Algorithm for Velocity Estimation in a Multivariable Motion Sensor

This paper proposes an algorithm for velocity estimation using the position and acceleration signals obtained respectively from a resistive potentiometric displacement sensor and a MEMS accelerometer. The algorithm is composed of two processing chains that independently estimate velocity starting from position and acceleration signals. Velocity estimation from position is obtained through an adaptive windowing differentiator while the estimation from acceleration is based on a leaky integrator low-pass filter. Such two estimations are fused together by means of a tailored weighted average. The proposed algorithm is first simulated in MATLAB and then experimentally implemented and tested. Both simulations and experimental results show that velocity estimation given by the fusion of the outputs of the two processing chains has a lower estimation error compared to the output of each single chain

Episyenites within the Tauern Window metagranitoids: unpredictable?

The core of the Tauern tectonic window (Eastern Alps) consists of dominant pre-Alpine granitoids (∼ 295 Ma) that were metamorphosed and deformed during the Alpine orogenesis (at ∼ 30 Ma). Ductile deformation at peak conditions (550-600 ̊C and 0.5-0.7 GPa) was followed by cataclastic faulting (Pennacchioni and Mancktelow, 2007). Both deformation phases occurred in a fluid-rich environment with formation of veins filled with quartz-calcite-biotite-feldspar and quartz-chlorite-epidote-adularia-calcite, respectively. Faults are typically low displacement strike-slip structures (offset < 1m) organized in en-echelon arrays at different scales with a stepping geometry consistent with the sense of fault slip (e.g. left-stepping for dextral slip). Fault stepovers include pervasive fracturing dominated by a set of antithetic faults (Pennacchioni and Mancktelow, 2013). These faults were locally exploited by episyenitic alteration which represented the "last" event of fluid-rock interaction in the Tauern meta-granitoids. Episyenites within metagranodiorites have a macroscopic porosity in the range between 25 and 35% volume (determined by microtomography), mostly derived from dissolution of multi-mm-sized quartz. Recent glacier-polished outcrops provide a unique opportunity to investigate the relationships between episyenites and overprinted faults. Detailed field mapping of a selected outcrop indicates that episyenites: (i) are spatially linked to precursor faults and statically overprinted all previous structures; (ii) occur discontinuously along faults; (iii) have a thickness (of as much as a few meters) that does not correlate with either the amount of fault slip or the density of the fracture network; (iv) developed independently of rock type (passing "undisturbed" lithologic boundaries with conspicuous variations of quartz grain size of the protolith lithology). Although the faults in the studied outcrop are extensively decorated by relatively large volumes of episyenite, occurrences of episyenite in the Tauern granitoids are generally rare. This study indicates that there is not a simple way to predict the location and the extent of episyenite alteration from the geometry and fracturing patterns of the network of precursor cataclastic faults. The dominant quartz dissolution during episyenitization was accompanied and/or followed by: (i) pervasive substitution of oligoclase and chlorite/biotite of the metagranodiorite by albite and clay-minerals, respectively, and (ii) limited precipitation of new adularia, anatase, calcite, hematite and zeolite within pores. Isotopic data from calcite filling the episyenite porosity suggest a meteoric source of the fluids (δ18 O (SMOW) ≈ -2 per mil). In contrast, fluids synkinematic with previous episodes of fluid-rock interaction during faulting and ductile shearing had a deeper origin (δ18O (SMOW) ≈ 8-9 per mil). References Pennacchioni, G., Mancktelow, N.S., 2007. J. Struct. Geol. 29, 1757-1780. Pennacchioni, G., Mancktelow, N.S., 2013. Geol. Soc. Am. Bull. 125, 1468-1483

Deposito di prodotto di design industriale presso EUIPO Ufficio dell’Unione europea per la Proprietà intellettuale – Dipartimento Operazioni. Numero di registrazione dei disegni o modelli comunitari: 004372902 (26.09.2017)

Tavoletta di forma rettangolare riproducibile in diversi materiali e in diverse tonalità di colore, caratterizzata da bassorilievi raffiguranti note e scritte in Braille, in grado di rappresentare attraverso il linguaggio tattile l’aspetto grafico che assume uno spartito musicale. Il progetto si basa sullo sviluppo di un algoritmo per la trascrizione digitale di intere frasi musicali su pentagramma, riportate come insieme di linee vettoriali, all’interno di un software di disegno CAD, capace di interfacciarsi con macchine CNC per la riproduzione delle stesse in tre dimensioni, come fossero un basso rilievo. L’elaborazione di un algoritmo informatico consente di realizzare una tavoletta dotata di un elevato grado di flessibilità e versatilità, in termini di dimensioni e di contenuti, oltre che di una grande leggerezza, trasportabilità e resistenza all’usura nel tempo. La tavoletta si configura quindi come uno strumento per l’insegnamento “senza barriere” della musica, rendendo possibile un aspetto del tutto nuovo: la visualizzazione e la trasmissione grafica degli spartiti musicali, anche per i non vedenti. Il prodotto è stato progettato e realizzato nell'ambito delle attività di ricerca svolte dall'Associazione di Promozione Sociale "OCRA - Opera CReativa Artigianale"

Lumières Sonores

Chaque son donne vie à une lumière. Si la couleur et la dynamique du son varient, la teinte et l'intensité de la lumière varient aussi. De cette danse des sens est née l'idée d'une installation interactive pour restructurer un espace urbain sur la ligne des anciens remparts de Bologne. Le projet est basé sur une idée simple – un jeu d'impulsions sonores et visuelles – résultant d'un processus de création qui, en l'espace de quelques minutes, est réalisé intuitivement: une installation interactive dans laquelle les gens participent activement en tant que musiciens, auditeurs et spectateurs d’une représentation sonore et visuelle créée par eux-mêmes. Cette installation pourra redonner vie à la zone urbaine abandonnée dans laquelle elle viendra s'insérer en la repeuplant et en la requalifiant socialement, dans le respect du contexte et conformément aux principes de la réversibilité, la durabilité économique et environnementale. Le projet a été créé pour la rénovation de l'espace vert situé à proximité du complexe artistique du Cinéma Lumière et du musée d'art moderne MAMBO de Bologne (Italie), qui représente actuellement un espace urbain vide dans le centre-ville. Ce lieu de la ville, situé sur la ligne des anciens remparts de Bologne qui sont connotés par de grands arcs, est particulièrement adapté pour devenir la toile de fond du spectacle créé par l'installation multimédia proposée. Cependant, en respectant les mêmes principes de conception, il serait possible d'envisager une installation de ce type dans d'autres lieux présentant des problèmes sociaux et urbains similaires. L'objectif consiste donc à réutiliser la zone grâce au phénomène social créé par ce lieu de rencontre et de possible développement commercial. A cet effet, il est prévu d’utiliser un microprocessuer (Arduino) qui analyse la bande-son importée par des périphériques extérieurs (microphones) et, grâce aux algorithmes, la reconstruit et la traduit sous la forme de signaux lumineux. Plus précisément, il s’agit d’un système d'éclairage qui, à travers l'analyse de la bande-son dérivant par des instruments ou bien émise par les gens de quelque autre manière, génèrera des créations lumineuses sous forme d'éclairage LED sur les arcs. Ce type d'éclairage, en plus d'une économie d'énergie, permettra la reproduction d'une très large gamme de nuances. Le projet représente une réelle opportunité d'utilisation des nouvelles technologies numériques pour un renouveau urbain et social s'opposant à l'utilisation massive actuelle de ces outils numériques qui conduit souvent à une dépersonnalisation forte et à l'aliénation de l'individu. Le projet a été développé en collaboration avec l’association italienne OCRA – Opera CReativa Artigianale, fondée par Federico La Piccirella, Cecilia Mazzoli et Costanza Tani. La petite association, formée par des jeunes ingénieurs et architectes, s’occupe de la conception et réalisation d’œuvres de design social, dans le sens plus ample: de l’objet de design et le mobilier, à l’œuvre architecturale et urbanistique

L\u2019utilizzo dell\u2019arte digitale come strumento di riqualificazione sociale e urbana

Spesso i processi generativi urbani derivanti dalle trasformazioni architettoniche hanno portato alla configurazione di aree definibili come \u201cspazi vuoti\u201d, deserti e abbandonati, che, con il passare del tempo, sono rimasti avulsi dai flussi di metamorfosi della citt\ue0, raggiungendo livelli sempre pi\uf9 elevati di degrado. Il presente contributo intende presentare un metodo progettuale innovativo per la riqualificazione urbana e sociale di aree degradate, fondato sulla progettazione e realizzazione di installazioni multimediali interattive basate sulla creazione di suoni, luci e colori. Il progetto si basa su un\u2019idea molto semplice: un gioco di impulsi sonori e visivi, frutto di un processo creativo che ha portato alla concezione di un\u2019opera d\u2019arte digitale in cui i cittadini possono partecipare attivamente come suonatori, ascoltatori e spettatori di una rappresentazione audio e visivo-percettiva da loro stessi creata. Queste installazioni multimediali sono in grado fornire nuova vita alle aree dismesse facendo leva su un \u201cfenomeno sociale\u201d, creando quindi un luogo di ritrovo come centro di riattivazione collettiva dotato di una nuova identit\ue0 territoriale. Il progetto si basa su un preciso algoritmo in grado di catturare le onde sonore emesse dai visitatori e di tradurle in segnali luminosi. Il processo di sintesi \ue8 elaborato con calcolo digitale: microcontrollore Arduino per la correlazione tra gli impulsi sonori acquisiti (input) e le luci colorate emesse (output); software parametrico Grasshopper per il controllo della variabilit\ue0 dell'output. Il sistema tecnologico digitale cos\uec concepito permette all'utente di personalizzare l'installazione regolando i colori e l'intensit\ue0 delle luci. Per tale scopo si utilizzano periferiche per importare tracce audio che vengono analizzate da un microcontrollore che, attraverso algoritmi, ne governa le periferiche esterne. Nello specifico, si prevede l\u2019installazione di un impianto di illuminazione dell\u2019area da riqualificare che, attraverso l\u2019analisi dell\u2019onda sonora, generi dei pattern colorati e li riproduca sulle superfici presenti (quali facciate architettoniche, muri di confine, aree pavimentate), mediante una illuminazione a Led. Questo tipo di illuminazione, a fronte di un risparmio energetico, consente la riproduzione di una gamma notevolmente ampia di tonalit\ue0 di colore. Il modello progettato secondo tale approccio parametrico (sviluppato tenendo in considerazione le istanze tecniche, sociali, economiche e ambientali) pu\uf2 essere implementato in diversi contesti sociali e urbani, garantendo versatilit\ue0, flessibilit\ue0, ripetibilit\ue0 e sostenibilit\ue0 economica e ambientale. La soluzione progettuale finale rappresenta uno strumento efficace di rigenerazione del territorio, customizzabile e ripetibile in diversi contesti affetti da problematiche di degrado urbano e sociale

Lumières Sonores. A new digital parametric approach for urban renewal of abandoned areas

The paper presents a new parametric approach for the renewal of blighted urban areas through the design and the implementation of interactive installations. Said installations are based on a precise algorithm able to capture the sound waves, emitted by the visitors, and to translate them in light signals. The syntesis process is elaborated with digital computation: microcontroller Arduino for the correlation between the sound impulses acquired (input) and the coloured lights emitted (output); parametric software Grasshopper for the control of the output variability. The digital technological system allows users to customize the installation by tuning the colours and the intensity of the lights. The model designed through such a parametric approach (envisaging these fields: technical and technological; social; economic; environmental) could be implemented in different social and urban context, guarantying versatility, repeatability and sustainability.

Interactive installations and IoT for an urban and architectural parametric design

The research project aims at proposing a new digital parametric approach for the urban and architectural design. In particular, the focus is on the renewal of abandoned areas through the implementation of interactive installations based on IoT models. The technological strategy proposed could have a relevant role for the urban design process, since it allows a social involvement of the citizens and thus the upgrade of the area on which it is implemented through the increase of people attendance. Despite some past researches consider that the wider use of numerical tools has led to a strong depersonalization of the land and a marginalization of individuals, the research promotes the possibility of using technological innovations for social and urban aims, i.e. boosting the social relations between citizens, as well as their relationship with the urban territory and its identity. Indeed, the project promotes the conscient use of new digital technologies from a social and urban perspective, considering that citizens\u2019 creativity and innovative artistic systems could be able to populate and upgrade the empty and blighted urban spaces. The strategy is based on the realization of interactive installations grounded on a precise algorithm able to capture the sound waves emitted by the visitors by playing instruments or singing, speaking or making any noises, and to translate them in colored light signals. The implemented technology provides for the use of the following innovative digital tools and devices: (i) audio devices (microphones) for grabbing the sound input; (ii) a parametric design software (Grasshopper) for the modeling and the control of the output variability; (iii) a microcontroller (Arduino) for analyzing the audio tracks imported and translating the sound impulses acquired (input) into colored lights emitted (output), through precise algorithms. Through the analysis of the sound waves produced by music and noises emitted by people, the lighting system generates patterns and reproduces them in the form of LED lighting. This type of lighting, like all the other tools, responds to the main paradigms of the research: sustainability and energy efficiency; cost-effectiveness; limited size; prototyping facility. Furthermore, the prototype and its hardware/software components have been developed with the idea of modularity and scalability of the project as key features. Hence, the model designed through such a parametric approach could be implemented in different social and urban contexts, guarantying versatility, repeatability and sustainability. With these tools the possibility of connecting a series of devices together in an IoT fashion is straightforward and therefore it is possible to envisage the easy and fast implementation of this technology at an enlarged scale (i.e. buildings, urban areas, cities)

Stray light analysis and optimization of the ASPIICS/PROBA-3 Formation Flying solar coronagraph

PROBA-3 is a technology mission devoted to the in-orbit demonstration of formation flying techniques and technologies. PROBA-3 will implement a giant coronagraph (called ASPIICS) that will both demonstrate and exploit the capabilities and performances of formation flying. ASPIICS is distributed on two spacecrafts separated by 150m, one hosting the external occulting disk and the other the optical part of the coronagraph. This part implements a three-mirror-anastigmat (TMA) telescope. Its pupil is placed about 800mm in front of the primary mirror, a solution allowing an efficient baffling and a high reduction of the stray light inside the instrument. A complete stray light analysis of the TMA has been carried out to design the baffles and to establish the required roughness of the mirrors. The analysis has been performed in two steps: first, by calculating the diffraction pattern behind the occulter due to an extended monochromatic source having the diameter of the Sun; second, by propagating this diffraction pattern, through all the telescope optical components, to the prime focal plane. The results obtained are described in this article