Variation aware analysis of bridging fault testing

This paper investigates the impact of process variation on test quality with regard to resistive bridging faults. The input logic threshold voltage and gate drive strength parameters are analyzed regarding their process variation induced influence on test quality. The impact of process variation on test quality is studied in terms of test escapes and measured by a robustness metric. It is shown that some bridges are sensitive to process variation in terms of logic behavior, but such variation does not necessarily compromise test quality if the test has high robustness. Experimental results of Monte-Carlo simulation based on recent process variation statistics are presented for ISCAS85 and -89 benchmark circuits, using a 45nm gate library and realistic bridges. The results show that tests generated without consideration of process variation are inadequate in terms of test quality, particularly for small test sets. On the other hand, larger test sets detect more of the logic faults introduced by process variation and have higher test quality

Rh Negative Status and Isoimmunization Update: A Case-Based Approach to Care

Prior to the 1970s and the advent of Rho (D) immune globulin (RIG) for Rh negative women, hemolytic disease of the newborn led to morbidity, long-term disabilities, and mortality. Antepartum RIG administration has been a standard of practice since 1983. Yet, Rh isoimmunization (sensitization) and its sequelae have not been completely eradicated. Rh-related issues remain clinical challenges facing perinatal and neonatal nurses. Evidence for the administration of RIG prenatally and during the postpartum period is presented including controversies and challenges. Current information about fetal and neonatal care of erythroblastosis fetalis and immune hydrops is also presented

Not all jellyfish are equal: isotopic evidence for inter- and intraspecific variation in jellyfish trophic ecology

Jellyfish are highly topical within studies of pelagic food-webs and there is a growing realisation that their role is more complex than once thought. Efforts being made to include jellyfish within fisheries and ecosystem models are an important step forward, but our present understanding of their underlying trophic ecology can lead to their oversimplification in these models. Gelatinous zooplankton represent a polyphyletic assemblage spanning >2,000 species that inhabit coastal seas to the deep-ocean and employ a wide variety of foraging strategies. Despite this diversity, many contemporary modelling approaches include jellyfish as a single functional group feeding at one or two trophic levels at most. Recent reviews have drawn attention to this issue and highlighted the need for improved communication between biologists and theoreticians if this problem is to be overcome. We used stable isotopes to investigate the trophic ecology of three co-occurring scyphozoan jellyfish species (Aurelia aurita, Cyanea lamarckii and C. capillata) within a temperate, coastal food-web in the NE Atlantic. Using information on individual size, time of year and δ 13 C and δ 15 N stable isotope values, we examined: (1) whether all jellyfish could be considered as a single functional group, or showed distinct inter-specific differences in trophic ecology; (2) Were size-based shifts in trophic position, found previously in A. aurita, a common trait across species?; (3) When considered collectively, did the trophic position of three sympatric species remain constant over time? Differences in δ 15 N (trophic position) were evident between all three species, with size-based and temporal shifts in δ 15 N apparent in A. aurita and C. capillata. The isotopic niche width for all species combined increased throughout the season, reflecting temporal shifts in trophic position and seasonal succession in these gelatinous species. Taken together, these findings support previous assertions that jellyfish require more robust inclusion in marine fisheries or ecosystem models

Channeling globalism : Canal+ as transnational French genre film producer

This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities. Cet article examine la contribution apportée par Canal+ à la consolidation contemporaine ou récente de trois genres traditionnellement absents dans le paysage de la production cinématographique français: les comédies romantiques, les films d’horreur et les teen movies. Les maints films relevant de ces genres naissants qui ont bénéficié du financement de Canal+ - et souvent d’autres soutiens moins directs - évoquent le statut transnational et transmédiatique de l’organisation en tant que fabrique de production. Par ailleurs, l’analyse des nouvelles tendances de genre dont le succès se doit considérablement à Canal+, indique la difficulté de dénouer les allégeances et les influences géo-culturelles dans une médiasphère qui ne cesse de multiplier les voies de distribution, les directions des échanges et communications et la promiscuité des références. L’article focalise les cas d’étude Alibi.com (2017) et Grave (2016) pour illustrer que les films de genre français, tout comme la culture audiovisuelle grand public européenne en général, font partie d’une toile intertextuelle chaque fois plus transnationale et complexe - situation encouragée par des organisations multinationales telles que Canal+. Il soutient néanmoins que de tels exemples français de genres d’origine américaine s’emparent des modèles existants pour les transformer, et non pour les citer, les copier ou en faire l’écho. Qui plus est, en s’appuyant sur la théorie esthétique et affective, l’on suggère que ces processus ont la capacité de nourrir de nouvelles identités