientemente hiperreal de la realidad. Tres décadas más tarde, los videojuegos y las nuevas experiencias de realidad virtual basadas en estos mismos filmes permiten vislumbrar la ruptura de esta última frontera, que nos permita cruzar la membrana y movernos libremente a través de lo que es, literalmente, una realidad aumentada

Arquitectura y ciencia ficción: informe desde el pasado = Architecture and science fiction: a report from the past

Los orígenes: Las fructíferas relaciones entre arquitectura y ciencia ficción, tan evidentes hoy en día en el traslape entre las arquitecturas digitales producidas dentro de la profesión y en los medios (publicidad, cine, videojuegos) son en realidad tan antiguas como el siglo xx y más allá, remontándose a los orígenes del género en la segunda mitad del xix. La ciencia ficción moderna, cuyos orígenes podemos rastrear hasta Julio Verne como cabeza visible en Francia y H.G. Wells en el mundo anglófono, se produjo como evolución natural de los romans d’anticipation, novelas que especulaban sobre la forma que adoptaría el futuro, un tema que en rigor ya puede hallarse en la literatura francesa mucho antes, ya desde L’An 2440, rêve s’il en fut jamais (1771), de Louis-Sébastien Mercier, e incluso más allá, en las primeras novelas de viajes imaginarios escritas por Rabelais en el Renacimiento. The origins: The productive relationship between architecture and science fiction, so clearly visible today at the crossover between digital architecture produced by professionals in the field and that found in the media (in advertising, film and videogames), can in fact be traced all the way back to the twentieth century and even earlier, to the second half of the nineteenth century, when this genre of writing first appeared. Modern science fiction, the origins of which go back to Jules Verne, who was the most high-profile exponent in France, and to H.G. Wells in the anglophone world, was the natural heir of the romans d’anticipation, novels which speculated on the shape the future would take, a topic that can in fact be found in French literature long before, with Louis-Sébastien Mercier’s L’An 2440, rêve s’il en fut jamais (1771), and even before, in the first imaginary travel novels written by Rabelais in the Renaissance period

Comics in the Design Studio. On the use of graphic narrative as a tool to represent, narrate, and rethink architectural space

This chapter looks at several works produced by architects and students in order to discuss and illustrate some uses of the comics medium as a tool both to visualise and explain, to develop stories and discourses, and start morphogenetic processes that lead to novel architectural form, or even rethink architectural space.unfunde

Learning from Civilia. Critical heterodoxies, historiography and urban design

Desde su primera publicación en 1971 como número especial de The Architectural Review, Civilia, The End of Suburban Man ha permanecido como un documento anómalo dentro de la historia de la teoría y la crítica arquitectónica. Profusamente ilustrado con collages hechos a partir de cientos de fotografías de edificios publicados en las páginas de la revista, el libro describía con un lenguaje cercano al manifiesto y en gran detalle una ficticia new town inglesa construida en una cantera abandonada. Situada en un difuso terrain vague entre ficción, sátira y propuesta genuina, Civilia era tanto una crítica al urbanismo inglés de posguerra y a las propuestas urbanas de la modernidad en general como una vívida ilustración del concepto de townscape que la revista llevaba promocionando varias décadas. “Learning from Civilia” ofrece una revisión crítica del contenido del libro, las circunstancias de su confección y su recepción, introduciendo finalmente The Civilia Project, una iniciativa de la Universidad de Newcastle que, integrando investigación y docencia, propone reexaminar Civilia no solo por su interés historiográfico, sino por su valor como herramienta de proyecto y por la relevancia que su discurso mantiene hoy en día, más aún, si cabe, en relación con el planeamiento urbano.Since its first publication in 1971 as a special issue of The Architectural Review, Civilia, The End of Suburban Man has remained an anomalous document within the history of Architectural Theory and Criticism. Profusely illustrated with collages made from hundreds of photographs of buildings published in the pages of the magazine, the book described, in great detail and with a language close to that of the manifesto, a fictional English New Town built in an abandoned quarry. Located in a diffuse terrain vague between fiction, satire and true proposal, Civilia was both a critique of post-war English urbanism and the urban proposals of modernity in general, standing as a vivid illustration of the concept of Townscape that the magazine had been promoting for several decades. ‘Learning from Civilia’ offers a critical review of the content of the book, the circumstances of its creation and its reception, and introduces The Civilia Project. An initiative of the University of Newcastle, The Civilia Project integrates research and teaching, and proposes a reexamination of Civilia not only due to its historiographic significance, but also because of its value as a design tool and for the relevance that its discourse maintains today, especially, in relation to urban planning

Semantics for incident identification and resolution reports

In order to achieve a safe and systematic treatment of security protocols, organizations release a number of technical briefings describing how to detect and manage security incidents. A critical issue is that this document set may suffer from semantic deficiencies, mainly due to ambiguity or different granularity levels of description and analysis. An approach to face this problem is the use of semantic methodologies in order to provide better Knowledge Externalization from incident protocols management. In this article, we propose a method based on semantic techniques for both, analyzing and specifying (meta)security requirements on protocols used for solving security incidents. This would allow specialist getting better documentation on their intangible knowledge about them.Ministerio de Economía y Competitividad TIN2013-41086-