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Category: media & arts – Page 96

Today’s defense electronics systems rely on radio frequency (RF) mixed-mode electronics – those that integrate RF, analog, and digital circuits onto a single chip – to interface RF signals with digital processors. This technology supports critical communications, radar, and electronic warfare (EW) capabilities, as well as being widely used to support commercial telecommunications. The Department of Defense (DoD) has capability demands that far exceed the requirements of the commercial world in terms of speed, fidelity, capacity, and precision. Current commercial RF mixed-mode systems on a chip (SoCs) are implemented on digital complementary metal oxide semiconductor (CMOS) platforms, a technology that has been used for decades to construct integrated circuits, highly integrated transceivers, microprocessors, and beyond. Despite continued advancement and scaling along the trajectory of Moore’s Law for high integration density, these CMOS platforms are unable to support operations at higher frequencies with larger signal bandwidths and higher resolutions, essentially limiting their use in next-generation mixed-mode interfaces needed for emerging defense RF applications.

To advance RF mixed-mode interfaces beyond current limitations, DARPA established the Technologies for Mixed-mode Ultra Scaled Integrated Circuits (T-MUSIC) program. T-MUSIC was first announced in January 2019 as a part of the second phase of DARPA’s Electronics Resurgence Initiative (ERI). One area of research under ERI Phase II focuses on the integration of photonics and RF components directly into advanced circuits and semiconductor manufacturing processes, enabling unique and differentiated domestic manufacturing capabilities. As such, T-MUSIC will explore the integration of mixed-mode electronics into advanced onshore semiconductor manufacturing processes. The goal is to develop highly integrated RF electronics with an unprecedented combination of wide spectral coverage, high resolution, large dynamic range, and high information processing bandwidth.

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Hart’s demonstrations are entertainment for sure. But his message runs deeper: rhythm and vibration heal the brain. Dementia, he says, is the “loss of rhythm.” And he, along with notables who collaborated on the event — University of California at San Francisco neuroscientist Adam Gazzaley and opera singer Renée Fleming (who lent her soprano to the event’s musical track) — are all at work searching for pathways that can bypass obstacles to function and cognition. Hart has also worked with Dr. Connie Tomaino, who runs the Institute for Music and Neurologic Function, on music as a therapeutic tool for brain function.

Gazzaley is currently conducting clinical trials with healthy older adults to show how a regular regimen of digital rhythm can enhance attention and memory in people with cognitive impairment. Hart has been working with Gazzaley on what will be a downloadable app, their goal to develop a game that challenges one’s rhythmic ability, with the hope of building new neuropathways in the brain. “What we’re talking about here is a deeper and longer immersive experience which can actually harness the brain’s plasticity to change the way it functions,” says Gazzaley.

Taking up an instrument as a child, and playing through adulthood is one proven way to protect one’s brain. But learning later in life is helpful, too. Hart shares the story of his unlikely best friend, Walter Cronkite, who was 73 when he became a Deadhead, and also started playing the drums. In July of 2009, as Cronkite lay dying from complications of cerebrovascular disease, Hart handed him a hand drum. “He could no longer speak, but he could play,” Hart says, tears in his eyes. “He used to ask, ‘When we do we know we have found our groove?’ Well, he found it.”

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The news: The Defense Advanced Research Projects Agency (DARPA) has conducted the first test of a new type of drone that can be launched from a plane in a swarm and recovered in mid-air when it’s done its job.

How it works: A military transport or bomber plane releases a series of drones in rapid succession. They carry out the task designated to them (surveillance, for example) and then return to the plane, docking on a line before being winched in. It looks a bit like the airborne refueling process.

Testing: A test, which took place in Utah in November but was first reported this week, showed that a military transport plane can successfully launch and monitor the drone, known as an X-61A Gremlin. However, after a successful mid-air launch and a flight lasting one hour, 41 minutes, the drone crashed when “mechanical issues” prevented its parachute from deploying, the firm behind the drone, Dynetics, said in a press statement. There’s video of the test here (it includes bad music, be warned). This spring, DARPA will try to fly and recover four of the drones for the first time.

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The image, and resulting data, has helped astronomers learn more about black holes in general, and this one in particular, making that two-year wait more than worthwhile. Part of the reason for the delay was simply the logistics of gathering so many observations. Each observatory collects data over a narrow range of wavelengths, resulting in massive amounts of information — the equivalent of up to 5,000 years of mp3 music files. That’s too much to just email someone. Researchers instead had to find ways to physically move that data around. For instance, to transport the information out of the South Pole Telescope in Antarctica, scientists had to wait until spring, when planes finally started flying out again.

Only then could researchers begin the complicated process of stitching together data from the eight observatories, a technique known as interferometry. The team had their work cut out for them: Raw files from each of the observing sites came in with different angles on the sky, in different wavelengths and at different observation times.

“The calibrating and working with it took many months,” Özel says. “And at the end we synthesize it into a single image.” But that’s still not the end of the work, she says. “[You] spend another six months worrying about all the things you might have done wrong, and ask yourself more and more questions, until finally you can be certain that what you have is real.”

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