Optically reconfigurable E-plane waveguide resonators and filters

This paper presents an optically reconfigurable E-plane waveguide resonator and filter. N-type silicon dice doped with phosphorus is used as the switching element and is connected to the edge of a metallic fin. Illumination of the silicon dice allows realization of a different length of the fin, thus creating a shift in resonant frequency of the structure. Frequency tuning range up to about 5.2% is achieved for the resonator as well as the filter. Measurements on a fabricated optically reconfigurable resonator confirm the accuracy of the design procedure. Measured responses show good agreement with simulation.

Graphene-based waveguide resonators for submillimeter-wave applications

Utilization of graphene covered waveguide inserts to form tunable waveguide resonators is theoretically explained and rigorously investigated by means of full-wave numerical electromagnetic simulations. Instead of using graphene-based switching elements, the concept we propose incorporates graphene sheets as parts of a resonator. Electrostatic tuning of the graphene surface conductivity leads to changes in the electromagnetic field boundary conditions at the resonator edges and surfaces, thus producing an effect similar to varying the electrical length of a resonator. The presented outline of the theoretical background serves to give phenomenological insight into the resonator behavior, but it can also be used to develop customized software tools for design and optimization of graphene-based resonators and filters. Due to the linear dependence of the imaginary part of the graphene surface impedance on frequency, the proposed concept was expected to become effective for frequencies above 100 GHz, which is confirmed by the numerical simulations. A frequency range from 100 GHz up to 1100 GHz, where the rectangular waveguides are used, is considered. Simple, all-graphene-based resonators are analyzed first, to assess the achievable tunability and to check the performance throughout the considered frequency range. Graphene–metal combined waveguide resonators are proposed in order to preserve the excellent quality factors typical for the type of waveguide discontinuities used. Dependence of resonator properties on key design parameters is studied in detail. Dependence of resonator properties throughout the frequency range of interest is studied using eight different waveguide sections appropriate for different frequency intervals. Proposed resonators are aimed at applications in the submillimeter-wave spectral region, serving as the compact tunable components for the design of bandpass filters and other devices.

Re-modelling clay: ceramic practice and the museum in Britain (1970-2014)

This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.