Dusty Planetary Systems

Extensive photometric stellar surveys show that many main sequence stars show emission at infrared and longer wavelengths that is in excess of the stellar photosphere; this emission is thought to arise from circumstellar dust. The presence of dust disks is confirmed by spatially resolved imaging at infrared to millimeter wavelengths (tracing the dust thermal emission), and at optical to near infrared wavelengths (tracing the dust scattered light). Because the expected lifetime of these dust particles is much shorter than the age of the stars (>10 Myr), it is inferred that this solid material not primordial, i.e. the remaining from the placental cloud of gas and dust where the star was born, but instead is replenished by dust-producing planetesimals. These planetesimals are analogous to the asteroids, comets and Kuiper Belt objects (KBOs) in our Solar system that produce the interplanetary dust that gives rise to the zodiacal light (tracing the inner component of the Solar system debris disk). The presence of these "debris disks" around stars with a wide range of masses, luminosities, and metallicities, with and without binary companions, is evidence that planetesimal formation is a robust process that can take place under a wide range of conditions. This chapter is divided in two parts. Part I discusses how the study of the Solar system debris disk and the study of debris disks around other stars can help us learn about the formation, evolution and diversity of planetary systems by shedding light on the frequency and timing of planetesimal formation, the location and physical properties of the planetesimals, the presence of long-period planets, and the dynamical and collisional evolution of the system. Part II reviews the physical processes that affect dust particles in the gas-free environment of a debris disk and their effect on the dust particle size and spatial distribution.Comment: 68 pages, 25 figures. To be published in "Solar and Planetary Systems" (P. Kalas and L. French, Eds.), Volume 3 of the series "Planets, Stars and Stellar Systems" (T.D. Oswalt, Editor-in-chief), Springer 201

[pain]Byte VR Storytelling & Classical Ballet

This initial stage paper focuses on the Virtual Reality (VR) experience of the [pain]Byte ballet. The live and VR experience debut October 1st 2017, as part of the Brighton digital festival. Specifically, the development of the VR environment to compliment live performance by using the same choreography to create an option capture element of the VR story telling experience. Reviewing Virtual & Alternative reality gaming & storytelling works and the use of VR for chronic pain management (Chen, Win). Does the VR experience compare to that of the live theatre for the audience? The data visualisations and VR environment will be continuations of the Network Simulator, [data]Storm 2015. We are visualising and comparing the pain pathway system to that of a social network. Linking pain signals to viral/negative messaging for some of the visuals. The main purpose of the pieces links to how “we" present ourselves online, these better or veiled versions of ourselves. For chronic pain sufferers, this can be daily activity in the real world. The paper concludes by identifying some future directions for the research project. The Ballet: [pain]Byte is a data driven dance classical ballet performance and VR (virtual reality) experience. [pain]Byte, is about chronic pain and biomedical engineering, in particular the use of implanted technology - neuromodulation (Al-Kaisey et al). Using data as a medium for storytelling, what it means to be in chronic pain. The live augmented theatre and VR experience research focuses on how an audience’s exposure and understanding are impacted by the difference mediums used for [pain]byte

Data Network Simulator with Classical Ballet

[data]storm, from readysaltedcode CIC, a data driven dance performance. The development of a social network simulator to demonstrate network growth and message propagation. The underpinning theory of piece stems from social network theory (SNT), graph theory, computer mediated communication (CMC) through to social information processing (SIP) and Computational Thinking (CT). The data visualisation is linked to the physical ballet movements of the dancers, they are a manifestation of the data. The data visualisations on screen link to the live dancers performance patterns and modify to create the visuals and movements of data transmission across a network. Network growth. The first of the simulations shows network growth. Each node in the network represents a user who has the following characteristics: • friendliness (how often they're likely to make friends with another user) • chattiness (how often they send out messages) • category (the subject area they're most interested in) At random time intervals things occur: New users are added to the network depending on the above characteristics, users become friends with each other. All the rules stay the same throughout the simulation. At the same time the dance (ballet) movements and wearables (LEDS) were choreographed/coded to accompany the data visualisation using network mapping techniques. The choreography and wearables elements link to the friendliness and chattiness of each of the nodes in the simulated network. This network simulation is further utilised in the Virus section of the performance using the same rules to simulate how a virus can spread through a network. Further work on this simulation will look at two things 1. Message propagation and viral messaging within a social network like Twitter. 2. Pain signals within the body and how they compare to data transfer within a social network