La vitesse des liens séries haut débit (USB, SATA, PCI-express, etc.) a atteint les multi-gigabits par seconde, et continue à augmenter. Deux des principaux paramètres électriques utilisés pour caractériser les performances des SerDes sont la gigue transmis à un niveau de taux d’erreur donné et la capacité du récepteur à suivre la gigue à un taux d’erreur donné.Modéliser le bruit de phase des différents components du SerDes, et extraire la gigue temporelle pour la décomposer, aideraient les ingénieurs en conception de circuits à atteindre les meilleurs résultats pour les futures versions des SerDes. Générer des patterns de gigue synthétiques de bruits blancs ou colorés permettrait de mieux analyser les effets de la gigue dans le système pendant la phase de vérification.La boucle d’asservissement de phase est un des contributeurs de la gigue d’horloge aléatoire et déterministe à l’intérieur du système. Cette thèse présente une méthode pour modéliser la boucle d’asservissement de phase avec injection du bruit de phase et estimation de la gigue temporelle. Un modèle dans le domaine temporel en incluant les effets de non-linéarité de la boucle a été créé pour estimer cette gigue. Une nouvelle méthode pour générer des patterns synthétiques de gigue avec une distribution Gaussienne à partir de profils de bruit de phase coloré a été proposée.Les standards spécifient des budgets séparés de gigue aléatoire et déterministe. Pour décomposer la gigue de la sortie de la boucle d’asservissement de phase (ou la gigue généré par la méthode présentée), une nouvelle technique pour analyser et décomposer la gigue a été proposée. Les résultats de modélisation corrèlent bien avec les mesures et cette technique aidera les ingénieurs de conception à identifier et quantifier proprement les sources de la gigue ainsi que leurs impacts dans les systèmes SerDes.Nous avons développé une méthode, pour spécifier la boucle d’asservissement de phase en termes de bruit de phase. Cette méthode est applicable à tout standard (USB, SATA, PCIe, …) et définit les profils de bruits de4phases pour les différentes parties de la boucle d’asservissement de phase, pour s’assurer que les requis des standards sont satisfaits en termes de gigue. Ces modèles nous ont également permis de générer les spécifications de la PLL, pour des standards différents. / Bit rates of high speed serial links (USB, SATA, PCI-express, etc.) have reached the multi-gigabits per second, and continue to increase. Two of the major electrical parameters used to characterize SerDes Integrated Circuit performance are the transmitted jitter at a given bit error rate (BER) and the receiver capacity to track jitter at a given BER.Modeling the phase noise of the different SerDes components, extracting the time jitter and decomposing it, would help designers to achieve desired Figure of Merit (FoM) for future SerDes versions. Generating white and colored noise synthetic jitter patterns would allow to better analyze the effect of jitter in a system for design verification.The phase locked loop (PLL) is one of the contributors of clock random and periodic jitter inside the system. This thesis presents a method for modeling the PLL with phase noise injection and estimating the time domain jitter. A time domain model including PLL loop nonlinearities is created in order to estimate jitter. A novel method for generating Gaussian distribution synthetic jitter patterns from colored noise profiles is also proposed.The Standard Organizations specify random and deterministic jitter budgets. In order to decompose the PLL output jitter (or the generated jitter from the proposed method), a new technique for jitter analysis and decomposition is proposed. Modeling simulation results correlate well with measurements and this technique will help designers to properly identify and quantify the sources of deterministic jitter and their impact on the SerDes system.We have developed a method, for specifying PLLs in terms of Phase Noise. This method works for any standard (USB, SATA, PCIe, …), and defines Phase noise profiles of the different parts of the PLL, in order to be sure that the standard requirements are satisfied in terms of Jitter.

The subject of the thesis Live images of VJing is an aesthetic activity, based on visual projections and on work with new media in real-time, known as VJing, or more generally "live audiovisual performance". As these performances usually complement auditory events or are supplemented by music. The first part follows the origins of VJing out of three angles: First the historical development of projected image, electronic music and the discourse of synaesthesia principle as an principle joining different sensory perceptions into one. Second part of this thesis is introducing an philosophical perspective and it's defining terms, through which can be glimpsed the tendencies in the development of contemporary art of new media, particularly following the example of the German new-media philosophy with terms like homöotechnik, performativity, mediality and gesture. The outcome of this thesis is the finding, that it's not the media-philosophy bringing the textures and shapes to VJing, but the opposite - VJing as an art form is a valuable contribution to defining of the media-philosophy, which seem to be forming along with the new media itself and with the experimental arts exploring it's radical possibilities.

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This thesis explores the role of interaction design in elevating the solitary experiences of music listening by infusing them with the joy and connection typically found in the communal music setting of parties. Drawing upon historical and cultural contexts, the research investigates how music acts as a medium for social interaction and emotional expression, from its political implications in Berlin's techno scene to its power to unite people in clubs and concerts. The project began with a focus on enhancing DJ-audience interactions and evolved into exploring how these dynamic communal experiences could inform the design of solitary listening experiences on digital platforms like Spotify. The research employs a mixed methodology combining auto-ethnography, in-depth interviews, and testing to develop and refine six interfaces that embody the joy of communal music experiences. These interfaces aim to recreate the sense of togetherness and emotional engagement often lost in solitary music consumption. The findings highlight that joy is a deeply personal and context-dependent phenomenon, influenced by the nuances of social interactions and individual emotional states. This insight guides the design of interfaces that adapt to and enhance the listener's emotional landscape. The project contributes to interaction design by challenging conventional design approaches that prioritise functionality over emotional resonance, aiming to serve as inspiration for designs that value emotions as central to the interaction experience. It also proposes future research directions focusing on the ethical implications of emotionally driven design and the potential for these interfaces to foster deeper connections in an increasingly digital world.