Deterministic equalization and results of a DVB-T multipath equalizer for both 16-QAM and 64-QAM operation

Recent developments in the UK concerning the reception of Digital Terrestrial Television (DTT) have indicated that, as it currently stands, DVB-T receivers may not be sufficient to maintain adequate quality of digital picture information to the consumer. There are many possible reasons why such large errors are being introduced into the system preventing reception failure. It has been suggested that one possibility is that the assumptions concerning the immunity to multipath that Coded Orthogonal Frequency Division Multiplex (COFDM) is expected to have, may not be entirely accurate. Previous research has shown that multipath can indeed have an impact on a DVB-T receiver performance. In the UK, proposals have been made to change the modulation from 64-QAM to 16-QAM to improve the immunity to multipath, but this paper demonstrates that the 16-QAM performance may again not be sufficient. To this end, this paper presents a deterministic approach to equalization such that a 64-QAM receiver with the simple equalizer presented in this paper has the same order of MPEG-2 BER performance as that to a 16-QAM receiver without equalization. Thus, alleviating the requirement in the broadcasters to migrate from 64-QAM to 16-QAM Of course, by adding the equalizer to a 16-QAM receiver then the BER is also further improved and thus creating one more step to satisfying the consumers(1).

The cotter's kailyard

An examination of the critical reception of the poetry of Robert Burns from his death in 1796 to the end of the nineteenth century. The essay shows how a selective reading of Burns's poems was used to construct and reinforce moral and political arguments, and argues that the identification of the poet as national Bard influenced ideas about Scottish literature generally in the nineteenth century.

The lay of the trilobite: rereading May Kendall

The impact of Darwin's theory of evolution by natural selection on the culture of late Victorian England and on the development of Western thought at large is at once widely acknowledged and hotly contested. In this essay, I revisit the question of what difference an understanding of Darwin's ideas, their reception and their afterlife within evolutionary biology makes to how we read Victorian poetry. I suggest that there are three distinct ways of approaching poetry after Darwin. The first is to examine poems in their own cultural context, considering how they respond to the scientific discourses of their time in the light of internal and external evidence as to the specific sources of each poet's knowledge of those discourses. The second is to ground an interpretative framework in Darwinism's insights into human biology itself. The third is to explore how a given poem's responses to the philosophical issues raised by Darwin's thinking, including questions of ethics and theology, give its readers a possible model for their own responses to the same concerns today. I suggest too that the limitations of each approach may be best overcome by bringing them together. I go on to explore the potential of the first and third approaches through a reading of May Kendall's poem 'The Lay of the Trilobite' in a series of different contexts, from its first appearance in 'Punch', through her first collection Dreams to Sell, to her essays on Christian ethics from the 1880s and 1890s

Binaural prediction of speech intelligibility in reverberant rooms with multiple noise sources

When speech is in competition with interfering sources in rooms, monaural indicators of intelligibility fail to take account of the listener’s abilities to separate target speech from interfering sounds using the binaural system. In order to incorporate these segregation abilities and their susceptibility to reverberation, Lavandier and Culling [J. Acoust. Soc. Am. 127, 387–399 (2010)] proposed a model which combines effects of better-ear listening and binaural unmasking. A computationally efficient version of this model is evaluated here under more realistic conditions that include head shadow, multiple stationary noise sources, and real-room acoustics. Three experiments are presented in which speech reception thresholds were measured in the presence of one to three interferers using real-room listening over headphones, simulated by convolving anechoic stimuli with binaural room impulse-responses measured with dummy-head transducers in five rooms. Without fitting any parameter of the model, there was close correspondence between measured and predicted differences in threshold across all tested conditions. The model’s components of better-ear listening and binaural unmasking were validated both in isolation and in combination. The computational efficiency of this prediction method allows the generation of complex “intelligibility maps” from room designs. © 2012 Acoustical Society of America

Teaching poetry in the early years

The chapter begins by establishing the key features of poetry itself and of poetry in the early years of schooling. A case study of how poetry is taught and learnt in one Reception class (ages 4 - 5 years) is presented, in this way demonstrating what excellent practice might look like. Poetry for listening to, for performing, for word-play, for responding and for writing are all covered. The chapter ends with advice on 'where do I start in teaching poetry?'

Distributed multimedia quality: the user perspective

Distributed multimedia supports a symbiotic infotainment duality, i.e. the ability to transfer information to the user, yet also provide the user with a level of satisfaction. As multimedia is ultimately produced for the education and / or enjoyment of viewers, the user’s-perspective concerning the presentation quality is surely of equal importance as objective Quality of Service (QoS) technical parameters, to defining distributed multimedia quality. In order to extensively measure the user-perspective of multimedia video quality, we introduce an extended model of distributed multimedia quality that segregates quality into three discrete levels: the network-level, the media-level and content-level, using two distinct quality perspectives: the user-perspective and the technical-perspective. Since experimental questionnaires do not provide continuous monitoring of user attention, eye tracking was used in our study in order to provide a better understanding of the role that the human element plays in the reception, analysis and synthesis of multimedia data. Results showed that video content adaptation, results in disparity in user video eye-paths when: i) no single / obvious point of focus exists; or ii) when the point of attention changes dramatically. Accordingly, appropriate technical- and user-perspective parameter adaptation is implemented, for all quality abstractions of our model, i.e. network-level (via simulated delay and jitter), media-level (via a technical- and user-perspective manipulated region-of-interest attentive display) and content-level (via display-type and video clip-type). Our work has shown that user perception of distributed multimedia quality cannot be achieved by means of purely technical-perspective QoS parameter adaptation.

Synchronization of digital data decoders

Burst timing synchronisation is maintained in a digital data decoder during multiple burst reception in a TDMA system. The data within a multiple burst are streamed into memory storage and data corresponding to a first burst in the series of bursts are selected on the basis of a current timing estimate derived from a synchronisation burst. Selections of data corresponding to other bursts in the series of bursts are modified in accordance with updated timing estimates derived from previously processed bursts.

Prowess, the Nine Worthies and the Hundred Years War: the Prologues to the Chroniques of Jean Froissart and Enguerrand de Monstrelet

An analysis of the evolution of the image of chivalry in the successive redactions of the Prologue to Froissart's Chroniques, focussing on the figures of the Nine Worthies as models of behaviour for young noblemen. This is then compared and contrasted with the prologue written by his continuator, Enguerrand de Monstrelet, whose work betrays a shift in sensibilities that expresses itself, inter alia, by a near-total absence of the Worthies in his Chronique. Close textual analysis suggests that the two choniclers shared a comparable sense of disillusion, though expressed in different ways.

Cronaca, narrativa, and the unstable foundations of the Institution of Neorealism

The author contends that many of the conventions of Italian film studies derive from the conflicts and the critical vocabulary that shaped the Italian reception of neorealism in the first decade after the Second World War. Those conflicts, and that critical vocabulary, which lie at the foundation of what has been called the ‘institution of neorealism,’ established an irreconcilable binary: Cronaca and Narrativa. For the neorealists and their critics, Cronaca stood for the effort to record data faithfully, while Narrativa represented the effort to employ the shaping force of human invention in the representation of information. This essay’s first section analyzes the earliest reviews of Rossellini’s Roma città aperta alongside the contemporaneous literary debates over Cronaca and Narrativa. The second section reconsiders the reception of Pratolini’s Metello and Visconti’s Senso, which similarly centered upon the conflict between Cronaca and Narrativa. The third section proposes that the concepts which have often been employed to unify neorealism are destabilized by the Cronaca/Narrativa binary. In search of a solution to neorealism’s conceptual instability, this essay proposes more critical and purposeful appropriations of the movement’s problematic genealogy.

Edward Bond & the celebrity of exile

A shibboleth has grown up around the work of Edward Bond. The tag ‘controversial dramatist’ has continued to dog both the man and his work. This article will hope to explore some of the contradictory, and sometimes frustrating manifestations that such ‘celebrity’ has produced. Since the reception of The War Plays [1985] by the Royal Shakespeare Company at the National Theatre Bond has largely withdrawn his work from mainstream British theatre. Since the late 1990s he has looked to a new home – La Colline Theatre – in France, to premiere new work and run retrospective seasons of older plays. Here, Bond's celebrity is of a different kind, and has allowed him to enhance and develop his work as a playwright, director and writer about theatre. While this article draws on secondary sources it also uses material based on personal correspondence with Edward Bond.