Blind equalization of non-irreducible and non-column-reduced channels driven by constant modulus signals

We address the blind equalization of finite-impulse-response (FIR), multiple-input multiple-output (MIMO) channels excited by constant modulus (CM) signals. It is known that the algorithms based on the constant modulus (CM) criterion can equalize an FIR MIMO channel that is irreducible and column-reduced. We show in this paper that the CM property of signals can be exploited to construct a zero-forcing equalizer for a non-irreducible and non-column-reduced channel. We also give a lower bound for the order of the equalizer. Simulation examples demonstrate the proposed result.

Blind equalization of non-irreducible channels driven by MPSK signals

This paper deals with the problem of blind equalization of finite-impulse-response (FIR) and multiple-input multiple-output (MIMO) channels excited by M-ary phase shift keying (MPSK) signals. It is known that the algorithms based on the constant modulus (CM) criterion can equalize an FIR MIMO channel that is irreducible. The irreducible condition is restrictive since it requires that all source signals arrive at the receiving antennas simultaneously. In this paper, we show that the CM criterion can also be used to construct a zero-forcing equalizer for a channel that is non-irreducible. We also derive a lower bound for the order of the equalizer. The proposed result is validated by numerical simulations.

Blind equalization of nonirreducible systems using the CM criterion

We address the blind equalization of finite-impulse-response (FIR) and multiple-input multiple-output (MIMO) channel systems excited by constant modulus (CM) signals. It is known that the algorithms based on the CM criterion can equalize an FIR MIMO system that is irreducible. The irreducible condition is restrictive as it requires all source signals to be received at sensors simultaneously. In this paper, we further show that the CM property of signals can be exploited to construct a zero-forcing equalizer for a system that is nonirreducible. Simulation examples demonstrate the proposed result.

Blind identification of FIR MIMO channels by decorrelating subchannels

We study blind identification and equalization of finite impulse response (FIR) and multi-input and multi-output (MIMO) channels driven by colored signals. We first show a sufficient condition for an FIR MIMO channel to be identifiable up to a scaling and permutation using the second-order statistics of the channel output. This condition is that the channel matrix is irreducible (but not necessarily column-reduced), and the input signals are mutually uncorrelated and of distinct power spectra. We also show that this condition is necessary in the sense that no single part of the condition can be further weakened without another part being strengthened. While the above condition is a strong result that sets a fundamental limit of blind identification, there does not yet exist a working algorithm under that condition. In the second part of this paper, we show that a method called blind identification via decorrelating subchannels (BIDS) can uniquely identify an FIR MIMO channel if a) the channel matrix is nonsingular (almost everywhere) and column-wise coprime and b) the input signals are mutually uncorrelated and of sufficiently diverse power spectra. The BIDS method requires a weaker condition on the channel matrix than that required by most existing methods for the same problem.

Communicating climate change: public responsiveness and matters of concern

Since climate change captured global attention in the 1990s, the private individual, addressed as a member of a concerned public, has occupied a focal position in the discourse of environmental amelioration. Recently, a range of prominent books, films and television programs — for example, Tim Flannery’s The Weather Makers (2005), Al Gore’s An Inconvenient Truth (2006) and ABC TV’s Carbon Cops (2007) — have promoted the role of the individual as the ‘starting point’ for effective environmental action. These texts assume that the provision and comprehension of sufficient information to the public about climate change will change individual habits and practices. This accords with the ‘information-deficit model’ in environmental communication research, a concept that asserts a direct connection between individual awareness and response, and collective action. This paper discusses the limitations of this model, pervasive in both popular and official approaches to climate change. It will interrogate the philosophical assumptions that underlie it, in which nature and culture are polarised and the human is positioned in a certain, and separate, relationship to the non-human world — an inheritance of the very logic that enables the continued exploitation of nature. Applying Bruno Latour’s notion of a ‘matter of concern’ to climate change, where the gathering of a range of irreducible forces and im/materialities continually produce these phenomena, this paper proposes that, in thinking about climate change as essentially unrepresentable, a different mode of public engagement with the issue is asserted.

Giorgio de Chirico and the idea of enigmatic imagery : the innocence of becoming

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.

New blind source estimation methods based on constant modulus criterion

This thesis presents two novel algorithms for blind chancel equalization (BCE) and blind source separation (BSS). Beside these, a general framework for global convergent analysis is proposed. Finally, the open problem of equalising a non-irreducible system is answered by the algorithm proposed in this thesis.

The invincible summer : on Albert Camus’ philosophical neoclassicism

What follows is a work of critical reconstruction of Camus' thought. It aims to answer to the wish Camus expressed in his later notebooks, that he at least be read closely. Specifically, I hope to do three things. In Part I, we will show how Camus' famous philosophy of the absurd represents a systematic scepticism whose closest philosophical predecessor is Descartes' method of doubt, and whose consequence, as in Descartes, is the discovery of a single, orienting certainty, on the basis of which Camus would proceed to pass beyond the 'nihilism' that conservative critics continued to level against him (MS 34). Part II will unfold the central tenets of Camus' mature thought of rebellion, and show how Camus' central political claims follow from his para-Cartesian claim to have found an irreducible or 'invincible' basis for a post-metaphysical ethics, consistent with the most thoroughgoing epistemic scepticism. Part III then undertakes to show that the neoclassical rhetoric and positioning Camus claimed for his postwar thought—as a thought of moderation or mesure, and a renewed Greek or Mediterranean naturalism—is more than a stylistic pretension. It represents, so I argue, a singular amalgam of modern and philosophical classical motifs which makes Camus' voice nearly unique in twentieth century ideas, and all the more worth reconsidering today. So let us proceed.

Monumental vision : a confrontation with the image of the Eternal Return

"Monumental Vision” is a nuanced summary of Nietzschean nihilism and the Eternal Return as rite of passage for free subjects and as condensed image of speculative intelligence proper. Utilizing Gerhard Richter’s “Sheet 692” from Atlas, a series of photographs of the mountains and lake at Sils Maria, Switzerland, as summary judgment of the limit imposed by this condition on all systems of representation, this form of vision discloses the chiasmus embedded in consciousness itself. In constantly revisiting Sils, the very location where Nietzsche “suffered” the vision of the Eternal Return, Richter has engaged repeatedly this origin for what has come into his work via Nietzsche – that is, an elective veil that refuses all compromises with transcendence until such is merged with immanence.

As situated amidst modernist “ideology as intellection”, and subsequent nascent forms of anti-modernism, the Eternal Return as image also signals the return of the Kantian “aesthetic-teleological” synthesis in non-discursive or purely visual agency. As an elective form of aesthetic vision, and as image of time insofar as it registers an overwhelming externality (Other) that nominally swallows and empowers the subject at once, this excoriating sense of universal praxis underwrites artistic and architectural production of the highest order, renegotiating concepts of the paradigmatic.

Utilizing Georg Simmel’s late work on Rembrandt (1916) and his encounter with Schopenhauer and Nietzsche (1907), the essay suggests that by the 1920s the avant-garde premises of modernism had already come under attack by an ahistorical and synoptic vision here denoted “monumental vision,” which also contains the imprint of eschatological time (invoking a schism present in rationality as such). The two readings of this image perpetrated by Karl Löwith in Nietzsche’s Philosophy of the Eternal Recurrence of the Same (Nietzsches Philosophie der ewigen Wiederkehr des Gleichen, 1935), or the cosmological and the ethical, while considered irreconcilable by Löwith, have since the 1960s been recalibrated through the figure of the event to pose possible scenarios out of the stalemate of the confrontation between Self and Other (ipseity and alterity) buried within this image as limit. In this manner, the image of the Eternal Return stands at the boundary between two forms of time (or two worlds) and signals the irreducible confrontation present in speculative thought and the necessity of closure through an aesthetic vision that produces a unitary field for all creative acts.

Notably, Nietzsche’s startling vision from Zarathustra suggests that the limit imposed by the Eternal Return is also a mask for an austere condition within subjectivity closely resembling the conundrum of Fichte’s I facing I, or thought turned toward thought itself (absolute subjectivity as cipher for Being). In Alenka Zupančič’s reading, in The Shortest Shadow: Nietzsche’s Philosophy of the Two (2003), the Eternal Return effectively contains a secret formal function that grinds all “error” to dust – a highly suggestive interpretation that also neutralizes the schism introduced by Löwith between the cosmological and the ethical.

Dossier Chris Marker : the suffering image

Dossier Chris Marker: The Suffering Image is a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of French artist and filmmaker, Chris Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural. Consistent with the classical figure of concordia discors, these irreducible warring aspects of life experience are, in fact, resolved in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as “mask” or “screen” for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. A topological “knot,” or ontological “problem,” it is this very conflict that animates all of Marker’s extensive works – filmic and otherwise.

Bringing the outside in and brining the inside out - artifacts in a university classroom

This article draws on psychoanalysis to theories artifact as data in a post-secondary classroom setting. Psychoanalytic theory offers nuanced frames through which to interpret this data. What psychoanalysis alerts us to is the multiple and as such irreducible meaning of experience. Importantly psychoanalysis allows reading of this data for its affective moments. What does it mean for students to bring personal artifacts into a classroom? What sorts of meanings are ascribed to artifacts? What are the layers of narratives that are revealed when students speak to memories of photographs and objects? How might artifact work permit the outside self to be present inside an educational setting and generate a sense of reciprocity?