Analysis and Optimization of Aperture Design in Computational Imaging

There is growing interest in the use of coded aperture imaging systems for a variety of applications. Using an analysis framework based on mutual information, we examine the fundamental limits of such systems---and the associated optimum aperture coding---under simple but meaningful propagation and sensor models. Among other results, we show that when thermal noise dominates, spectrally-flat masks, which have 50% transmissivity, are optimal, but that when shot noise dominates, randomly generated masks with lower transmissivity offer greater performance. We also provide comparisons to classical pinhole cameras

Buddhist building and the Buddhist revival in the work of Holmes Welch

Like much of Holmes Welch’s work, the chapter ‘Building and Publishing’ in his The Buddhist Revival in China (1968) is a brief but evocative treatment of a vast topic. The book examines the history of Buddhism in China from the 1860s to 1949, and in this particular chapter he covers two main subject areas: the restoration and building of Buddhist monasteries, and the publishing and distribution of Buddhist printed materials. In this article I will examine in detail the arguments and evidence relating to Chinese Buddhist building and reconstruction that appear in the first section of this chapter and in other published scholarship by Welch. I argue that Welch had an insightful, but ultimately limited view of building and reconstruction in modern Chinese Buddhism, limited not only by the scarcity of resources available to him at the time, but also by his basic approach to the study of China. In looking at Buddhist building and reconstruction in modern China, Welch sought to paint a more accurate picture of Buddhist activity and enthusiasm, but in doing so revealed some of his deeply-seated assumptions about the nature of Chinese Buddhism

POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY

This dissertation explores the relationship between language, sacramentality, and enchantment in three twentieth-century Argentine poets: Francisco Luis Bernárdez (1900-1976), Jorge Luis Borges (1899-1986), and Alejandra Pizarnik (1936-1972). It seeks to ask and answer two fundamental questions. First, to what extent might it be possible to understand the conception of poetic language characteristic of modern poetry as an articulation, however muffled and secularized, of a sacramental apprehension of language and world? Second, how might such a conception be related to what Max Weber famously called “the disenchantment of the world”? The dissertation begins with a broad overview of the development of the concept of disenchant within Western culture and then proceeds to a reading of the three poets mentioned above. Special attention is given throughout both to historical and political context and to the specific ways in which Bernárdez, Borges, and Pizarnik understand and employ poetic language. In each case, I attempt to show how, among both secular and religious poets, language retains vestiges of a sacramental understanding of the world

Fortnight

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out