surrealist
Bridging Research and Practice in Simulation-based Testing of Industrial Robot Navigation Systems
Khatiri, Sajad, Barrientos, Francisco Eli Vina, Wulf, Maximilian, Tonella, Paolo, Panichella, Sebastiano
Ensuring robust robotic navigation in dynamic environments is a key challenge, as traditional testing methods often struggle to cover the full spectrum of operational requirements. This paper presents the industrial adoption of Surrealist, a simulation-based test generation framework originally for UAVs, now applied to the ANYmal quadrupedal robot for industrial inspection. Our method uses a search-based algorithm to automatically generate challenging obstacle avoidance scenarios, uncovering failures often missed by manual testing. In a pilot phase, generated test suites revealed critical weaknesses in one experimental algorithm (40.3% success rate) and served as an effective benchmark to prove the superior robustness of another (71.2% success rate). The framework was then integrated into the ANYbotics workflow for a six-month industrial evaluation, where it was used to test five proprietary algorithms. A formal survey confirmed its value, showing it enhances the development process, uncovers critical failures, provides objective benchmarks, and strengthens the overall verification pipeline.
China Miéville and the Politics of Surrealism
China Miéville has long had spiders on the brain. In his breakthrough novel, 2000's "Perdido Street Station," a mysterious, spiderlike being called the Weaver assists a scientist named Isaac who's trying to save the fantastical city of Bas-Lag from a catastrophic infestation. In Miéville's new novella, "The Last Days of New Paris," the streets of Paris in 1950 have gone haywire after the detonation of a reality-altering bomb that brings various Surrealist works to frightening life, including an arachnoid manifestation reminiscent of Odilon Redon's painting "The Smiling Spider." "There's something about the arachnid," Miéville told me recently, on the phone from his home in London. Bataille writes about the spider as an avatar of formlessness, this very, very powerful thing.