Nonlinearity

It is RFIC course notes in Persian language (Farsi) which includes: History of Wireless Systems - Noise Figure (NF) - Nonlinearity - RF Transceiver Architectures - RF Standards - Low Noise Amplifier (LNA) - Mixer - Oscillator - Phase Locked Loop (PLL) - Synthesizer - Power Amplifier (PA).

See:
http://dx.doi.org/10.13140/RG.2.2.11677.36320

Strong ground motions can trigger soil liquefaction that will alter the propagating signal and induce ground failure. Important damage in structures and lifelines has been evidenced after recent earthquakes such as Christchurch, New Zealand and Tohoku, Japanin 2011. Accurate prediction of the structures’ seismic risk requires a careful modeling of the nonlinear behavior of soil-structure interaction (SSI) systems. In general, seismic risk analysisis described as the convolution between the natural hazard and the vulnerability of the system. This thesis arises as a contribution to the numerical modeling of liquefaction evaluation and mitigation.For this purpose, the finite element method (FEM) in time domain is used as numerical tool. The main numerical model consists of are inforced concrete building with a shallow rigid foundation standing on saturated cohesionless soil. As the initial step on the seismic risk analysis, the first part of the thesis is consecrated to the characteriz...

Résumé(s)

Cette étude se penche sur le geste singulier se dégageant de l’œuvre du cinéaste sénégalais Djibril Diop Mambety. Une force de « mise en présence » y est identifiée, dont la présente recherche démontre qu’elle s’apparente à l’action médiatrice du griot des traditions orales d’Afrique de l’Ouest. Singulièrement, cette force tenant de l’oralité ne repose pas sur le récit ou la parole comme discours, mais relève au contraire de ruptures narratives et de disjonctions image-son qui mettent le récit en question, invitant le spectateur à fréquemment réviser son interprétation de ce qu’il voit et entend. C’est le film lui-même qui devient alors griot, actualisant un lien en constante transformation entre l’univers qu’il porte et son spectateur. En instaurant un rapport critique à l’égard du monde dans lequel s’inscrit le récit, les multiples ruptures dans le cinéma de Mambety sont également les brèches par lesquelles se crée un espace d’accueil pour la marginalité, qui habite tous ses films. La tradition orale et le griot sont présentés en premier lieu, de manière à poser les bases à partir desquelles peut se développer la réflexion. La description et l’analyse des films Parlons Grand-mère et Le franc démontrent en quoi ceux-ci sont des films médiateurs, qui se comportent en griots. Cette découverte ouvre la voie à une réflexion plus large sur la médiation au cinéma, où la portée éthique du film-médiateur est explorée, ainsi que la nature des relations possibles entre médiation et récit. Finalement, l’analyse du film Hyènes, eu égard à la différence qu’il présente en déployant un récit plus linéaire, est l’occasion d’approfondir une compréhension à la fois de ce que font les films de Mambety et de ce que peut la médiation au cinéma de façon plus large.

This study examines how the mediatory action of the griot in West African oral traditions is at work in the films of Senegalese filmmaker Djibril Diop Mambety. This force of orality, of mise-en-présence, emerges in Mambety’s films from narrative disruptions and sound-image disjunctions. Instead of relying on narrative or speech as a discourse, this force of orality challenges the story’s consistency, inviting the viewer to frequently revise his or her interpretation of what is being seen and heard. The film itself becomes griot, a griot which links the world borne by the film and the spectator in a dynamic and ever-changing interplay. By fostering, through these disruptions, a critical stance toward the world on which depends the narrative, Mambety’s cinema makes room for marginality and exclusion, which inhabit all his films. Oral tradition and griot are first defined, followed by an analysis of how the films Parlons Grand-mère and Le franc are mediator films, functioning as griots. This opens the way for a broader reflection on the ethical significance of film-as-mediator, as well as the possible ties between mediation and narrative. Finally, an analysis of the film Hyènes, on account of its more linear narrative exposition, provides an opportunity to deepen our understanding of Mambety’s filmmaking, and to explore the greater implications of mediation in cinema.

China's rise to the status of a global power is a very complex phenomenon. Yet students of international relations (IR) are taught that a good theory should be 'parsimonious', meaning that it should explain a lot with a little. In relation to China's rise, the problem with theoretical parsimony may be not what it includes but what it leaves out. This article argues that lack of explanatory breadth and depth in connection with China's IRs demonstrates a shortcoming in mainstream IR theories such as neorealism, offensive realism and constructivism. A candidate for an IR theory which explains more with more is complexity theory (CT), which utilises a conceptual toolkit including non-linearity, feedback effects, emergent properties and complex adaptive systems. CT's toolkit, already used in the natural sciences, seems a good candidate to explain the hard-to-predict phenomena that emerge in the international sphere, but has not yet been developed into a clear theoretical lens in IR. In this article, the rise of China is analysed through the lenses of three mainstream theories and CT in order to assess the strengths and shortcomings of each approach and to suggest how CT's 'conceptual toolkit' might be utilised to flesh out existing IR theories in order to explain China's rise more fully.

Nearly all nontrivial real-world systems are nonlinear dynamical systems. Chaos describes certain nonlinear dynamical systems that have a very sensitive dependence on initial conditions. Chaotic systems are always deterministic and may be very simple, yet they produce completely unpredictable and divergent behavior. Systems of nonlinear equations are difficult to solve analytically, and scientists have relied heavily on visual and qualitative approaches to discover and analyze the dynamics of nonlinearity. Indeed, few fields have drawn as heavily from visualization methods for their seminal innovations: from strange attractors, to bifurcation diagrams, to cobweb plots, to phase diagrams and embedding. Although the social sciences are increasingly studying these types of systems, seminal concepts remain murky or loosely adopted. This article has three aims. First, it argues for several visualization methods to critically analyze and understand the behavior of nonlinear dynamical systems. Second, it uses these visualizations to introduce the foundations of nonlinear dynamics, chaos, fractals, self-similarity and the limits of prediction. Finally, it presents Pynamical, an open-source Python package to easily visualize and explore nonlinear dynamical systems' behavior.

Within the abstract framework of dynamical system theory we describe a general approach to the Transient (or Evans-Searles) and Steady State (or Gallavotti-Cohen) Fluctuation Theorems of non-equilibrium statistical mechanics. Our main objective is to display the minimal, model independent mathematical structure at work behind fluctuation theorems. Besides its conceptual simplicity, another advantage of our approach is its natural extension to

L'influence des non-linéarités de comportement des sols fins sur le calcul des ouvrages souterrains est analysé à travers deux exemples. Un modèle élastique de type hyperbolique et le modèle Cam-Clay modifié auquel est associée une loi élastique non linéaire ont été utilisés. Les principaux résultats de leur application au calcul d'un tunnel creusé dans un massif de sol marneux homogène mettent en évidence l'influence de la non-linéarité de la déformation sur la courbe de convergence du terrain.

Розглядаються нові погляди на розуміння психіки та мислення людини в термінах та з позицій психосинергетики, зокрема методології освіти як системи психосинергетичного порядку.
Концептуально вищу освіту України важливо поєднати з умінням соціально-освітніх структур усвідомлювати й розуміти специфіку поведінки подібних середовищ, а також з умінням людини користуватися своєю психікою, своїми думками, а в цілому — механізмами, що лежать в основі психічної, ментальної, інформаційно-емоційної та оцінювальної поведінки.

There are considered new views on understanding of psyche and thinking in terms and from positions of synergetics, in particular methodology and education as a system of a psychosynergetic order. Conceptually it is important to unite higher education of Ukraine with a socially-educational structures skills of realizing and understanding the specificity of similar environment behavior and also with human skills of using their mentality, their thoughts and mechanisms which form the basis of mental, informational- emotional and estimating behavior in general.

Библиографическая ссылка:
Ершова-Бабенко, И. В. Культура нелинейного мышления в свете психосинергетики (психосинергетическая модель мышления и ее концептуальные основания). Новые взгляды на понимание психики человека с позиций постнеклассической науки. (Часть 2) / И.В. Ершова-Бабенко // Інтегративна антропологія. - 2010. - N1. - С. 10-23

This article analyzes various contemporary Spanish films as part of one of the most experimental trends within the paradigm of narrative  complexity of contemporary visual culture: the so-called puzzle or mind-game films. To solve the question of what lies beneath these narrative disruptions in the Spanish case, we developed four sequence microanalysis based on a semiotic approach to one of the prevailing conflicts in the films Abre los ojos (1996), Los otros (2001), La mala educación (2004) y La piel que habito (2010). We conclude that the main discomforts which emerge are the fear of not distinguishing reality from fiction, the distrust against the technologies that determine human subjectivity and the oblivion of one’s own guilt.