Wideband and UWB antennas for wireless applications. A comprehensive review

A comprehensive review concerning the geometry, the manufacturing technologies, the materials, and the numerical techniques, adopted for the analysis and design of wideband and ultrawideband (UWB) antennas for wireless applications, is presented. Planar, printed, dielectric, and wearable antennas, achievable on laminate (rigid and flexible), and textile dielectric substrates are taken into account. The performances of small, low-profile, and dielectric resonator antennas are illustrated paying particular attention to the application areas concerning portable devices (mobile phones, tablets, glasses, laptops, wearable computers, etc.) and radio base stations. This information provides a guidance to the selection of the different antenna geometries in terms of bandwidth, gain, field polarization, time-domain response, dimensions, and materials useful for their realization and integration in modern communication systems

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Sensitive and Makeable Computational Materials for the Creation of Smart Everyday Objects

The vision of computational materials is to create smart everyday objects using the materi- als that have sensing and computational capabilities embedded into them. However, today’s development of computational materials is limited because its interfaces (i.e. sensors) are unable to support wide ranges of human interactions , and withstand the fabrication meth- ods of everyday objects (e.g. cutting and assembling). These barriers hinder citizens from creating smart every day objects using computational materials on a large scale. To overcome the barriers, this dissertation presents the approaches to develop compu- tational materials to be 1) sensitive to a wide variety of user interactions, including explicit interactions (e.g. user inputs) and implicit interactions (e.g. user contexts), and 2) makeable against a wide range of fabrication operations, such cutting and assembling. I exemplify the approaches through five research projects on two common materials, textile and wood. For each project, I explore how a material interface can be made to sense user inputs or activities, and how it can be optimized to balance sensitivity and fabrication complexity. I discuss the sensing algorithms and machine learning model to interpret the sensor data as high-level abstraction and interaction. I show the practical applications of developed computational materials. I demonstrate the evaluation study to validate their performance and robustness. In the end of this dissertation, I summarize the contributions of my thesis and discuss future directions for the vision of computational materials

Non-scribal Communication Media in the Bronze Age Aegean and Surrounding Areas

This volume is intended to be the first in a series that will focus on the origin of script and the boundaries of non-scribal communication media in proto-literate and literate societies. Over the last 30 years, the domain of scribes and bureaucrats has become much better known. Our goal now is to reach below the élite and scribal levels to interface with non-scribal operations conducted by people of the «middling» sort. Who made these marks and to what purpose? Did they serve private or (semi-) official roles in Bronze Age Aegean society? The comparative study of such practices in the contemporary East (Cyprus, Anatolia, the Levant, and Egypt) can shed light on sub-elite activities in the Aegean and also provide evidence for cultural and economic exchange network

The Archaeology of the New York African Burial Ground (Pt. 1)

This volume is one of three disciplinary volumes on the New York African Burial Ground Project. One volume focuses on the skeletal biological analysis of the remains recovered from the site (see Volume 1 of this series, Skeletal Biology of the New York African Burial Ground [Blakey and Rankin-Hill 2009a]). Another focuses on the documentary history, from a diasporic perspective, of Africans who lived and died in early New York (see Volume 3 of this series, Historical Perspectives of the African Burial Ground: New York Blacks and the Diaspora [Medford 2009]). The present volume, consisting of three parts, presents the archaeological research on the New York African Burial Ground. General background on the New York African Burial Ground project is presented in the beginning of the skeletal biology component volume (Blakey and Rankin-Hill 2009a). Here we provide background information that is specifically relevant to the excavated site, the archaeological fieldwork undertaken in 1991–1992 (its planning, personnel, extent, duration, termination, etc.), and the analysis and disposition of nonskeletal material from the excavation.https://scholarworks.wm.edu/asbook/1043/thumbnail.jp

Manual / Issue 8 / Give and Take

Manual, a journal about art and its making. Give and Take. The eigth issue. Manual 8 (Give and Take) explores interaction, transaction, and social exchange and indebtedness. The earliest known use of the expression “give and take” can be traced to horse racing. It referred to races in which larger, stronger horses carried more weight, and smaller ones, less. Implied therein is an accounting for relative capacities. In such a race, the goal remains the same—crossing the finish line first—but introducing this variable highlights the relationship between the competing horses. A win is only meaningful if each horse can be considered in relation to the others. We . . . find ourselves in a historical moment that makes our interconnectedness both more visible and more complex. Boundaries—physical, geographical, ideological—have become more porous, and the institutions that have provided structure—while always deeply flawed—have shown themselves to be more vulnerable than some of us would have liked to believe. Old systems are breaking down, giving way. New ones will take hold. —Mary-Kim Arnold, from the introduction to Issue 8: Give and Takehttps://digitalcommons.risd.edu/risdmuseum_journals/1034/thumbnail.jp

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Aeronautical enginnering: A cumulative index to a continuing bibliography (supplement 312)

This is a cumulative index to the abstracts contained in NASA SP-7037 (301) through NASA SP-7073 (311) of Aeronautical Engineering: A Continuing Bibliography. NASA SP-7037 and its supplements have been compiled by the Center for AeroSpace Information of the National Aeronautics and Space Administration (NASA). This cumulative index includes subject, personal author, corporate source, foreign technology, contract number, report number, and accession number indexes

A grammar of sentiment thinking about sentimental jewellery towards making new art about love and loss

This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The city as a system.

Massachusetts Institute of Technology. Dept. of Architecture. Thesis. 1968. M.Arch.Includes bibliography.M.Arch