A computationally efficient DAB bit-stream processor

This paper describes an MPEG (moving pictures expert group) audio layer II - LFE (lower frequency extension) bit-stream processor targeting DAB (digital audio broadcasting) receivers that will handle the decoding of the frames in a computationally efficient manner to provide a synthesis sub-band filter with the reconstructed sub-band samples. Focus is given to the frequency sample reconstruction part, which handles the re-quantization and re-scaling of the samples once the necessary information is extracted from the frame. The comparison to a direct implementation of the frequency sample reconstruction block is carried out to prove increased computational efficiency.

Forecasting overseas visitors into the United Kingdom using continuous time and autoregressive fractional integrated moving average models with discrete data

This paper applies Gaussian estimation methods to continuous time models for modelling overseas visitors into the UK. The use of continuous time modelling is widely used in economics and finance but not in tourism forecasting. Using monthly data for 1986–2010, various continuous time models are estimated and compared to autoregressive integrated moving average (ARIMA) and autoregressive fractionally integrated moving average (ARFIMA) models. Dynamic forecasts are obtained over different periods. The empirical results show that the ARIMA model performs very well, but that the constant elasticity of variance (CEV) continuous time model has the lowest root mean squared error (RMSE) over a short period.

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.