A natural-language interface to a mobile robot

The present work on robot instructability is based on an ongoing effort to apply modern manipulation technology to serve the needs of the handicapped. The Stanford/VA Robotic Aid is a mobile manipulation system that is being developed to assist severely disabled persons (quadriplegics) in performing simple activities of everyday living in a homelike, unstructured environment. It consists of two major components: a nine degree-of-freedom manipulator and a stationary control console. In the work presented here, only the motions of the Robotic Aid's omnidirectional motion base have been considered, i.e., the six degrees of freedom of the arm and gripper have been ignored. The goal has been to develop some basic software tools for commanding the robot's motions in an enclosed room containing a few objects such as tables, chairs, and rugs. In the present work, the environmental model takes the form of a two-dimensional map with objects represented by polygons. Admittedly, such a highly simplified scheme bears little resemblance to the elaborate cognitive models of reality that are used in normal human discourse. In particular, the polygonal model is given a priori and does not contain any perceptual elements: there is no polygon sensor on board the mobile robot

Calibration of GRB Luminosity Relations with Cosmography

For the use of Gamma-Ray Bursts (GRBs) to probe cosmology in a cosmology-independent way, a new method has been proposed to obtain luminosity distances of GRBs by interpolating directly from the Hubble diagram of SNe Ia, and then calibrating GRB relations at high redshift. In this paper, following the basic assumption in the interpolation method that objects at the same redshift should have the same luminosity distance, we propose another approach to calibrate GRB luminosity relations with cosmographic fitting directly from SN Ia data. In cosmography, there is a well-known fitting formula which can reflect the Hubble relation between luminosity distance and redshift with cosmographic parameters which can be fitted from observation data. Using the Cosmographic fitting results from the Union set of SNe Ia, we calibrate five GRB relations using GRB sample at $z\leq1.4$ and deduce distance moduli of GRBs at $1.4< z \leq 6.6$ by generalizing above calibrated relations at high redshift. Finally, we constrain the dark energy parameterization models of the Chevallier-Polarski-Linder (CPL) model, the Jassal-Bagla-Padmanabhan (JBP) model and the Alam model with GRB data at high redshift, as well as with the Cosmic Microwave Background radiation (CMB) and the baryonic acoustic oscillation (BAO) observations, and we find the $\Lambda$CDM model is consistent with the current data in 1-$\sigma$ confidence region.Comment: 15 pages, 4 figures, 2 tables; accepted for publication in IJMP

A holistic multimodal approach to the non-invasive analysis of watercolour paintings

A holistic approach using non-invasive multimodal imaging and spectroscopic techniques to study the materials (pigments, drawing materials and paper) and painting techniques of watercolour paintings is presented. The non-invasive imaging and spectroscopic techniques include VIS-NIR reflectance spectroscopy and multispectral imaging, micro-Raman spectroscopy, X-ray fluorescence spectroscopy (XRF) and optical coherence tomography (OCT). The three spectroscopic techniques complement each other in pigment identification. Multispectral imaging (near infrared bands), OCT and micro-Raman complement each other in the visualisation and identification of the drawing material. OCT probes the microstructure and light scattering properties of the substrate while XRF detects the elemental composition that indicates the sizing methods and the filler content . The multiple techniques were applied in a study of forty six 19th century Chinese export watercolours from the Victoria & Albert Museum (V&A) and the Royal Horticultural Society (RHS) to examine to what extent the non-invasive analysis techniques employed complement each other and how much useful information about the paintings can be extracted to address art conservation and history questions

Photochemical colour change for traditional watercolour pigments in low oxygen levels

An investigation for light exposure on pigments in low-oxygen environments (in the range 0–5% oxygen) was conducted using a purpose-built automated microfadometer for a large sample set including multiple samples of traditional watercolour pigments from nineteenth-century and twentieth-century sources, selected for concerns over their stability in anoxia. The pigments were prepared for usage in watercolour painting: ground and mixed in gum Arabic and applied to historically accurate gelatine glue-sized cotton and linen-based papers. Anoxia benefited many colorants and no colorant fared worse in anoxia than in air, with the exception of Prussian blue and Prussian green (which contains Prussian blue). A Prussian blue sampled from the studio materials of J.M.W. Turner (1775 − 1851) was microfaded in different environments (normal air (20.9% oxygen) 0, 1, 2, 3.5, or 5% oxygen in nitrogen) and the subsequent dark behaviour was measured. The behaviour of the sample (in normal air, anoxia, and 5% oxygen in nitrogen) proved to be consistent with the 55 separately sourced Prussian blue samples. When exposed to light in 5% oxygen in nitrogen, Prussian blue demonstrated the same light stability as in air (at approximately 21°C and 1 atmosphere). Storage in 5% oxygen is proposed for ‘anoxic’ display of paper-based artworks that might contain Prussian blue, to protect this material while reducing light-induced damage to other components of a watercolour, including organic colorants and the paper support