A low-energy 2.4GHz RF transceiver supporting 1Mb/s Gaussian Frequency-Shift Keying modulation and designed to run on a 1.5V battery is implemented in a standard 0.18μm CMOS technology. The integrated DC-DC converter can provide up to 100mA to an external load besides the current required by the transceiver. The transmitter current at 0dBm nominal output power is 11.9mA. The receiver draws 11.4mA and presents a sensitivity of -82.5dBm at a bit-error rate of 0.1% with the on-chip DC-DC converter delivering a total of 120mA. The transceiver is able to operate at a supply voltage as low as 0.8V.

A phase–domain approach of I/Q–quantization for RF Transceivers is presented. The I/Q–signals are converted directly from the phase domain into a digital representation of the actual phasor position. This phase–domain Analog–to–digital converter (Phase–ADC) designed in 0.18μm occupies an area of 0.049 mm2, has a dynamic range of 50 dB and draws roughly 300 μA from 1.2 Volt

Künstler wie Laszlo Moholy-Nagy waren beeindruckt von der Wirkmächtigkeit des Lichts und versuchten, diese in ihren Kunstkonzepten zur Geltung zu bringen. Die Totalität dieser Kunstidee wird eingeholt und zunichte gemacht in den totalitären Lichtinszenierungen der Nationalsozialisten.

The beginning of the 19th century is a moment of decisive aesthetic changes for Italian and European scenography. Stage design moves from architectural constructions typical of the 18th century, marked by the Bibiena dynasty, to more painterly solutions like the « scena-quadro ». For instance, the illusion of depth is produced more by a specific use of colour and chiaroscuro effects - the so-called prospettiva aerea - than using geometrical structures. The scenographer becomes a painter and the stage a painting. Scholars have already defined the technical elements of these aesthetic changes through the study of treatises or indirect artifacts, such as sketches or engravings. Nevertheless, the recent discovery of original scenic material (wings, curtains, set pieces, backdrops, machinery,…) from the beginning of the 19th century in the theater of Feltre (IT) offers a unique opportunity to study these elements directly from the material itself in its own original context. This paper proposes to refine the study of historical scenography by observing these constitutive technical and aesthetic changes of stage painting, not only from treatises or sketches but also directly from rare original scenic elements of that period and see how this scenic material reflects the scientific research. The study of an Italian case is especially fascinating, as the artists from that country were known throughout the rest of Europe for their skill in stage painting. The work of Raphaël Bortolotti is focused on the original scenic material from the beginning of the 19th century in the historical theatre of Feltre, a small town north of Venice. After a Master’s degree in History of Art (University Lausanne) and another one in baroque singing (Schola Cantorum Basiliensis), Raphaël Bortolotti decided to prepare a Ph.D. at the University of Bern (HKB) on stage painting in Italy in the first half of the 19th century. Supervised by Maria Ida Biggi (Fondazione Cini) and Andreas Beyer (Universität Basel), he will start his Ph.D. during the following academic year.

How are founders’ social identities affected by societal trigger events? To address this question, we build on social identity literature and theorize how the abrupt and significant increase in the number of refugees in Europe in 2015 is related to the strength of Darwinian, Communitarian, and Missionary social identities of founders residing in the affected countries. Furthermore, we introduce a country’s percentage of foreigners before the 2015 refugee event as relevant contingency factor. Using a dataset of 6,841 nascent entrepreneurs from 24 European countries, we reveal a positive relationship between the 2015 refugee event and the strength of founders’ Communitarian identity. This relationship is even stronger when the previous percentage of foreigners in a country is lower. Interestingly, we do not find significant relationships between the refugee event and Darwinian or Missionary identities. Our study provides important contributions to the (founder) social identity literature and valuable implications for policy and practice.

Esta ponencia tiene como objetivo compartir los avances de una investigación en curso sobre los aportes metodológicos de la investigadora Prof. Dra. Beatriz Galán en el campo del Diseño Industrial (DI) en Argentina y su compromiso en la construcción de un nuevo perfil profesional en la carrera de DI de la Facultad de Arquitectura, Diseño y Urbanismo de la Universidad de Buenos Aires (FADU, UBA). En este sentido, proponemos abordar la escala comunitaria que abrió Beatriz Galán en la práctica profesional, impulsando un abordaje de los saberes proyectuales como una experiencia de investigación colectiva, dialogada y contextualizada. Para ello, implementamos una metodología de corte cualitativo desde la cual se avanzó en la recuperación de los testimonios de docentes, alumnos y colegas ligados a la labor académica de Galán.

This paper discusses the role of a unique personal identifier in cross-organizational government collaboration. It investigates the challenges public authorities face in identification processes and argues in favor of the use of the Swiss Social Security Number (SSN) as a unique identifier for Switzerland, and reviews concerns expressed against it. A unique identifier is seen as a relevant means in improving data quality level in base registries and hence, a central enabler for collaborative government.