Memristors for the Curious Outsiders

We present both an overview and a perspective of recent experimental advances and proposed new approaches to performing computation using memristors. A memristor is a 2-terminal passive component with a dynamic resistance depending on an internal parameter. We provide an brief historical introduction, as well as an overview over the physical mechanism that lead to memristive behavior. This review is meant to guide nonpractitioners in the field of memristive circuits and their connection to machine learning and neural computation.Comment: Perpective paper for MDPI Technologies; 43 page

A mixed-signal early vision chip with embedded image and programming memories and digital I/O

From a system level perspective, this paper presents a 128 × 128 flexible and reconfigurable Focal-Plane Analog Programmable Array Processor, which has been designed as a single chip in a 0.35μm standard digital 1P-5M CMOS technology. The core processing array has been designed to achieve high-speed of operation and large-enough accuracy (∼ 7bit) with low power consumption. The chip includes on-chip program memory to allow for the execution of complex, sequential and/or bifurcation flow image processing algorithms. It also includes the structures and circuits needed to guarantee its embedding into conventional digital hosting systems: external data interchange and control are completely digital. The chip contains close to four million transistors, 90% of them working in analog mode. The chip features up to 330GOPs (Giga Operations per second), and uses the power supply (180GOP/Joule) and the silicon area (3.8 GOPS/mm2) efficiently, as it is able to maintain VGA processing throughputs of 100Frames/s with about 15 basic image processing tasks on each frame

miMic: The microphone as a pencil

miMic, a sonic analogue of paper and pencil is proposed: An augmented microphone for vocal and gestural sonic sketching. Vocalizations are classified and interpreted as instances of sound models, which the user can play with by vocal and gestural control. The physical device is based on a modified microphone, with embedded inertial sensors and buttons. Sound models can be selected by vocal imitations that are automatically classified, and each model is mapped to vocal and gestural features for real-time control. With miMic, the sound designer can explore a vast sonic space and quickly produce expressive sonic sketches, which may be turned into sound prototypes by further adjustment of model parameters

Numerical aerodynamic simulation facility preliminary study: Executive study

A computing system was designed with the capability of providing an effective throughput of one billion floating point operations per second for three dimensional Navier-Stokes codes. The methodology used in defining the baseline design, and the major elements of the numerical aerodynamic simulation facility are described

Europeana communication bug: which intervention strategy for a better cooperation with creative industry?

Although Europeana as well as many GLAMs are very engaged - beside the main mission, i.e. spreading cultural heritage knowledge- in developing new strategies in order to make digital contents reusable for creative industry, these efforts have been successful just only in sporadic cases. A significant know how deficits in communication often compromises expected outcomes and impact. Indeed, what prevails is an idea of communication like an enhancement “instrument” intended on the one hand in purely economic (development) sense, on the other hand as a way for increasing and spreading knowledge. The main reference model is more or less as follows: digital objects are to be captured and/or transformed by digital technologies into sellable goods to put into circulation. Nevertheless, this approach risks neglecting the real nature of communication, and more in detail the one of digital heritage where it is strategic not so much producing objects and goods as taking part into sharing environments creation (media) by engaged communities, small or large they may be. The environments act as meeting and interchange point, and consequently as driving force of enhancing. Only in a complex context of network interaction on line accessible digital heritage contents become a strategic resource for creating environments in which their re/mediation can occur – provided that credible strategies exist, shared by stakeholders and users. This paper particularly describes a case study including proposals for an effective connection among Europeana, GLAMs and Creative Industry in the framework of Food and Drink digital heritage enhancement and promotion. Experimental experiences as the one described in this paper anyway confirm the relevance of up-to-date policies based on an adequate communication concept, on solid partnerships with enterprise and association networks, on collaborative on line environments, on effective availability at least for most of contents by increasing free licensing, and finally on grassroots content implementation involving prosumers audience, even if filtered by GLAMs

The experience of enchantment in human-computer interaction

Improving user experience is becoming something of a rallying call in human–computer interaction but experience is not a unitary thing. There are varieties of experiences, good and bad, and we need to characterise these varieties if we are to improve user experience. In this paper we argue that enchantment is a useful concept to facilitate closer relationships between people and technology. But enchantment is a complex concept in need of some clarification. So we explore how enchantment has been used in the discussions of technology and examine experiences of film and cell phones to see how enchantment with technology is possible. Based on these cases, we identify the sensibilities that help designers design for enchantment, including the specific sensuousness of a thing, senses of play, paradox and openness, and the potential for transformation. We use these to analyse digital jewellery in order to suggest how it can be made more enchanting. We conclude by relating enchantment to varieties of experience.</p