64-point Fourier transform chip for digital television applications

A 64-point Fourier transform chip is described that performs a forward or inverse, 64-point Fourier transform on complex two's complement data supplied at a rate of 13.5MHz and can operate at clock rates of up to 40MHz, under worst-case conditions. It uses a 0.6µm double-level metal CMOS technology, contains 535k transistors and uses an internal 3.3V power supply. It has an area of 7.8×8mm, dissipates 0.9W, has 48 pins and is housed in a 84 pin PLCC plastic package. The chip is based on a FFT architecture developed from first principles through a detailed investigation of the structure of the relevant DFT matrix and through mapping repetitive blocks within this matrix onto a regular silicon structure.

Bit-level systolic array implementation of the Winograd Fourier transform algorithm

A bit level systolic array system is proposed for the Winograd Fourier transform algorithm. The design uses bit-serial arithmetic and, in common with other systolic arrays, features nearest-neighbor interconnections, regularity and high throughput. The short interconnections in this method contrast favorably with the long interconnections between butterflies required in the FFT. The structure is well suited to VLSI implementations. It is demonstrated how long transforms can be implemented with components designed to perform a short length transform. These components build into longer transforms preserving the regularity and structure of the short length transform design.

A 64-point fourier transform chip for video motion compensation using phase correlation

Details of a new low power fast Fourier transform (FFT) processor for use in digital television applications are presented. This has been fabricated using a 0.6-µm CMOS technology and can perform a 64 point complex forward or inverse FFT on real-time video at up to 18 Megasamples per second. It comprises 0.5 million transistors in a die area of 7.8 × 8 mm and dissipates 1 W. The chip design is based on a novel VLSI architecture which has been derived from a first principles factorization of the discrete Fourier transform (DFT) matrix and tailored to a direct silicon implementation.

SYSTOLIC IMPLEMENTATION OF THE WINOGRAD FOURIER TRANSFORM ALGORITHM.

A bit-level systolic array system is proposed for the Winograd Fourier transform algorithm. The design uses bit-serial arithmetic and, in common with other systolic arrays, features nearest neighbor interconnections, regularity, and high throughput. The short interconnections in this method contrast favorably with the long interconnections between butterflies required in the FFT. The structure is well suited to VLSI implementations. It is demonstrated how long transforms can be implemented with components designed to perform short-length transforms. These components build into longer transforms, preserving the regularity and structure of the short-length transform design.

The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage

This essay investigates an intricate drama of cultural identity in performances of Shakespeare on the nineteenth-century Melbourne stage. It considers the rivalry between Charles and Ellen Kean and their competitor, Barry Sullivan, for the two-month period in 1863 during which their Australian tours overlapped. This Melbourne Shakespeare war was anticipated,augmented, and richly documented in Melbourne’s papers: The Age, The Argus and Melbourne Punch. This essay pursues two seams of inquiry. The first is an investigation of the discourses of cultural and aesthetic value laced through the language of reviews of their Shakespearean roles.The essay identifies how reviewers register affective engagement with the performers in these roles, and suggests how the roles themselves reflected, by accident or design, the terms of the dispute. The second is concerned with the national identity of the actors. Kean, although born in Waterford, Ireland, had held the post of Queen Victoria’s Master of the Revels and identified himself as English. Sullivan, although born in Birmingham, was of Cork parentage and was identified as Irish by both his supporters and his detractors. This essay tracks the development of the actors’ national and artistic identities established prior to Melbourne and ask how they played out on in the context of the particularities of Australian reception. It shows that, in this instance, these actors were implicated in complex debates over national authority and cultural ownership.