Analysis and design of sinusoidal quadrature RC-oscillators

Modern telecommunication equipment requires components that operate in many different frequency bands and support multiple communication standards, to cope with the growing demand for higher data rate. Also, a growing number of standards are adopting the use of spectrum efficient digital modulations, such as quadrature amplitude modulation (QAM) and orthogonal frequency division multiplexing (OFDM). These modulation schemes require accurate quadrature oscillators, which makes the quadrature oscillator a key block in modern radio frequency (RF) transceivers. The wide tuning range characteristics of inductorless quadrature oscillators make them natural candidates, despite their higher phase noise, in comparison with LC-oscillators. This thesis presents a detailed study of inductorless sinusoidal quadrature oscillators. Three quadrature oscillators are investigated: the active coupling RC-oscillator, the novel capacitive coupling RCoscillator, and the two-integrator oscillator. The thesis includes a detailed analysis of the Van der Pol oscillator (VDPO). This is used as a base model oscillator for the analysis of the coupled oscillators. Hence, the three oscillators are approximated by the VDPO. From the nonlinear Van der Pol equations, the oscillators’ key parameters are obtained. It is analysed first the case without component mismatches and then the case with mismatches. The research is focused on determining the impact of the components’ mismatches on the oscillator key parameters: frequency, amplitude-, and quadrature-errors. Furthermore, the minimization of the errors by adjusting the circuit parameters is addressed. A novel quadrature RC-oscillator using capacitive coupling is proposed. The advantages of using the capacitive coupling are that it is noiseless, requires a small area, and has low power dissipation. The equations of the oscillation amplitude, frequency, quadrature-error, and amplitude mismatch are derived. The theoretical results are confirmed by simulation and by measurement of two prototypes fabricated in 130 nm standard complementary metal-oxide-semiconductor (CMOS) technology. The measurements reveal that the power increase due to the coupling is marginal, leading to a figure-of-merit of -154.8 dBc/Hz. These results are consistent with the noiseless feature of this coupling and are comparable to those of the best state-of-the-art RC-oscillators, in the GHz range, but with the lowest power consumption (about 9 mW). The results for the three oscillators show that the amplitude- and the quadrature-errors are proportional to the component mismatches and inversely proportional to the coupling strength. Thus, increasing the coupling strength decreases both the amplitude- and quadrature-errors. With proper coupling strength, a quadrature error below 1° and amplitude imbalance below 1% are obtained. Furthermore, the simulations show that increasing the coupling strength reduces the phase noise. Hence, there is no trade-off between phase noise and quadrature error. In the twointegrator oscillator study, it was found that the quadrature error can be eliminated by adjusting the transconductances to compensate the capacitance mismatch. However, to obtain outputs in perfect quadrature one must allow some amplitude error.

Development of paper transistor with memory effect

This work will discuss the use of different paper membranes as both the substrate and dielectric for field-effect memory transistors. Three different nanofibrillated cellulose membranes (NFC) were used as the dielectric layer of the memory transistors (NFC), one with no additives, one with an added polymer PAE and one with added HCl. Gallium indium zinc oxide (GIZO) was used as the device’s semiconductor and gallium aluminium zinc oxide (GAZO) was used as the gate electrode. Fourier transform infrared spectroscopy (FTIR) was used to access the water content of the paper membranes before and after vacuum. It was found that the devices recovered their water too quickly for a difference to be noticeable in FTIR. The transistor’s electrical performance tests yielded a maximum ION/IOFF ratio of around 3,52x105 and a maximum subthreshold swing of 0,804 V/decade. The retention time of the dielectric charge that grants the transistor its memory capabilities was accessed by the measurement of the drain current periodically during 144 days. During this period the mean drain current did not lower, leaving the retention time of the device indeterminate. These results were compared with similar devices revealing these devices to be at the top tier of the state-of-the-art.

Owner portraits and heraldry in the "Lamoignon Hours"

Because of the distance in time and the lack of testifying documents, one should be extremely careful when labelling portraits in medieval books of hours as donor portraits or owner portraits. There are, however, manuscripts that reveal their first owner within their decorative programme, and the Lamoignon Hours (Lisbon, Gulbenkian, ms LA 237) is one of these. This article aims to discuss the iconography of the three portraits found on f.165v, f.202v and f.286v, as well as the relevance of portraiture and heraldic insignia in books of hours and the significance of such content to the original owner and to those who possessed the book afterwards.

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions are sometimes – if at all – explicitly communicated to a larger public. Studies into the practices of contemporary art conservation however show that practices behind the scenes play an important role in the perpetuation of these artworks. What happens behind the scenes in terms of conservation has, in several ways, important effects on the ongoing life of these artworks in a museum context. Conservation practices, I argue, should therefore become a necessary part of museum studies and history of art. How can the working practices of conservators become more visible and transparent to a diversity of audiences, including researchers? And what does this mean in terms of research methodology?

Recensão: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?

Recensão de: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?, Londres e Nova Iorque: Routledge, 2010

Incoherences of the Art World

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Portuguese plain architecture: history opening a closed sequence

The paper will address George Kubler’s Portuguese Plain Architecture [PPA] (1972) and its effect in Portuguese architectural practice. Kubler’s philosophy of art history implied that closed sequences of objects could be opened by several reasons. Thus, it will be argued that there is an effect upon Portuguese architecture post 1974, that is apparent by the reemergence of some of the form classes treated by Kubler. This was mostly achieved through the popularity of Kubler’s book within architectural practice, scholarship and moreover by the establishment of the term “Plain Architecture” in portuguese architectural vocabulary. Plain Architecture of the seventeenth and eighteenth centuries shared some qualities with the architecture to be built in post‑revolutionary Portugal, most importantly the effect that could be achieved with low budget buildings that were responding to a situation of crisis, and simultaneously exhaled aristocratic sparsity. The connection of PPA with the ideological attributes of early modernism and the political context of the time catalysed the reemergence of a new order of Portuguese Plain that resonates still in contemporary architecture.

The names of things: terminology and the practice of art history

This paper aims to explore the ways in which standard art history terminology shapes the practice of art history by conditioning the interpretation of specific works of art and, in certain cases, the definition of a research subject (especially where questions of genre and periodization are concerned). Taking as a case study a painting by Georges de La Tour, the Peasant Couple Eating, I will argue that terms such as realism, realistic, naturalistic etc. used for its description and/or interpretation, far from constituting objective stylistic characterizations, shape our perception of the work in question. Bringing the question of social class to the center of the discourse on realism, I propose to show how the social divide between the painter and his subject matter (in this case, the peasants) is internalized in the painting’s style and meaning, and how it is fundamental for the understanding of its intentionality and function.

The perfect paint in modern art conservation: a comparative study of 21st century vinyl emulsions

Contemporary painting places, and will continue to place, several questions about its meaning, its chemical nature, its durability and the best way to preserve it. This research aims at putting together comprehensive data on vinyl based paints, including their components, their properties, their aging behavior and their response to selected cleaning products. In this project degradation mechanisms of vinyl binders and formulations used in the 20th and 21st century were studied. Stability over time of selected vinyl polymers was assessed through natural indoor and artificially aging. The objective was to enhance knowledge and understanding of vinyl emulsion formulations and their performance over time. Overall conservation state of pictorial layers namely, adhesion, cohesion and discoloration of selected case studies from the Portuguese artist Julião Sarmento (b.1948) was correlated with the observed molecular level changes studied in laboratory experiments. Sarmento’s paintings were chosen due to conservation concerns (discoloration) on some of his works from the 90’s. Besides, research was carried out to start increasing the knowledge of what can be expected of PVAc based paints in terms of response to conservation treatments namely, surface cleaning. Artificial aging showed that the most recent formulations which are based on a poly(vinyl acetate), poly(vinyl chloride) and polyethylene terpolymer are less stable when compared to some homopolymer formulations. From the four pigments studied, titanium dioxide rutile and a carbon based black proved to be stabilizers for both types of polymer. The mixture lithopone plus calcium carbonate has showed to have a photocatalytic effect on the binders. The studied paintings showed to be in an overall good state of conservation except for the paintings created in the 90’s with white glue and a mixture of white lithoponeand calcium carbonate. Discoloration of this white paint seems to be irreversible and ongoing and is still a major concern. The disapearance of the plasticizer was the only change detected. The current works created by Sarmento are expected to be more stable as they were painted using the rutile titanium dioxide. Immersion/cleaning tests showed that vinyl based paints can be susceptible to water and organic solvents like ethanol as some evidences point to the removal/diffusion of additives from the paint. The observations made point to the need to further proceed in this research field.

History of Art and Art Criticism: A System in Crisis

This article aims to reconstruct the critical debate regarding the examination of the crisis in the disciplines of art history and criticism with a particular focus on the proposal formulated by U.S. theorists who contributed to October journal. The discrediting of many modernist critical methods, particularly that of Clement Greenberg – the formalist diktat – marked the birth of the journal and gave rise to proposals set forth by critics committed to a new approach. Their divergent positions, nonetheless, have contributed to undermining the traditional concepts of the autonomy of art and criticism. The proposals discussed over the course of publication were the result of a reappraisal of the disciplinary instruments of art history and criticism pursuant to the crucial cultural changes which took place in the 1980s.

Recensão: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?"

Recensão de: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?", Londres: Koenig Books, 2013

A arte ao serviço do império e das colónias: o contributo de alguns programas expositivos e museológicos para o discurso de legitimação territorial

Artigo escrito no âmbito da realização de tese de doutoramento em História da Arte financiado por bolsa FCT (SFRH/BD/63763/2009)

Livros de artista: gestão da coleção da Biblioteca de Arte da Fundação Calouste Gulbenkian

Os Livros de Artista são obras de arte contemporâneas cujo nascimento se situa no século XX. As coleções deste tipo de documentos encontram‐se em museus e em bibliotecas. Nas bibliotecas os riscos do manuseamento estão mais presentes porque os Livros de Artista são tocados para serem lidos. As particularidades deste tipo de coleções, onde os livros têm tamanhos diversos, formas variadas e materiais díspares, levou‐nos à reflexão sobre o impacto do seu manuseamento nas bibliotecas. A reflexão baseou‐se no estudo das práticas em uso na Biblioteca de Arte da Fundação Calouste Gulbenkian. A observação da gestão do risco do manuseamento em Livros de Artista na instituição e a revisão da literatura permitiram a elaboração de um conjunto de regras. As regras devem ser seguidas pelas instituições que têm à sua guarda coleções de Livros de Artista. Acreditamos que a sua adoção, progressiva e continuada, contribui para a minimização dos efeitos do manuseamento e constitui um auxílio na disponibilização e acessibilidade ao longo do tempo dos Livros de Artista. Não anula, de forma total e absoluta, os efeitos do uso de uma coleção de Livros de Artista. Os Livros de Artista para serem lidos são tocados e, por isso, existirá sempre um dano – o desgaste.

Portugal (1928-1968) : Um Filme de J. Leitão de Barros

Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio