610 research outputs found
Wireless channel performance with topological antenna diversity
PhD programme.Topological Antenna Diversity is achieved through exploitation of the Orbital Angular Momentum (OAM) of the transmitted electromagnetic wave. Topological diversity has recently been proposed as a great potential of improving the spectral efficiency (capacity) of radio transmissions [1]. OAM accounts for the phase front of the transmitted wave by providing independent phase states, thus, additional modes of propagation (degrees of freedom) resulting in independent simultaneous wireless radio links. OAM transmission has only very recently been applied to radio transmissions at much lower frequencies [1], [2], [3], [4] and, as such, these experiments raise as many questions as answers. For example, what aspects are fundamentally new? How can we best exploit this fascinating technique for realistic wireless systems? What are the benefits of OAM transmissions compared to multiple input-multiple output (MIMO) systems in terms of both simplicity and performance improvement
Statistical modeling and characterization of wireless channels with multi-clustered scattering
The proposed research will focus on statistically modeling of small scale and large scale variations in wireless channels, both separately and jointly. Focus will be given on multi-clustered channel modeling, which is more evident when the frequency of operation increases, making the proposed research particular useful for extremely high frequency bands (e.g., 60GHz band)
Multi-element antenna systems for wireless communications with multi-clustered scattering
the proposed research will focus on analyzing and evaluating MEA systems based on new theoretical, realistic though, multi-clustered scattering models for the directional statistics of the propagating multipath power and using several well-known signal processing techniques (e.g., MRC, SC)
Flexible RFID Patch for Food Spoilage Monitoring
When food is reversed under an inappropriate situation, for example inadequate temperature, foodstuff would turn rotten as a result of the rapid breed of food spoilage bacteria under warm and wet circumstances where bacteria can be easily generated, the consequences can be worse if human beings eat those degenerative comestible, we might get bromatoxism. This paper focuses on the designing and simulation of a wearable radio frequency identification (RFID) patch for food spoilage monitoring with smart packaging that can be recognized and read temperature information by device supporting near field communication (NFC) technology through an attached circular antenna. More precisely, this patch can be read under a designed high frequency of 13.56MHz, and data is transmitted from the chip MLX90129 with its internal sensor that sends the temperature to the reader module
Yurupari ou les figures du diable
Yurupari est une des figures emblĂ©matiques des sociĂ©tĂ©s indigĂšnes du Nord-Ouest amazonien. MatĂ©rialisĂ© par des flĂ»tes lors des rituels dâinitiation masculine, le personnage que celles-ci sont censĂ©es incarner reste en partie Ă©nigmatique. Les interdits auxquels sont soumis les femmes et les non-initiĂ©s, le rituel, le mythe... lâensemble forme un « complexe » qui confine au sacrĂ©.Dâabord associĂ© au « malin » ou au « diable » par les missionnaires qui, au xixe siĂšcle, tentaient dâen Ă©radiquer la prĂ©sence et le rituel, ce complexe a longtemps fait lâobjet, dans la littĂ©rature associĂ©e Ă cette aire culturelle, dâabondants dĂ©bats oĂč il intervenait en tant que construction protĂ©iforme proche du monothĂ©isme.Lâarticle se propose de revenir briĂšvement sur les Ă©lĂ©ments composant ce complexe et de les Ă©clairer Ă lâaide dâune analyse des Ă©noncĂ©s mythiques et des iconographies de certains masques associĂ©s Ă lâĂ©thologie des ĂȘtres quâils incarnent.La proposition dâanalyse se fonde sur lâhypothĂšse que lâiconographie de la figure du diable vĂ©hiculĂ©e par les missionnaires aurait Ă©tĂ© reconnue comme « Yurupari » par les Indiens ; la reconnaissance aurait ainsi Ă©tĂ© lâĆuvre des Indiens et non celle des missionnaires. La rĂ©flexion porte sur ces regards croisĂ©s du donnĂ© Ă voir, ainsi que sur les interdits de montrer et de regarder ; bref, le statut du « regard iconographique » est interrogĂ©.Yurupari is one of the emblematic figures of the indigenous societies of the North-West Amazonia. Materialised by flutes during the masculine initiation rituals, the character they are supposed to incarnate remains partly enigmatic. The prohibitions to which the women and the non-initiated are submitted, the ritual, the myth... the whole forms a âcomplexâ, that adjoins the sacred.At first associated to the âSatanâ or the âDevilâ by the missionaries who, in the 19th century, attempted to eradicate its presence and its ritual, this complex has for long been the subject, in the literature associated to this cultural region, of abundant debates in which it appeared in terms of a protean construction close to monotheism.The article intends to review briefly the different elements composing this complex in order to highlight them from the analysis of the mythic enunciations and the iconographies of a number of masks associated to the ethology of the entities they incarnate.The proposition of analysis will be based on the hypothesis that the iconography of the figure of the devil conveyed by the missionaries would have been recognised as âYurupariâ by the Indians; the recognition would thus have been due to the Indians and not to the missionaries. The reflection will bear on these crossed points of view of the given to see, and on the prohibitions to show and see; in brief the status of the âiconographic point of viewâ will be examined
La métamorphose de Yurupari : flûtes, trompes et reproduction rituelle dans le Nord-Ouest amazonien
La mĂ©tamorphose de Yurupari : flĂ»tes, trompes et reproduction rituelle dans le Nord-Ouest amazonien. Dans cet article, nous proposons dâanalyser les diffĂ©rentes figures mythiques prĂ©sentes dans lâAmazonie du Nord-Ouest sous le nom de Yurupari. En comparant des donnĂ©es issues de lâethnographie miraña avec celles des groupes tukano du VaupĂšs et des groupes arawak du nord de cette zone, il apparaĂźt que ces figures renvoient, toutes, Ă une guĂȘpe solitaire qui se reproduit en se servant de ses proies Ă la fois comme rĂ©ceptacle et nourriture pour sa descendance puisque la proie est mangĂ©e de lâintĂ©rieur par la larve de la guĂȘpe. Ce comportement parasitoĂŻde est anthropomorphisĂ© par ces populations sous la forme dâune insĂ©mination. Avec certaines caractĂ©ristiques et composantes de lâhymĂ©noptĂšre, ce comportement sert de rĂ©fĂ©rent au rituel dâinitiation masculin et Ă lâinterdit pour les femmes de voir les flĂ»tes sacrĂ©es, construisant ainsi idĂ©ologiquement le corps de chacun des sexes. Cette contribution explore lâensemble des implications mythologiques et idĂ©ologiques de cette identification.La metamorfosis de Yurupari : flautas, trompetas y reproducciĂłn ritual en el Noroeste AmazĂłnico. En este artĂculo, el autor propone un anĂĄlisis de las diferentes figuras mĂticas presentes en la AmazonĂa del Noroeste bajo el nombre de Yurupari. Comparando unos datos de la etnografĂa miraña con los de grupos tukano del VaupĂ©s y de los grupos arawak del norte de esta zona, aparece que una avispa solitaria es el elemento comĂșn de estas figuras mĂticas. Ăsta se reproduce usando sus presas al mismo tiempo como receptĂĄculo y como comida para su descendencia. Cuando las poblaciones del Noroeste antropomorfisan este comportamiento seudo-parasĂtico, lo describen como una inseminaciĂłn. Con otras caracterĂsticas y componentes del himenĂłptero, este comportamiento sirve de referente tanto al ritual de iniciaciĂłn masculino como a la interdicciĂłn de ver las flautas sagradas que existe para las mujeres, construyendo asĂ ideolĂłgicamente el cuerpo de cada uno de los sexos. La contribuciĂłn expone el conjunto de las implicaciones mitolĂłgicas e ideolĂłgicas de esta identificaciĂłn.The metamorphosis of Yurupari : flutes, trumpets and ritual reproduction in the Northwest Amazon. In this article, the author proposes to analyse different mythological figures known in the North-West Amazon as Yurupari. Making a comparison between some ethnographical data from the Miraña, from the Tukano speaking groups of the Vaupes and from the Arawak groups north of the area, it appears that a solitary wasp is the common element of these mythological figures. This wasp reproduces itself using their preys as a receptacle and as food for its offspring. When anthropomorphized by the North-West Amazon populations, this pseudo-parasitical behaviour is seen as an insemination. Along with other characteristics and components from the hymenopter, this behaviour is an essential referent as much for the male initiation ritual as for the prohibition to see the sacred flutes that exists for women, thus constructing ideologically the bodies of both sexes. The contribution will explore the major mythological and ideological implications of this identification
Voir une chenille, dessiner un serpent Ă plumes. Une relecture analogique de lâhybriditĂ© et des ĂȘtres imaginaires en MĂ©soamĂ©rique prĂ©hispanique
En prenant le parti dâanalyser les ĂȘtres imaginaires et les figurations dâhybrides en MĂ©soamĂ©rique comme des retranscriptions imagĂ©es dâĂȘtres rĂ©els selon des principes de lâanalogie formelle, cette contribution se propose de revenir sur la figure de QuetzalcĂłatl, tant dans lâiconographie de Teotihuacan que dans celle, plus tardive, des AztĂšques. AprĂšs avoir passĂ© en revue certains principes de la perception intervenant dans le mode de nomination des espĂšces, leur application Ă des matĂ©riaux iconographiques mettant en combinaison des ĂȘtres â ou des parties dâĂȘtres â distincts permet de rendre compte de leur prĂ©sence concomitante sur une seule coiffe ou en tant quâĂȘtre mythologique.This contribution suggests to look at the figure of Quetzalcoatl â in the Teotihuacan iconography as in the later Aztec one â by analyzing imaginary beings and the representations of hybrids in Mesoamerica as an analogical transcription of real beings according to the principles of formal analogy. After going through a review of the perception processes entering in the way the names of species are built in natural languages, we apply these processes to iconographical materials that combines distinct beings â or parts of beings â, this enables us to interpret their occurrences on feather headdresses or as mythological figures.El propĂłsito de esta contribuciĂłn es de mirar la figura precolombina de QuetzalcĂłatl â tanto en la iconografĂa de Teotihuacan como en la de los mĂĄs tardĂos aztecas â como una reelaboraciĂłn analĂłgica de seres reales (principalmente orugas). Esto se hace gracias a un anĂĄlisis de los seres imaginarios e hĂbridos de MesoamĂ©rica, interpretĂĄndolos como figuraciones evocativas de animales existentes. DespuĂ©s de dar una descripciĂłn de los procesos de percepciĂłn que entran en la manera de nombrar a las especies en las lenguas naturales, se aplica estos procesos a un material iconogrĂĄfico que mezcla a seres â o partes de seres â distintos, permitiendo asĂ interpretar la presencia de estos Ășltimos ya sea en penachos de plumas o como seres mitolĂłgicos
Parenté et alliance miraña
Les Miraña dâAmazonie colombienne ne possĂšdent que des interdits dâalliance portant sur la catĂ©gorie des germains classificatoires. Ă©noncĂ©e de la sorte, cette rĂšgle purement nĂ©gative incite Ă penser que le systĂšme matrimonial est de type complexe. Pourtant, lâexamen de la terminologie de parentĂ© (eskimo-hawaĂŻenne) ainsi que des discours et pratiques matrimoniales montre que le systĂšme dâalliance miraña sâapparente plus Ă un type semi-complexe. En effet, outre lâinterdit catĂ©goriel, le futur conjoint ne doit pas appartenir Ă lâun des quatre patriclans des grands-parents.Miraña Kinship and Affinity. â The only marriage prohibitions of the Miraña in the Amazonian region of Colombia concern the category of classificatory siblings. Stated as such, this purely negative rule leads us to think that the matrimonial system is of a complex type. However, a closer look at kinship terminology (Eskimo-Hawaiian) and at discourses and practices related to marriage shows that the Miraña system of affinity is closer to a semi-complex type. In effect, besides the aforementioned prohibition, the future spouse must not belong to one of the four patriclans of the grandparents
La part de lâAnge : le bouton de rose et lâescargot de la Vierge. DeuxiĂšme partie
Ă partir de lâouvrage de LĂ©o Steinberg, La sexualitĂ© du Christ dans lâart de la Renaissance et son refoulement moderne, paru en 1987, qui soutient que lâhumanitĂ© du Christ Ă©tait Ă©voquĂ©e dans lâart de cette Ă©poque grĂące Ă une figuration des organes sexuels de lâEnfant, voire du Christ en Ă©rection, nous esquissons dâautres modes de lecture et dâanalyse de lâimage et du tableau. Notre approche se veut plus tournĂ©e vers une anthropologie des images pour laquelle la construction mĂȘme dâune Ćuvre peut se lire de diffĂ©rentes façons. Nous nous rĂ©ferons aux travaux de Hans Belting et dâautres, notamment de ceux qui travaillent le rapport analogique comme un moyen, certains diraient un « milieu » (Stafford 1999, Bild und Analogie als MitteâŠ) entre diffĂ©rents Ă©lĂ©ments qui nâentretiennent aucun rapport entre eux, si ce nâest celui de la similitude formelle.Leo Steinbergâs The Sexuality of Christ in Renaissance Art and in Modern Oblivion assume that the humanity of Christ was referred in the arts of the Renaissanceâs period by showing the sexual organs of the Child, or by figuring the Christ in erection. The contribution proposes to have an alternative lecture and analysis of those images and paintings. Our approach is linked to the anthropology of the image where the construction of artwork can by read in different ways. We refer to the works of Hans Belting and others as those who study the analogical link as media, some would say as an âin betweenâ (Stafford 1999, Bild un Analogie als MitteâŠ) of different elements that donât share any other correspondence but that of formal likeliness.La obra de LĂ©o Steinberg La sexualitĂ© du Christ dans lâart de la Renaissance et son refoulement moderne, publicada en 1987, defendĂa que la humanidad de Cristo era evocada en el arte del Renacimiento mediante la figuraciĂłn de los Ăłrganos sexuales del Niño JesĂșs e incluso de los Ăłrganos de Cristo en erecciĂłn. En este artĂculo, apuntamos a otros modos de lectura y anĂĄlisis de la imagen y del cuadro. Nuestra perspectiva se conecta mĂĄs bien con una antropologĂa de las imĂĄgenes a, segĂșn la cual la misma construcciĂłn de una obra puede leerse de varias formas. Hacemos referencia a las obras de Hans Belting y otros, particularmente de aquellos que trabajan la relaciĂłn analĂłgica como mediador, algunos encluso dirĂan como âmedioâ (Stafford 1999, Bild und Analogie als MitteâŠ), entre diferentes elementos que no mantienen relaciĂłn alguna entre ellos, a parte de la similitud formal
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