Orthogonal space-time block codes for free-space IM/DD optical links

Use of orthogonal space-time block codes (STBCs) with multiple transmitters and receivers can improve signal quality. However, in optical intensity modulated signals, output of the transmitter is non-negative and hence standard orthogonal STBC schemes need to be modified. A generalised framework for applying orthogonal STBCs for free-space IM/DD optical links is presented.

Are you thinking what I’m thinking? Peer group similarities in adolescent hostile attribution tendencies

A bias towards attributing hostile intent to others has been linked to aggression. In an adolescent sample, we investigated whether peer group homophily exists in the tendency towards attributing hostile intent. We assessed hostile attribution tendencies and self-reported aggressive behaviours in a normative sample of 910 adolescents, and computed average peer group scores based on nominated friend scores. Results indicated that adolescents showed significant correlations between their own level of hostile attributions and that of their peer group. Further analyses indicated that this effect occurred specifically in reciprocal friendships, and was retained even once own and peer group level of aggression were controlled.

Orthogonal space–time block codes for free-space IM/DD optical links

Use of orthogonal space-time block codes (STBCs) with multiple transmitters and receivers can improve signal quality. However, in optical intensity modulated signals, output of the transmitter is non-negative and hence standard orthogonal STBC schemes need to be modified. A generalised framework for applying orthogonal STBCs for free-space IM/DD optical links is presented.

Inverting the lives of 'others': retelling the Nazi past in 'Ehe im Schatten' and 'Das Leben der Anderen'

The article compares Florian Henckel von Donnersmarck's film Das Leben der Anderen (2006) with Kurt Maetzig's early post-war film Ehe im Schatten (1947). The comparison is based on significant narrative and thematic elements which the films share: They both have a ‘theatre couple’, representatives of the ‘Bildungsbürgertum’, at the centre of the story; in both cases the couple faces a crisis caused by the first and second German dictatorship respectively and then both try to solve the crisis by relying on the classical ‘bürgerliches Erbe’, particularly the ‘bürgerliches Trauerspiel’. The extensive use of the ‘bürgerliches Erbe’ in the films activates the function this heritage had for the definition of the German nation in the nineteenth century. However, while Maetzig's film shows how the ‘heritage’ and its representatives fail in the face of National Socialism, von Donnersmarck's film claims the effectiveness of this ‘heritage’ in the fight against the East German dictatorship. Von Donnersmarck thus inverts a critical film tradition of which Ehe im Schatten is an example; furthermore, as this tradition emerged from dealing with the Third Reich, von Donnersmarck's film, it will be argued, is more interested in the redemption of the Nazi past than the East German past.