Hierarchical synthesis of complex DSP functions on FPGAs

SoC systems are now being increasingly constructed using a hierarchy of subsystems or silicon Intellectual Property (IP) cores. The key challenge is to use these cores in a highly efficient manner which can be difficult as the internal core structure may not be known. A design methodology based on synthesizing hierarchical circuit descriptions is presented. The paper employs the MARS synthesis scheduling algorithm within the existing IRIS synthesis flow and details how it can be enhanced to allow for design exploration of IP cores. It is shown that by accessing parameterised expressions for the datapath latencies in the cores, highly efficient FPGA solutions can be achieved. Hardware sharing at both the hierarchical and flattened levels is explored for a normalized lattice filter and results are presented.

Linear QR architecture for a single chip adaptive beamformer

This paper presents the design of a novel single chip adaptive beamformer capable of performing 50 Gflops, (Giga-floating-point operations/second). The core processor is a QR array implemented on a fully efficient linear systolic architecture, derived using a mapping that allows individual processors for boundary and internal cell operations. In addition, the paper highlights a number of rapid design techniques that have been used to realise this system. These include an architecture synthesis tool for quickly developing the circuit architecture and the utilisation of a library of parameterisable silicon intellectual property (IP) cores, to rapidly develop detailed silicon designs.

The Rhetorical Construction of Corporate Logos

This research is set in the context of today’s societies, in which the corporate visual symbology of a business, corporation or institution constitutes an essential way to transmit its corporate image. Traditional discursive procedures can be discovered in the development of these signs. The rhetorical strategies developed by the great classical authors appear in the logo-symbols expressing the corporate values of today’s companies. Thus, rhetoric is emerging once again in the sense it had many centuries ago: A repertory of rules that, paradoxically, standardizes the deviations of language and whose control is synonymous with power. The main objective of this study is to substantiate the rhetorical construction of logos using as a model of analysis the classical process of creating discourse. This involves understanding logos as persuasive discourses addressed to a modern audience. Our findings show that the rhetorical paradigm can be considered as a creative model for the con­struction of an original logo consistent with a company’s image.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.

Los nuevos territorios de la gráfica: imagen, proceso y distribución

La gráfica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnología de la imagen, la descentralización de la matriz y la adaptación del formato expositivo se funden con el resto de las actividades artísticas. El análisis de las comunidades formadas alrededor de esta práctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutriéndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contemporánea. Comprender la gráfica actual pasa por un ejercicio de aperturismo y un proceso de adaptación al cambio técnico e iconográfico de los sectores implicados. El grabado es ahora un territorio en el que la integración de todas las artes permite cruzar sus fronteras con fluidez.

A programmable architecture for layered multimedia streams in IPv6 networks

A new configurable architecture is presented that offers multiple levels of video playback by accommodating variable levels of network utilization and bandwidth. By utilizing scalable MPEG-4 encoding at the network edge and using specific video delivery protocols, media streaming components are merged to fully optimize video playback for IPv6 networks, thus improving QoS. This is achieved by introducing “programmable network functionality” (PNF) which splits layered video transmission and distributes it evenly over available bandwidth, reducing packet loss and delay caused by out-of-profile DiffServ classes. An FPGA design is given which gives improved performance, e.g. link utilization, end-to-end delay, and that during congestion, improves on-time delivery of video frames by up to 80% when compared to current “static” DiffServ.

Death Aesthetization in Contemporary Artistic Practices

Starting from the famous and enigmatic quotation of the Aristotle’s Poetics, who argues that the human has a natural desire and pleasure to see corpses if mediated by art, is intended to show the relationship between the attraction for the horror and some contemporary art practices surrounding the depiction of death, particularly with regard to the ultimate use of the human corpse as an artistic resource. Avoiding any kind of ethical approach or questioning of the limits of the artistic production, is meant to highlight the phenomenon through the examples brought out by the work of some contemporary artists such as Andy Warhol, Eric Fischl, Damien Hirst, Von Hagens, Andres Serrano, Joel-Peter Witkin and Teresa Margolles: From those who use the corpse in and turn it in something aesthetically pleasant, to others who turn human corpses in sculptures of scientific value, and further other kind of artists who assume the morbid and dramatic life of the corpse in their art production as something structural.

From bit level systolic arrays to HDTV processor chips

The paper starts presents the work initially carried out by Queen's University and RSRE (now Qinetiq) in the development of advanced architectures and microchips based on systolic array architectures. The paper outlines how this has led to the development of highly complex designs for high definition TV and highlights work both on advanced signal processing architectures and tool flows for advanced systems. © 2006 IEEE.