Experiment of Digital Directional Modulation Transmitters

A digital directional modulation (DM) transmitter structure is proposed from a practical implementation point of view in this paper. This digital DM architecture is built with the help of several off-the-shelf physical layer wireless experiment platform hardware boards. When compared with previous analogue DM transmitter architectures, the digital means offers more precise and fast control on the updates of the array excitations. More importantly, it is an ideal physical arrangement to implement the most universal DM synthesis algorithm, i.e., the orthogonal vector approach. The practical issues in digital DM system calibrations are described and solved. The bit error rates (BERs) are measured via real-time data transmissions to illustrate the DM advantages, in terms of secrecy performance, over conventional non-DM beam-steering transmitters.

Human Perception of Laughter from Context-free Whole Body Motion Dynamic Stimuli

Laughter is a ubiquitous social signal in human interactions yet it remains understudied from a scientific point of view. The need to understand laughter and its role in human interactions has become more pressing as the ability to create conversational agents capable of interacting with humans has come closer to a reality. This paper reports on three aspects of the human perception of laughter when context has been removed and only the body information from the laughter episode remains. We report on ability to categorise the laugh type and the sex of the laugher; the relationship between personality factors with laughter categorisation and perception; and finally the importance of intensity in the perception and categorisation of laughter.

Advances in the surface defect machining (SDM) of hard steels

This paper reports the realisation of precision surface finish (Ra 30 nm) on AISI 4340 steel using a conventional turret lathe by adapting and incorporating a surface defect machining (SDM) method [Wear, 302, 2013 (1124-1135)]. Conventional ways of machining materials are limited by the use of a critical feed rate, experimentally determined as 0.02 mm/rev, beyond which no appreciable improvement in the machined quality of the surface is obtained. However, in this research, the novel application of an SDM method was used to overcome this minimum feed rate limitation ultimately reducing it to 0.005 mm/rev and attaining an average machined surface roughness of 30 nm. From an application point of view, such a smooth finish is well within the values recommended in the ASTM standards for total knee joint prosthesis. Further analysis was done using SEM imaging, white light interferometry and numerical simulations to verify that adapting SDM method provides improved surface integrity by reducing the extent of side flow, microchips and weldments during the hard turning process.

POINTS OF VIEW: Multi-Roling Performance in Ireland in the 1990s, Part 1 (Layering)

This series of posts will consider the acting techniques required for this style of performance with reference to four productions from the 1990s in which two actors took on multiple roles: Frank Pig Says Hello (1992), Co-Motion’s stage adaptation of Pat McCabe’s novel; The Butcher Boy, Corca Dorca’s production of Disco Pigs (1996) by Enda Walsh; DubbleJoint’s production of Stones in his Pockets by Marie Jones (1996) and its subsequent award-winning revival which I produced at Belfast’s Lyric Theatre in 1999; and Kabosh’s production of Mojo Mickybo by Owen McCafferty (1998). The discussion will focus primarily on my own empirical exploration of the demands multi-roling places on an actor through the direction of recent revivals of Mojo Mickybo for Belfast’s Chatterbox Theatre Company (2013) and Bedlam Productions (2015).

POINTS OF VIEW: Multi-Roling Performance in Ireland in the 1990s, Part 2 (Characterisation)

The 1990s in Ireland saw a series of highly successful theatre productions in which actors played a multiplicity of roles. This has often been attributed to the economic exigencies of the times, but it also depended on the availability of flexible actors with the physical and psychological capacity to embody a wide range of identifiable characters within the one production.

This second of two posts considers the acting techniques required for this style of performance in relation to the differentiation of one character from another. The discussion will focus primarily on my own empirical exploration of the demands multi-roling places on an actor through the direction of recent revivals of Mojo Mickybo for Belfast’s Chatterbox Theatre Company (2013) and Bedlam Productions (2015).