Revisiting silk: a lens-free optical physical unclonable function

For modern security, devices, individuals, and communications require unprecedentedly unique identifiers and cryptographic keys. One emerging method for guaranteeing digital security is to take advantage of a physical unclonable function. Surprisingly, native silk, which has been commonly utilized in everyday life as textiles, can be applied as a unique tag material, thereby removing the necessary apparatus for optical physical unclonable functions, such as an objective lens or a coherent light source. Randomly distributed fibers in silk generate spatially chaotic diffractions, forming self-focused spots on the millimeter scale. The silk-based physical unclonable function has a self-focusing, low-cost, and eco-friendly feature without relying on pre-/post-process for security tag creation. Using these properties, we implement a lens-free, optical, and portable physical unclonable function with silk identification cards and study its characteristics and reliability in a systemic manner. We further demonstrate the feasibility of the physical unclonable functions in two modes: authentication and data encryption.

Quantification of STEM Images in High Resolution SEM for Segmented and Pixelated Detectors

The segmented semiconductor detectors for transmitted electrons in ultrahigh resolution scanning electron microscopes allow observing samples in various imaging modes. Typically, two standard modes of objective lens, with and without a magnetic field, differ by their resolution. If the beam deceleration mode is selected, then an electrostatic field around the sample is added. The trajectories of transmitted electrons are influenced by the fields below the sample. The goal of this paper is a quantification of measured images and theoretical study of the capability of the detector to collect signal electrons by its individual segments. Comparison of measured and ray-traced simulated data were difficult in the past. This motivated us to present a new method that enables better comparison of the two datasets at the cost of additional measurements, so-called calibration curves. Furthermore, we also analyze the measurements acquired using 2D pixel array detector (PAD) that provide a more detailed angular profile. We demonstrate that the radial profiles of STEM and/or 2D-PAD data are sensitive to material composition. Moreover, scattering processes are affected by thickness of the sample as well. Hence, comparing the two experimental and simulation data can help to estimate composition or the thickness of the sample.

Canadian Settlement in Action: History and Future

The five chapters of this book encapsulate the past, present, and future of Canadian immigration and settlement. The topics, in part, cover the history of immigration to Canada through an objective lens that allows readers to learn what transpired with the settlement of specific ethnic groups, as well as address Canada’s current policies and approaches to immigration. This leads to an exploration of the challenges that newcomers to Canada and the settlement sector are encountering today. Readers and learners of settlement studies will embark on a journey of self-reflection throughout this book as they engage in many activities, quizzes, and interactions which may be self-directed or instructor led.

Direct Observation of Axial Dynamics of Particle Manipulation With Weber Self-Accelerating Beams

Optical manipulation of micro-particles with nondiffracting and self-accelerating beams has been successfully applied in many research fields such as chemicophysics, material sciences and biomedicine. Such operation mainly focuses on the particle transport and control in the beam propagation direction. However, the conventional optical microscopy is specifically designed for obtaining the sample information located in the lateral plane, which is perpendicular to the optical axis of the detecting objective lens, making the real-time observation of particle dynamics in axial plane a challenge. In this work, we propose and demonstrate a technique which integrates a special beam optical tweezer with a direct axial plane imaging system. Here, particles are transported in aqueous solution along a parabolic trajectory by a designed nonparaxial Weber self-accelerating beam, and the particle motion dynamics both in lateral and axial plane are monitored in real-time by the axial plane imaging technique.

Listening to Yourself Listening: The Metaperceptual Approach to Sound Art

<p>This thesis presents a framework for the creation and analysis of metaperceptual sound artworks. Metaperceptual is a term coined herein to describe a range of works that use the perception of the audience as their artistic materials. They provoke their audiences to direct their attention back upon themselves, inviting audiences to observe the nature of their perception and the subjectivity of their experience. A core focus of many contemporary works is the experience of the audience. These works act as ‘experience shapers’, guiding the audience through their materials and creating environments in which the audience can explore on their own terms. Metaperceptual works share this focus by drawing the audience’s attention back upon themselves, provoking them to attend to the subjectivity of their own experience. These works reveal facets of our perception that constantly mediate our experience, yet often go overlooked and unexplored. The framework presents a systematic ordering of different approaches to creating metaperceptual works. Three main categories of works are identified: Deprivation, Perceptual Translation, and Perceptual Hacking. Deprivation works involve the removal, reduction, or denial of the audience’s perceptual field. They intervene in the audience’s everyday modes of interaction by silencing the din of the world, revealing the facets of experience that often go unnoticed or are masked from our awareness. Perceptual Translation works directly interface with the audience’s perceptual apparatus by shifting, extending, and rearranging its orientation and organisation. These works offer the allure of experiencing what it is like to be someone or something else. By allowing us to experience the world through an altered lens, these works give us a new perspective on ourselves and the ways in which our perceptual apparatus mediates our experience. Lastly, Perceptual Hacking works involves a rich variety of perceptual oddities and artefacts. These works creatively misuse facets of the audience’s perceptual apparatus and perceptual processes, and, in doing so, reveal that our perception is not a neutral objective lens through which to perceive the world. Metaperceptual works employ a diversity of materials and techniques, and traverse a variety of media and styles. While these themes have most extensively been explored in the visual arts, their potential for sonic exploration is a key concern subject of this research. The framework maps the artistic terrain of metaperceptual approaches, and speculates on the potential for new metaperceptual works. To this end, a portfolio of new metaperceptual sound artworks is presented. These works test the metaperceptual framework, enacting the artistic avenues identified during its development. The works span a range of the approaches identified in the metaperceptual framework, and are manifestations of the framework as a creative tool.</p>

Listening to Yourself Listening: The Metaperceptual Approach to Sound Art

<p>This thesis presents a framework for the creation and analysis of metaperceptual sound artworks. Metaperceptual is a term coined herein to describe a range of works that use the perception of the audience as their artistic materials. They provoke their audiences to direct their attention back upon themselves, inviting audiences to observe the nature of their perception and the subjectivity of their experience. A core focus of many contemporary works is the experience of the audience. These works act as ‘experience shapers’, guiding the audience through their materials and creating environments in which the audience can explore on their own terms. Metaperceptual works share this focus by drawing the audience’s attention back upon themselves, provoking them to attend to the subjectivity of their own experience. These works reveal facets of our perception that constantly mediate our experience, yet often go overlooked and unexplored. The framework presents a systematic ordering of different approaches to creating metaperceptual works. Three main categories of works are identified: Deprivation, Perceptual Translation, and Perceptual Hacking. Deprivation works involve the removal, reduction, or denial of the audience’s perceptual field. They intervene in the audience’s everyday modes of interaction by silencing the din of the world, revealing the facets of experience that often go unnoticed or are masked from our awareness. Perceptual Translation works directly interface with the audience’s perceptual apparatus by shifting, extending, and rearranging its orientation and organisation. These works offer the allure of experiencing what it is like to be someone or something else. By allowing us to experience the world through an altered lens, these works give us a new perspective on ourselves and the ways in which our perceptual apparatus mediates our experience. Lastly, Perceptual Hacking works involves a rich variety of perceptual oddities and artefacts. These works creatively misuse facets of the audience’s perceptual apparatus and perceptual processes, and, in doing so, reveal that our perception is not a neutral objective lens through which to perceive the world. Metaperceptual works employ a diversity of materials and techniques, and traverse a variety of media and styles. While these themes have most extensively been explored in the visual arts, their potential for sonic exploration is a key concern subject of this research. The framework maps the artistic terrain of metaperceptual approaches, and speculates on the potential for new metaperceptual works. To this end, a portfolio of new metaperceptual sound artworks is presented. These works test the metaperceptual framework, enacting the artistic avenues identified during its development. The works span a range of the approaches identified in the metaperceptual framework, and are manifestations of the framework as a creative tool.</p>