O sintonizador-demodulador de RF, também chamado de Front End, é definido de uma forma geral como sendo o conjunto ou módulo que está entre a antena e o sistema digital. Para um receptor isto inclui todos os filtros, amplificadores de baixo ruído, misturadores e demoduladores, necessários para processar o sinal modulado recebido na antena, demodulá-lo e entregá-lo em um fluxo de bits (Transport Stream) para o sistema digital de decodificação, também conhecido com Back End. Por esta razão o sintonizador-demodulador é muitas vezes chamado de conversor RF para TS (Rádio Freqüência para Transport Stream). Por ser o primeiro bloco, o Front End é a parte mais importante, e também a mais crítica de qualquer receptor contribuindo muito para o seu bom ou mau desempenho. Esta tese investigou os problemas existentes e que degradam a qualidade do sinal nas transmissões de TV analógica; os testes realizados pelo laboratório de TV Digital do Mackenzie comparando os padrões de transmissão dos sistemas de TV Digital, ATSC, DVB-T e ISDB-T; o modelo proposto e adotado pelo Sistema Brasileiro de TV Digital; e propôs um modelo de sintonizador-demodulador para o SBTVD, que atendesse as necessidades do sistema com robustez e flexibilidade. O sintonizador-demodulador foi desenvolvido, projetado, montado e testado no laboratório e no campo para avaliar a sua eficiência. / The RF front end is generally defined as everything between the antenna and the digital baseband system. For a receiver, it includes all the filters, low-noise amplifiers (LNAs), down-conversion mixers and demodulator needed to process the modulated signals received at the antenna into signals suitable for input into the baseband analog-to-digital converter (ADC), demodulate it and feed with a Transport Stream the Back End part of the system to decode the signal. For this reason, the RF front end is often called the RF-to-TS portion of a receiver. It turns out that this is the most important and critical part of the whole receiver aiming for its good or bad performance. This thesis researched the existing problems that degenerate the analog TV transmission quality; the digital TV tests realized by Mackenzie DTV laboratory comparing the digital TV transmission standards, ATSC, DVB-T and ISDB-T; the proposed and adopted model for the Brazilian Digital TV System; and a proposal of a Front End for the SBTVD that meets the requirements of the system with robustness and flexibility. The Front End was designed, assembled and tested in the DTV laboratory and in the field.

Made available in DSpace on 2016-04-29T14:23:29Z (GMT). No. of bitstreams: 1 Marcio Carneiro dos Santos.pdf: 13468296 bytes, checksum: ba0aa41f643f1555600334a06c82c741 (MD5) Previous issue date: 2014-04-29 / As the experience of what we call watching TV replicates in different screens and displays, dematerializes to move away from its traditional technical support, while it extends or expands from hybridizations and new possibilities, we face the challenge to continue thinking about watching TV and media in general, driven, among other reasons, by the increasing centrality of the media in the world in which we live. To anchor this study on technological change and its impact on the ontological essence of what was considered before as clear and precise , we choose the case of the deployment of the Brazilian Digital Terrestrial Television process - SBTVD -T , in particular from its technical characteristic that legislation and scholars decided to call interactivity and, in simplified form, is the possibility that , in a broadcast television system, along with the transmission of audio and video, a data stream in the form of software can be added, small programs called interactive applications that can be accessed by the viewer . Despite its innovative potential, interactivity in broadcast television in Brazil, as a technological solution, faces several difficulties for its diffusion. In this research, by using a systemic approach and methodology of Van Dijk who analyses similar processes in terms of technology, content, uses and appropriations, property, governance and business models, we propose to examine this scenario. By conducting a critical analysis from the assumptions above, we have identified the conflict between the agendas of the involved groups and the distance imposed to audiovisual professionals, craftsmen producing content, that have few participation in a process driven primarily by engineers and software developers. Within this framework, we ve translated the theoretical trajectory in an applied path to the development of an authoring solution for creating interactive applications in standard SBTVD -T focused on non-programmers. The tool, called T - Autor, has had its registration with INPI and nowadays is undergoing testing in actual production environments / À medida que a experiência do que chamamos de assistir TV se replica em telas e displays diversos, se desmaterializa ao se afastar do seu suporte técnico tradicional, ao mesmo tempo em que se amplia ou expande a partir de novas hibridizações e possibilidades; encaramos o desafio de continuar pensando sobre ela e os meios de comunicação de forma geral, impelidos, entre outros motivos, por uma centralidade cada vez maior da mídia no mundo em que vivemos. Para ancorar esse estudo sobre transformações tecnológicas e seu impacto ontológico na própria essência do que antes considerávamos como claro e preciso, escolhemos o caso do processo de implantação do Sistema Brasileiro de Televisão Digital Terrestre SBTVD-T, em especial a partir da sua característica técnica que legislação e academia decidiram chamar de interatividade e que, de forma simplificada, consiste na possibilidade de, num sistema de televisão aberta, junto com o a transmissão de áudio e vídeo, acrescentarmos um fluxo de dados, na forma de software, ou seja, pequenos programas ou aplicações interativas que podem ser acessadas pelo telespectador. Apesar do seu potencial inovador, a interatividade em TV aberta no Brasil, enquanto solução tecnológica enfrenta diversas dificuldades para sua difusão. Nesse trabalho utilizando uma abordagem sistêmica e a metodologia de Van Dijk que observa processos semelhantes em termos de tecnologia, conteúdo, usos e apropriações, propriedade, governança e modelos de negócio, nos propomos a analisar esse cenário. Fazendo uma análise crítica das premissas acima, identificamos o conflito entre as agendas dos grupos envolvidos e o distanciamento a que foram submetidos os profissionais do audiovisual, artífices da produção de conteúdo, que pouco participaram de um processo guiado basicamente por engenheiros e desenvolvedores de software. A partir desse quadro, traduzimos o percurso teórico da tese numa vertente aplicada, com o desenvolvimento de uma solução de autoria para criação de aplicações de interatividade no padrão do SBTVD-T focada em não programadores. A ferramenta, denominada T-Autor, já teve seu registro efetivado junto ao INPI e hoje se encontra em fase de testes em ambientes reais de produção

The present study aims to identify what viewer perceptions individuals have regarding fathers in television dramas. Framed through uses and gratifications theory and executed through the grounded theory method, 12 participants were interviewed. After analysis, findings revealed that although participants say that general perceptions of fathers on TV are negative, they have seen personally the diversity and variety of father portrayals in their favorite television dramas. Additionally, the realism of the TV dramas and characters influence the relatability to both the father figures and other characters in the show. This relatability, in turn, influences the likeability and loyalty to the TV drama. Such findings imply that negative portrayals are more often and more strongly remembered among television viewers. Likewise, because of the popularity in relatable characters, television networks and producers could have the chance to increase their viewership by including a variety of identifiable characters, especially fathers, within their TV dramas. Four major perceptions emerged from the data and inform the significance of this study. These four perceptions were that fathers in TV dramas were perceived more positively than TV sitcom fathers, fathers in TV dramas are perceived as the "flawed hero," fathers in TV dramas are perceived as a prompt for discussion, and lastly, fathers from TV dramas are perceived as someone who is worthy of emulation.

This dissertation examines contemporary horror TV, dissecting the ways it works both to subvert and uphold contemporary social standards about race, gender, class, and ability. This work attends to the moments in horror TV where graphic displays of violence and monstrous characters open up possibilities for innovative and progressive representation of historically marginalized people, as well as those instances that foreclose such potential. Horror TV shows blur the definitions of monster and human, suggesting that humans can be monstrous and that monsters can have humanity. Horror TV is a platform through which we see the coming together of a traditional logic about what is and what is supposed to be with a radical suggestion that, perhaps, things could be another way. This dissertation closely examines two seasons of American Horror Story – Coven and Freakshow – along with Hannibal and Penny Dreadful, as symptomatic texts of a dynamic sociopolitical moment in the United States where progressive and conservative worldviews sometimes violently clash. This dissertation examines the role of performance in horror TV, literal and figurative theater spaces that frame action in ways that disrupt hetero-patriarchal epistemologies. Order and chaos, reason and emotion, the natural and the supernatural often “crash” together in violent ways on the stages of horror TV, sometimes inviting something alternative to emerge. These often-violent performances serve as microcosms for the larger set of narratives and images we see in horror TV. This dissertation examines the figure of the dandy, who emerges in all the horror TV shows included in this work. The dandy is a contradictory character, at once queering social conventions of white masculinity, while also recuperating a traditional and dominant social position through violence. The dandy’s violent behavior is a kind of consumption: the taking of bodies and lives to satisfy their boredom. The horror TV dandy may be villainous, but is also the embodiment of the contemporary, good, white citizen who puts consuming above all else. This dissertation also attends to the ways that horror TV is, perhaps unsurprisingly, the product of a white imagination. Horror TV masks the ways that it forwards a white worldview by portraying stories about racial difference and racism, while narratively confining the material implications of racism to the past. Some horror TV shows further center whiteness by suggesting that “horror” (the weird, the macabre, and the terrifying) comes from a distant and exotic place – specifically the Dark Continent of Africa or the Exotic East of Japan and India. Contemporary horror TV, however, presents some of the most innovative portrayals of (mostly white) women in lead roles through the figure of the antihero. The women antiheroes of horror TV act via their relationship to cultural and political oppression, often in the form of violence. As a result of the traumas they have experienced, the women of horror TV embody both heroic and villainous qualities. The antihero women speak to contemporary cultural attitudes about women’s changing position in the United States, and that we only see white leading antihero women on horror TV points to the fact that women of color are not afforded the same multifaceted representation.

The terms of socialization have changed with the development of society. Today’s modernity acts as cause for change and technology is no exception. When society change, the context of our lives does as well, and today’s transformation seem to affect young people at a larger rate than it did for older generations. This report aims to investigate the didactic potential of video games by using an ethnographic perspective on how religious symbols and religious symbolism is portrayed and exposed in a digital format. By investigating the occurrences of these aspects in popular videogames with sales over 10 millions, and analyzing the findings through literature and scientific methodologies, the paper could conclude that the videogames God of War, Assassin’s Creed and Assassin’s Creed: Revelations held a didactic potential in the aspect of contributing to the students’ own self-chosen educational process. While acting as motivational means, videogames could result in a boost affecting the motivation within young students in the learning-process that further on is affirmed in an educational environment. By taking advantage of a process the student has already chosen of its own free will, the pedagogic behind the theory may then be able to affirm and reinforce the foundation on which certain knowledge stands. Earlier studies showed that the motivational aspect of video games in education has a strong connection to young students today and the self-chosen learning-process has an important role to play in the potential video games pose in further usage in an educational context.

根據DisplaySearch最新報告統計，2009年全球電視市場出貨成長2%，達到2.11億台，而液晶電視在2009年的出貨成長率高達37%，更勝於2008年的34%。2009年電視市場表現最佳的第四季，在第四季中，全球電視市場出貨相對於2008年第四季成長17%，而LCD TV出貨更較前一年同期大幅增加50%，而為2007年以來最佳的單季成長率。 對於台灣廠商而言，掌握LCD TV的關鍵零組件如面板，卻無法提昇LCD TV產品的品牌知名度及全球的銷售數量，大部分廠商依然停留在賺取零組件的製造費用或微薄的代工利潤，反觀韓國，不但壟斷零組件市場，更在LCD TV品牌全球市場攻城掠地。本研究以BenQ這家品牌公司為例，在擁有同集團友達的面板供應下，以LCD TV產品進入土耳其市場所應採取的進入策略、時間及行銷佈局的分析，最後以淨現值觀點來做決策的評估。 本研究發現，在使用舉債來進行此項投資的狀況下，計畫三年期(2011~2013年)的淨現值為680,416美元，是一項值得進行投資的計畫；若使用內部資金進行此投資計畫，資金成本為7.37%，則計畫之淨現值為597,452美元。若市場進入策略為高價策略，計畫三年期的淨現值為737,688美元；若市場進入策略為低價策略，計畫三年期的淨現值為601,548美元。若處於悲觀市佔率下，計畫的淨現值為424,506美元；若在樂觀市佔率下，計畫的淨現值為930,584美元。 經過情境分析後，本研究也發現，若將訂價調整為與韓系大廠一樣的高價策略同時使用舉債來進行此項投資，則進行此計畫所得的淨現值最高，為737,688美元；相對地，若產品的價格設定是和當地廠商相同的低價策略，且使用內部資金進行此項投資計畫時，則進行此計畫所得的淨現值最低，為528,129美元。此外；若在悲觀市佔率的情形下，同時使用內部資金來進行此項投資，則進行此計畫所得的淨現值最低，為373,199美元；相對地，若在樂觀市佔率的情形下，同時使用舉債來進行此項投資，則進行此計畫所得的淨現值最高，為930,584美元。

<p>Syftet med detta examensarbete var att undersöka hur högstadieelevers dataspelande påverkar skolarbetet, samt hur deras förhållande till dataspelande ser ut. En förstudie i form av gruppintervju med två grupper, en pojkgrupp och en flickgrupp har gjorts. Vardera grupp består av tre personer. Två intervjuer har också gjorts med lärare. Utifrån förstudien skapades en enkät till en kvantitativstudie. Från enkätundersökningen kunde sedan elevernas åsikter och förvärvade kunskaper kring dataspelande kartläggas. Intervjuerna och enkätundersökningen skedde med hela år 8 (96 elever) på en skola i Norrlands inland. Resultatet pekar på att pojkar spelar mer än flickor. De flesta anser att de förbättrat sina kunskaper i några skolämnen, framförallt engelska och svenska via sitt dataspelande. De flesta anser också att det finns negativa effekter med dataspelande. Man kan också se en skillnad mellan flickor och pojkars syn på dataspelande. Flickorna ser dataspelande som den tiden de använder datorn för nöjes skull. Pojkarna menar att dataspelande är när man spelar spel. Ungdomar lär också känna människor via dataspelande.</p>

<p>Uppsatsen behandlar det relativt nya begreppet dokusåpa, med inriktning på kanal 5:s program Big Brother. Bakgrunden till ämnesvalet är att media gärna framställer Big Brother som något dåligt, som ungdomar kan ta efter. Det huvudsakliga syftet med studien är att få en insikt i hur 15-åringar hanterar Big Brother i vardagen. För att angripa ämnet ur ett sociologiskt perspektiv har vi bland annat använt oss av kommunikations-, postmodern och feministisk teori. Uppsatsen bygger på sjutton intervjuer som ger oss en inblick i just de intervjuades relation till Big Brother. Ämnen som berörs är ungdomarnas inlevelse i programmet, könsroller, verklighetsförankring, identifikation och varför och om det är viktigt att titta på Big Brother. Resultat som framkommer rör Big Brother som postmodernt fenomen, könsroller, identifikation och fiktion eller verklighet.</p>

<p>Since a few years, flat screen TVs, such as LCD and plasma, has come to completelydominate the market of televisions. In a SoC solution for digital TVs, severalprocessors are used to obtain a decent image quality. Some of the processorsneed temporal information, which means that whole frames need to be storedin memory, which in turn motivates the use of SDRAM memory. When higherdemands of resolution and image quality arrives, greater pressure is put on theperformance of the SoC memory subsystem, to not become a bottleneck of thesystem.</p><p>In this master thesis project, a model of an existing SoC for digital TVs is usedto benchmark and evaluate the performance of an SDRAM memory controllerarchitecture study. The two major features are the ability to reorder transactionsand the compatibility with DDR3. By introducing reordering of transactions, thechoice is given to the memory controller to service memory requests in an orderthat decreases bank conflicts and read/write turn arounds. Measurements showthat a utilization of 86.5 % of the total available bandwidth can be achieved, whichis 18.5 percentage points more, compared to an existing nonreordering memorycontroller developed by NXP.</p>

<p>Vår uppgift är att undersöka om vi kan förbättra utsignalens kvalité från ett digitalt TV-kort genom att översampla A/D-omvandlare. Vi kommer att programmera vår kod i en FPGA och i den finns enbart 3 stycken multiplikatorer lediga. Utgången från vårt filter ska ha samma frekvens som innan översamplingen, vi kommer därför att bygga ett FIR-filter som decimerar signalen. Vi valde detta filter för att kunna utnyttja symmetri och minimera antalet multiplikatorer. Vi använde ett filter med ordningen 44 vilket ger 45 koefficienter. Dessa koefficienter beräknades i Matlab med hjälp av funktionen ”firls” som minimerar energivärdet i stoppbandet.</p><p> </p><p>Vi utförde mätningar på SNR samt grupplöptiden. Dessa visade att SNR förbättrades endast 0,7 dB samt att grupplöptiden inte påverkades nämnvärt. För att kunna förbättra SNR och hitta felkällan som begränsar signalen gjorde vi följande åtgärder.</p><p> </p><ul><li>Fastställde att instrumenten verkligen kunde mäta så höga decibelvärden.</li><li>Att det inte finns några begränsningar på utgången.</li><li>Att det inte finns några störningar på ingången.</li><li>Ändrade koefficienter i filterkoden för att variera filtrets egenskaper.</li></ul><p> </p><p>De åtgärder vi gjorde förbättrade inte SNR på konstruktionen. På grund av tidsbrist kunde vi inte fortsätta våra undersökningar. Det vi skulle gjort från början är att skapa en testbänk till vår filterkod för att kunna verifiera att den fungerade. Vi kan inte med säkerhet fastställa att filtret verkligen fungerar enligt de initiala kraven. Vi skulle även försöka förbättra klockan till FPGA:n eftersom denna kan skapa klockjitter. Vi skulle även försöka skapa fler mätpunkter i kedjan, att kunna mäta signalen efter A/D-omvandlaren och direkt efter vårt filter.</p>