Design and implementation of the embedded capacitance layers for decoupling of wireless sensor nodes

In this paper, the embedded capacitance material (ECM) is fabricated between the power and ground layers of the wireless sensor nodes, forming an integrated capacitance to replace the large amount of decoupling capacitors on the board. The ECM material, whose dielectric constant is 16, has the same size of the wireless sensor nodes of 3cm*3cm, with a thickness of only 14μm. Though the capacitance of a single ECM layer being only around 8nF, there are two reasons the ECM layers can still replace the high frequency decoupling capacitors (100nF in our case) on the board. The first reason is: the parasitic inductance of the ECM layer is much lower than the surface mount capacitors'. A smaller capacitance value of the ECM layer could achieve the same resonant frequency of the surface mount decoupling capacitors. Simulation and measurement fit this assumption well. The second reason is: more than one layer of ECM material are utilized during the design step to get a parallel connection of the several ECM capacitance layers, finally leading to a larger value of the capacitance and smaller value of parasitic. Characterization of the ECM is carried out by the LCR meter. To evaluate the behaviors of the ECM layer, time and frequency domain measurements are performed on the power-bus decoupling of the wireless sensor nodes. Comparison with the measurements of bare PCB board and decoupling capacitors solution are provided to show the improvement of the ECM layer. Measurements show that the implementation of the ECM layer can not only save the space of the surface mount decoupling capacitors, but also provide better power-bus decoupling to the nodes.

MyRoom: A user-centred model of affective responsive architecture

Can my immediate physical environment affect how I feel? The instinctive answer to this question must be a resounding “yes”. What might seem a throwaway remark is increasingly borne out by research in environmental and behavioural psychology, and in the more recent discipline of Evidence-Based Design. Research outcomes are beginning to converge with findings in neuroscience and neurophysiology, as we discover more about how the human brain and body functions, and reacts to environmental stimuli. What we see, hear, touch, and sense affects each of us psychologically and, by extension, physically, on a continual basis. The physical characteristics of our daily environment thus have the capacity to profoundly affect all aspects of our functioning, from biological systems to cognitive ability. This has long been understood on an intuitive basis, and utilised on a more conscious basis by architects and other designers. Recent research in evidence-based design, coupled with advances in neurophysiology, confirm what have been previously held as commonalities, but also illuminate an almost frightening potential to do enormous good, or alternatively, terrible harm, by virtue of how we make our everyday surroundings. The thesis adopts a design methodology in its approach to exploring the potential use of wireless sensor networks in environments for elderly people. Vitruvian principles of “commodity, firmness and delight” inform the research process and become embedded in the final design proposals and research conclusions. The issue of person-environment fit becomes a key principle in describing a model of continuously-evolving responsive architecture which makes the individual user its focus, with the intention of promoting wellbeing. The key research questions are: What are the key system characteristics of an adaptive therapeutic single-room environment? How can embedded technologies be utilised to maximise the adaptive and therapeutic aspects of the personal life-space of an elderly person with dementia?.

Flat surfaces of finite type in the 3-sphere

We introduce the notion of flat surfaces of finite type in the 3- sphere, give the algebro-geometric description in terms of spectral curves and polynomial Killing fields, and show that finite type flat surfaces generated by curves on S2 with periodic curvature functions are dense in the space of all flat surfaces generated by curves on S2 with periodic curvature functions.

Within the carnal: re-reading Merleau-Ponty through the language of drawing

In order to present visual art as a paradigm for philosophy, Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasising process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in his late work in parallel with his advancement of a new ontology. Although his ontology remains unfinished and only exists as working notes and a manuscript entitled The Visible and Invisible, Merleau-Ponty had begun to appreciate the fundamental role drawing plays in the making of art and the creation of a language of expression that is as vital as the written or spoken word. Through an examination of Merleau-Ponty’s unfinished manuscript and working notes my thesis will investigate his working methods and use of materials and also explore how he processed his ideas by using my own art practice as the basis of my research. This research will take the form of an inquiry into how the unfinished and incomplete nature of text and artworks, while they are still ‘works in progress’, can often reveal the more human and carnal components of creative processes. Applying my experience as a practitioner and a teacher in an art school, I focus on the significance of drawing practice for Merleau-Ponty’s later work, in order to rebalance an overemphasis on painting in the literature. Understanding the differences between these two art forms, and how they are taught, can offer an alternative engagement with Merleau-Ponty’s later work and his struggle to find a language to express his developing new ontology. In addition, by re-reading his work through the language of drawing, I believe we gain new insights which reaffirm Merleau-Ponty's relevance to contemporary art making and aesthetics.