Academic literature on the topic 'Intellectual radar complex'

The problem of the development of modern mobile smart-handled LPI radars using artificial intelligence technologies, the main difference of which is the construction of the CFAR function, which takes into account the influence of external and internal factors and requirements for the purpose, also distinguishes the developed radar among others in its class. The analysis of the publications was showed a great interest in modern radar systems and the lack of a unified approach to solving this problem. The purpose of the article is to reduce this gap, from collecting information from radar sensors and internal sensors to construct a generic multidimensional CFAR function and for organize its effect on the receiving and transmitting part of the radar. The application of artificial intelligence technologies in the construction of a modeling complex of LPI radars with CFAR function and their debugging in real time is covered.

IntroductionClinician-patient communication is a major factor in influencing outcomes of healthcare. Complexity increases if an individual has multiple health needs requiring support of different clinicians or agencies.AimTo develop and evidence a simple dynamic computerised tool to capture and communicate outcomes of intervention or alteration in clinical need in patients with multiple chronic health needs.MethodA MS Excel algorithm was designed for swift capture of clinical information discussed in an appointment using pre-designed set of evidenced based domains. An instant personalized single screen visual is produced to facilitate information sharing and decision-making. The display is responsive to compare changes across time. A prototype was conceptually tested in an epilepsy clinic for people with Intellectual disability (ID) due to the unique challenges posed in this population.ResultsEvidence across 300 patients with ID and epilepsy showed the tool works by enhancing reflective communication, compliance and therapeutic relationship. Medication and appointment compliance was 95% and patient satisfaction over 90%.ConclusionTo discuss all influencing health factors in a consultation is a communication challenge esp. if the patient has multiple health needs. A picture equals 1000 words and helps address the cognitive complexity of verbal information. The radar offers an evidenced based common framework to host care plans of different health conditions. It provides individualised easy view person centred care plans to allow patients to gain insight on how the different conditions impact on their overall well being and be active participants. The tool will be practically demonstrated.Disclosure of interestThe authors have not supplied their declaration of competing interest.

The features of goal-setting control while ensuring the information stability of the sounding modes of a surveillance radar when it is suppressed by active interference and interfering information influences are considered. Overcoming the complexity of goal-setting processes, the validity and efficiency of decision-making with a shortage of time for its adoption is associated with insuring the consistency of goal-setting processes, increasing the levels of their intellectualization and formalization. This will contribute to imparting the desired properties, synthesized during the conflict, to the multipurpose strategies and the situational law of the control of the REP processes and the coordination of actions. An increase in the level of intellectualization of goal-setting processes is ensured by: - decomposition of the general goal-setting problem into separate, simpler subtasks with effective solutions, implemented in the corresponding subsystems of the ACSstab (or basic associations of its functional elements) at stages of information support, preparation, adoption and implementation of the decision at the stages of hierarchical levels of management; - cognitive analysis of goals and reflexive synthesis of goal-setting processes using the capabilities of a specialized intelligent decision support system to enhance the creative-reflexive abilities of the subject of management and increase the level of his professional competencies; - combining the universality of the stages of rational management of the synthesis of the strategy for managing the REP processes with the specifics of conflict situations, subjectivity, cognition and reflexivity nature of intellectual control. Methods and means for partial formalization of goal-setting processes are presented, when the structuring of the main goal is carried out taking into account belonging to the strategies of internal and external control of the REP, the decomposition of the two-sided dynamic model of the conflict between the systems of the RES complex and the radar, the hierarchy of management levels, various approaches applied to goal-setting in a crisis management, as well as methods of justifying goals, resource costs and control of achieving the goals. These features can significantly reduce the degree of subjectivity of management for goal-setting and achieve their validity, completeness, consistency.

It is possible to look at the special features of the goal setting while ensuring information stability of radar sounding modes when they are suppressed by the active interferences and interfering information influences. Overcoming the complexity of goal-setting processes, the validity and prompt decision-making with a shortage of time for its adoption is associated with insuring the consistency of goal-setting the levels of their intellectualization and formalization. This will contribute to imparting the desired properties, synthesized during the conflict, to the multipurpose strategies and the situational law of the control of the REP processes and the coordination of actions. An increase in the level of intellectualization of goal-setting processes is ensured by: decomposition of the general goal-setting problem into separate, simpler subtasks with effective solutions, implemented in the corresponding subsystems of the ACSstab (or basic associations of its functional elements) at stages of information support, preparation, adoption and implementation of the decision at the stages of hierarchical levels of management; cognitive analysis of goals and reflexive synthesis of goal-setting processes using the capabilities of a specialized intelligent decision support system to enhance the creative-reflexive abilities of the subject of management and increase the level of his professional competencies; combining the universality of the stages of rational management of the synthesis of the strategy for managing the REP processes with the specifics of conflict situations, subjectivity, cognition and reflexivity nature of intellectual control. Methods and means of partial formalization of goal-setting processes are presented, when the structuring of the main goal is carried out taking into account belonging to the strategies of internal and external control of the REP, the decomposition of the two-sided dynamic model of the conflict between the systems of the RES complex and the radar, the hierarchy of management levels, various approaches applied to goal-setting in a crisis management, as well as methods of justifying goals, resource costs and control of achieving the goals. These features can significantly reduce the degree of subjectivity of management for goal-setting and achieve their validity, completeness, consistency.

Both School of Hegalianism from the Western philosophy and School of Taoism from the ancient Chinese intellectual schools of thoughts can be unquestionably epitomised as two quintessential, enigmatic schools of dialectics, which to a large degree facilitate the intellectual researchers and scholars within the field of philosophy, humanities, social sciences and so forth to theoretically deconstruct and extrapolate the complex, authentic, objective world system and global human civilisations in a dialectical and synthetic fashion instead of the metaphysical and intuitive perspectives alone. In that regard, the hypothetical questions of 1) whether both Hegalianism and Taoism share certain implicit reciprocal conceptual components that may outweigh their explicitly diametrical diversity owning to the explicit heterogeneity in historical background, social development trajectory, and socioeconomic and politico-economic development pattern between the Agrarian Civilisation and the Oceanic Civilisation in history, and of 2) whether their intellectual thoughts and legacies of dialectics can accurately monitor and predict the infinite occurrence of inter-civilisational, international development issues and human development affairs may at least help to construct a thought-provoking theoretical guideline and framework, which are unquestionably worthy of profound theoretic investigation and empirical analysis. The ultimate purpose of this academic manuscript attempts to dialectically identify and deconstruct certain vital dissimilarities and complementarities between Hegelianism and Taoism and philosophically build a theoretical bridge that interconnects them for the sake of follow-up empirical analysis of their differentiated methodologies. Moreover, this paper seeks to in a dialectical fashion evaluate the availability, applicability and functionality of these two intellectual schools in a context of inter-civilisational and international development, especially pertaining to the underlying themes of global economic crisis and macroeconomic recovery, the unprecedented global climate crisis, and global COVID-19 pandemic with much insufficiency of global sanitation partnership reform and imbalanced means of production. This academic manuscript seeks to itemise and quantify the diverse conceptual components between Hegelianism and Taoism as well as qualitative comments on their potential areas that they might share and develop. Additionally, this paper attempts to undertake hermeneutic retrospectives of their legacies of dialectics and case studies of international, inter-civilisational development issues and human development issues. In a nutshell, on a basis of existential research findings so far, this paper draws preliminary conclusions that the reflexivity of dialectics from Hegelianism and Taoism helps to classify and clarify the implicit dogmatic principles that drive the advancement of global human development, and inter-civilisational development on the grounds of dialectical antithesis as the theoretical guidelines. On the other hand, neither of them can mostly accurately function as a guarantee for maximum prediction and monitoring of world affairs, which necessitates updated data elaboration, comprehensive out-of-box thinking mode, maximum interdisciplinary theoretical breakthroughs and discovery from a maximum dialectical, inter-civilisational perspectives. That can prevent the readers, scholars and researchers from falling into the idealistic solipsism.

ndustry of our state. Its core components include rocket, aircraft and shipbuilding plants, aircraft and ship engine-building, armored vehicles and radio-electronic equipment, ammunition and special chemicals, repair services. Nowadays the main requirement for the national military-industrial complex which has been focused on the export of its products for many years, is to meet the needs of the Armed Forces of Ukraine and other military formations in armaments and military equipment quickly and efficiently.But the implementation of the main function of the military-industrial complex is hampered by both chronic problems of the defense industry (a small number of closed research-production cycles for the development and manufacture of weapons, depreciation of industrial equipment and outdated technologies, lack of human, financial, material resources, a large number of counterparties) and new challenges, for the successful overcoming of which, it is necessary to take a number of measures at the legislative level to reform the military-industrial complex and create appropriate conditions for its development, to attract private partners who could provide significant assistance to the defense industry in Ukraine in solving current tasks and related problems due to active implementation of various projects in the military-industrial sphere within the framework of public-private partnership. This is what actualizes the issue of this study.Recent research and publications analysis. The analysis of national and international publications showed that the issues connected with the topic of research are currently covered in the studies of many authors, namely: A. Kalyaev, Y. Shimov, T. Korolyuk, Y. Gusev, A. Abramovichus, M. Zhorokhov and other scientists. However, issues related to the problems of the development of the military-industrial complex of Ukraine and ways of overcoming them have not been studied sufficiently. Highlighting previously unsettled parts of the general problem. The purpose and objectives of the article are to analyze the problems of development of the military-industrial complex of Ukraine as an important component of the country's security as well as to identify ways of improving the situation in the field of the military-industrial complex.Paper main body. Nowadays, in order to defeat the aggressor – Russia, defense enterprises need to unite their assets, resources or technologies. We have been at war for 7 years and during all this period of time each defense enterprise has been strengthening the defense capabilities of our country seperately, because the current legislation which regulates the work of Ukroboronprom does not allow them to get united. The reform of Ukroboronprom will allow enterprises to achieve better results in the production of weapons and military equipment by getting their assets, resources and technologies united. And this in its turn will help simplify and reduce the cost of production processes.Reforming of Ukroboronprom makes it possible to attract foreign direct investments, to create additional value for our products. The Ukrainian military-industrial complex will become an attractive and reliable partner in domestic and foreign markets. The league of defense enterprises will give an opportunity to establish a full cycle of production: precision-guided munitions, radars, ammunition and special chemicals, armored vehicles as well as aircraft and ship repair services.Conclusions of the research and prospects for further studies. The given analysis makes it possible to find out that the future of the Ukrainian military- industrial complex depends on foreign investors, who, despite the war, are providing financial resources for the development and modernization of armaments.Ukraine will benefit from cooperation with foreign investors as all developments will remain the intellectual property of Ukrainian companies. This allows developing samples of military armaments.The current situation with military exports is not hopeless. There are some branches where Ukraine can compete with Russia or Eastern Europe. Everything will depend on the efficiency of Ukroboronprom's top managers and private initiative as small companies have been given the opportunity to enter foreign markets without total control by the state monopolist.The successfully implemented reforms of Ukroboronprom will provide an opportunity to bring defense enterprises as well as design bureaus of Ukraine to life by attracting investments. In fact, they will be attracted by a defense company which will replace the current Ukroboronprom. As long as our companies continuously manufacture, modernize and repair armaments for the needs of our army as the main internal customer, the defense company mentioned above will act as a corporate center or a strategic architect of the entire reform. That is, it will help to get the corporate model of management "on the rails" without stopping the production .Thus, the defense company will take the leadership in all transformations, will control and be responsible for the realisation of the strategy, business plans, the implementation of the established rules and policies. But above all, it will help state-owned defense enterprises to make a quantum leap into the future that has already come.

The Australian Government has been actively evaluating how best to merge the functions of the Australian Communications Authority (ACA) and the Australian Broadcasting Authority (ABA) for around two years now. Broadly, the reason for this is an attempt to keep pace with the communications media transformations we reduce to the term “convergence.” Mounting pressure for restructuring is emerging as a site of turf contestation: the possibility of a regulatory “one-stop shop” for governments (and some industry players) is an end game of considerable force. But, from a public interest perspective, the case for a converged regulator needs to make sense to audiences using various media, as well as in terms of arguments about global, industrial, and technological change. This national debate about the institutional reshaping of media regulation is occurring within a wider global context of transformations in social, technological, and politico-economic frameworks of open capital and cultural markets, including the increasing prominence of international economic organisations, corporations, and Free Trade Agreements (FTAs). Although the recently concluded FTA with the US explicitly carves out a right for Australian Governments to make regulatory policy in relation to existing and new media, considerable uncertainty remains as to future regulatory arrangements. A key concern is how a right to intervene in cultural markets will be sustained in the face of cultural, politico-economic, and technological pressures that are reconfiguring creative industries on an international scale. While the right to intervene was retained for the audiovisual sector in the FTA, by contrast, it appears that comparable unilateral rights to intervene will not operate for telecommunications, e-commerce or intellectual property (DFAT). Blurring Boundaries A lack of certainty for audiences is a by-product of industry change, and further blurs regulatory boundaries: new digital media content and overlapping delivering technologies are already a reality for Australia’s media regulators. These hypothetical media usage scenarios indicate how confusion over the appropriate regulatory agency may arise: 1. playing electronic games that use racist language; 2. being subjected to deceptive or misleading pop-up advertising online 3. receiving messaged imagery on your mobile phone that offends, disturbs, or annoys; 4. watching a program like World Idol with SMS voting that subsequently raises charging or billing issues; or 5. watching a new “reality” TV program where products are being promoted with no explicit acknowledgement of the underlying commercial arrangements either during or at the end of the program. These are all instances where, theoretically, regulatory mechanisms are in place that allow individuals to complain and to seek some kind of redress as consumers and citizens. In the last scenario, in commercial television under the sector code, no clear-cut rules exist as to the precise form of the disclosure—as there is (from 2000) in commercial radio. It’s one of a number of issues the peak TV industry lobby Commercial TV Australia (CTVA) is considering in their review of the industry’s code of practice. CTVA have proposed an amendment to the code that will simply formalise the already existing practice . That is, commercial arrangements that assist in the making of a program should be acknowledged either during programs, or in their credits. In my view, this amendment doesn’t go far enough in post “cash for comment” mediascapes (Dwyer). Audiences have a right to expect that broadcasters, production companies and program celebrities are open and transparent with the Australian community about these kinds of arrangements. They need to be far more clearly signposted, and people better informed about their role. In the US, the “Commercial Alert” <http://www.commercialalert.org/> organisation has been lobbying the Federal Communications Commission and the Federal Trade Commission to achieve similar in-program “visual acknowledgements.” The ABA’s Commercial Radio Inquiry (“Cash-for-Comment”) found widespread systemic regulatory failure and introduced three new standards. On that basis, how could a “standstill” response by CTVA, constitute best practice for such a pervasive and influential medium as contemporary commercial television? The World Idol example may lead to confusion for some audiences, who are unsure whether the issues involved relate to broadcasting or telecommunications. In fact, it could be dealt with as a complaint to the Telecommunication Industry Ombudsman (TIO) under an ACA registered, but Australian Communications Industry Forum (ACIF) developed, code of practice. These kind of cross-platform issues may become more vexed in future years from an audience’s perspective, especially if reality formats using on-screen premium rate service numbers invite audiences to participate, by sending MMS (multimedia messaging services) images or short video grabs over wireless networks. The political and cultural implications of this kind of audience interaction, in terms of access, participation, and more generally the symbolic power of media, may perhaps even indicate a longer-term shift in relations with consumers and citizens. In the Internet example, the Australian Competition and Consumer Commission’s (ACCC) Internet advertising jurisdiction would apply—not the ABA’s “co-regulatory” Internet content regime as some may have thought. Although the ACCC deals with complaints relating to Internet advertising, there won’t be much traction for them in a more complex issue that also includes, say, racist or religious bigotry. The DVD example would probably fall between the remits of the Office of Film and Literature Classification’s (OFLC) new “convergent” Guidelines for the Classification of Film and Computer Games and race discrimination legislation administered by the Human Rights and Equal Opportunity Commission (HREOC). The OFLC’s National Classification Scheme is really geared to provide consumer advice on media products that contain sexual and violent imagery or coarse language, rather than issues of racist language. And it’s unlikely that a single person would have the locus standito even apply for a reclassification. It may fall within the jurisdiction of the HREOC depending on whether it was played in public or not. Even then it would probably be considered exempt on free speech grounds as an “artistic work.” Unsolicited, potentially illegal, content transmitted via mobile wireless devices, in particular 3G phones, provide another example of content that falls between the media regulation cracks. It illustrates a potential content policy “turf grab” too. Image-enabled mobile phones create a variety of novel issues for content producers, network operators, regulators, parents and viewers. There is no one government media authority or agency with a remit to deal with this issue. Although it has elements relating to the regulatory activities of the ACA, the ABA, the OFLC, the TIO, and TISSC, the combination of illegal or potentially prohibited content and its carriage over wireless networks positions it outside their current frameworks. The ACA may argue it should have responsibility for this kind of content since: it now enforces the recently enacted Commonwealth anti-Spam laws; has registered an industry code of practice for unsolicited content delivered over wireless networks; is seeking to include ‘adult’ content within premium rate service numbers, and, has been actively involved in consumer education for mobile telephony. It has also worked with TISSC and the ABA in relation to telephone sex information services over voice networks. On the other hand, the ABA would probably argue that it has the relevant expertise for regulating wirelessly transmitted image-content, arising from its experience of Internet and free and subscription TV industries, under co-regulatory codes of practice. The OFLC can also stake its claim for policy and compliance expertise, since the recently implemented Guidelines for Classification of Film and Computer Games were specifically developed to address issues of industry convergence. These Guidelines now underpin the regulation of content across the film, TV, video, subscription TV, computer games and Internet sectors. Reshaping Institutions Debates around the “merged regulator” concept have occurred on and off for at least a decade, with vested interests in agencies and the executive jockeying to stake claims over new turf. On several occasions the debate has been given renewed impetus in the context of ruling conservative parties’ mooted changes to the ownership and control regime. It’s tended to highlight demarcations of remit, informed as they are by historical and legal developments, and the gradual accretion of regulatory cultures. Now the key pressure points for regulatory change include the mere existence of already converged single regulatory structures in those countries with whom we tend to triangulate our policy comparisons—the US, the UK and Canada—increasingly in a context of debates concerning international trade agreements; and, overlaying this, new media formats and devices are complicating existing institutional arrangements and legal frameworks. The Department of Communications, Information Technology & the Arts’s (DCITA) review brief was initially framed as “options for reform in spectrum management,” but was then widened to include “new institutional arrangements” for a converged regulator, to deal with visual content in the latest generation of mobile telephony, and other image-enabled wireless devices (DCITA). No other regulatory agencies appear, at this point, to be actively on the Government’s radar screen (although they previously have been). Were the review to look more inclusively, the ACCC, the OFLC and the specialist telecommunications bodies, the TIO and the TISSC may also be drawn in. Current regulatory arrangements see the ACA delegate responsibility for broadcasting services bands of the radio frequency spectrum to the ABA. In fact, spectrum management is the turf least contested by the regulatory players themselves, although the “convergent regulator” issue provokes considerable angst among powerful incumbent media players. The consensus that exists at a regulatory level can be linked to the scientific convention that holds the radio frequency spectrum is a continuum of electromagnetic bands. In this view, it becomes artificial to sever broadcasting, as “broadcasting services bands” from the other remaining highly diverse communications uses, as occurred from 1992 when the Broadcasting Services Act was introduced. The prospect of new forms of spectrum charging is highly alarming for commercial broadcasters. In a joint submission to the DCITA review, the peak TV and radio industry lobby groups have indicated they will fight tooth and nail to resist new regulatory arrangements that would see a move away from the existing licence fee arrangements. These are paid as a sliding scale percentage of gross earnings that, it has been argued by Julian Thomas and Marion McCutcheon, “do not reflect the amount of spectrum used by a broadcaster, do not reflect the opportunity cost of using the spectrum, and do not provide an incentive for broadcasters to pursue more efficient ways of delivering their services” (6). An economic rationalist logic underpins pressure to modify the spectrum management (and charging) regime, and undoubtedly contributes to the commercial broadcasting industry’s general paranoia about reform. Total revenues collected by the ABA and the ACA between 1997 and 2002 were, respectively, $1423 million and $3644.7 million. Of these sums, using auction mechanisms, the ABA collected $391 million, while the ACA collected some $3 billion. The sale of spectrum that will be returned to the Commonwealth by television broadcasters when analog spectrum is eventually switched off, around the end of the decade, is a salivating prospect for Treasury officials. The large sums that have been successfully raised by the ACA boosts their position in planning discussions for the convergent media regulatory agency. The way in which media outlets and regulators respond to publics is an enduring question for a democratic polity, irrespective of how the product itself has been mediated and accessed. Media regulation and civic responsibility, including frameworks for negotiating consumer and citizen rights, are fundamental democratic rights (Keane; Tambini). The ABA’s Commercial Radio Inquiry (‘cash for comment’) has also reminded us that regulatory frameworks are important at the level of corporate conduct, as well as how they negotiate relations with specific media audiences (Johnson; Turner; Gordon-Smith). Building publicly meaningful regulatory frameworks will be demanding: relationships with audiences are often complex as people are constructed as both consumers and citizens, through marketised media regulation, institutions and more recently, through hybridising program formats (Murdock and Golding; Lumby and Probyn). In TV, we’ve seen the growth of infotainment formats blending entertainment and informational aspects of media consumption. At a deeper level, changes in the regulatory landscape are symptomatic of broader tectonic shifts in the discourses of governance in advanced information economies from the late 1980s onwards, where deregulatory agendas created an increasing reliance on free market, business-oriented solutions to regulation. “Co-regulation” and “self-regulation’ became the preferred mechanisms to more direct state control. Yet, curiously contradicting these market transformations, we continue to witness recurring instances of direct intervention on the basis of censorship rationales (Dwyer and Stockbridge). That digital media content is “converging” between different technologies and modes of delivery is the norm in “new media” regulatory rhetoric. Others critique “visions of techno-glory,” arguing instead for a view that sees fundamental continuities in media technologies (Winston). But the socio-cultural impacts of new media developments surround us: the introduction of multichannel digital and interactive TV (in free-to-air and subscription variants); broadband access in the office and home; wirelessly delivered content and mobility, and, as Jock Given notes, around the corner, there’s the possibility of “an Amazon.Com of movies-on-demand, with the local video and DVD store replaced by online access to a distant server” (90). Taking a longer view of media history, these changes can be seen to be embedded in the global (and local) “innovation frontier” of converging digital media content industries and its transforming modes of delivery and access technologies (QUT/CIRAC/Cutler & Co). The activities of regulatory agencies will continue to be a source of policy rivalry and turf contestation until such time as a convergent regulator is established to the satisfaction of key players. However, there are risks that the benefits of institutional reshaping will not be readily available for either audiences or industry. In the past, the idea that media power and responsibility ought to coexist has been recognised in both the regulation of the media by the state, and the field of communications media analysis (Curran and Seaton; Couldry). But for now, as media industries transform, whatever the eventual institutional configuration, the evolution of media power in neo-liberal market mediascapes will challenge the ongoing capacity for interventions by national governments and their agencies. Works Cited Australian Broadcasting Authority. Commercial Radio Inquiry: Final Report of the Australian Broadcasting Authority. Sydney: ABA, 2000. Australian Communications Information Forum. Industry Code: Short Message Service (SMS) Issues. Dec. 2002. 8 Mar. 2004 <http://www.acif.org.au/__data/page/3235/C580_Dec_2002_ACA.pdf >. Commercial Television Australia. Draft Commercial Television Industry Code of Practice. Aug. 2003. 8 Mar. 2004 <http://www.ctva.com.au/control.cfm?page=codereview&pageID=171&menucat=1.2.110.171&Level=3>. Couldry, Nick. The Place of Media Power: Pilgrims and Witnesses of the Media Age. London: Routledge, 2000. Curran, James, and Jean Seaton. Power without Responsibility: The Press, Broadcasting and New Media in Britain. 6th ed. London: Routledge, 2003. Dept. of Communication, Information Technology and the Arts. Options for Structural Reform in Spectrum Management. Canberra: DCITA, Aug. 2002. ---. Proposal for New Institutional Arrangements for the ACA and the ABA. Aug. 2003. 8 Mar. 2004 <http://www.dcita.gov.au/Article/0,,0_1-2_1-4_116552,00.php>. Dept. of Foreign Affairs and Trade. Australia-United States Free Trade Agreement. Feb. 2004. 8 Mar. 2004 <http://www.dfat.gov.au/trade/negotiations/us_fta/outcomes/11_audio_visual.php>. Dwyer, Tim. Submission to Commercial Television Australia’s Review of the Commercial Television Industry’s Code of Practice. Sept. 2003. Dwyer, Tim, and Sally Stockbridge. “Putting Violence to Work in New Media Policies: Trends in Australian Internet, Computer Game and Video Regulation.” New Media and Society 1.2 (1999): 227-49. Given, Jock. America’s Pie: Trade and Culture After 9/11. Sydney: U of NSW P, 2003. Gordon-Smith, Michael. “Media Ethics After Cash-for-Comment.” The Media and Communications in Australia. Ed. Stuart Cunningham and Graeme Turner. Sydney: Allen and Unwin, 2002. Johnson, Rob. Cash-for-Comment: The Seduction of Journo Culture. Sydney: Pluto, 2000. Keane, John. The Media and Democracy. Cambridge: Polity, 1991. Lumby, Cathy, and Elspeth Probyn, eds. Remote Control: New Media, New Ethics. Melbourne: Cambridge UP, 2003. Murdock, Graham, and Peter Golding. “Information Poverty and Political Inequality: Citizenship in the Age of Privatized Communications.” Journal of Communication 39.3 (1991): 180-95. QUT, CIRAC, and Cutler & Co. Research and Innovation Systems in the Production of Digital Content and Applications: Report for the National Office for the Information Economy. Canberra: Commonwealth of Australia, Sept. 2003. Tambini, Damian. Universal Access: A Realistic View. IPPR/Citizens Online Research Publication 1. London: IPPR, 2000. Thomas, Julian and Marion McCutcheon. “Is Broadcasting Special? Charging for Spectrum.” Conference paper. ABA conference, Canberra. May 2003. Turner, Graeme. “Talkback, Advertising and Journalism: A cautionary tale of self-regulated radio”. International Journal of Cultural Studies 3.2 (2000): 247-255. ---. “Reshaping Australian Institutions: Popular Culture, the Market and the Public Sphere.” Culture in Australia: Policies, Publics and Programs. Ed. Tony Bennett and David Carter. Melbourne: Cambridge UP, 2001. Winston, Brian. Media, Technology and Society: A History from the Telegraph to the Internet. London: Routledge, 1998. Web Links http://www.aba.gov.au http://www.aca.gov.au http://www.accc.gov.au http://www.acif.org.au http://www.adma.com.au http://www.ctva.com.au http://www.crtc.gc.ca http://www.dcita.com.au http://www.dfat.gov.au http://www.fcc.gov http://www.ippr.org.uk http://www.ofcom.org.uk http://www.oflc.gov.au Links http://www.commercialalert.org/ Citation reference for this article MLA Style Dwyer, Tim. "Transformations" M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0403/06-transformations.php>. APA Style Dwyer, T. (2004, Mar17). Transformations. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0403/06-transformations.php>

One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decadence of the age. Dr Laura had been told that a disgusting video clip, called 'Rock DJ', had been televised at 2:30pm on MTV. Children could have been watching. The footage that so troubled our doyenne of daytime featured the British performer Robbie Williams not only stripping in front of disinterested women, but then removing skin, muscle and tissue in a desperate attempt to claim their gaze. This was too much for Dr Laura. She was horrified: her strident tone became piercing. She screeched, "this is si-ee-ck." . My paper is drawn to this sick masculinity, not to judge - but to laugh and theorise. Robbie Williams, the deity of levity, holds a pivotal role in theorising the contemporary 'crisis' of manhood. To paraphrase Austin Powers, Williams returned the ger to singer. But Williams also triumphed in a captivatingly original way. He is one of the few members of a boy band who created a successful solo career without regurgitating the middle of the road mantras of boys, girls, love, loss and whining about it. Williams' journey through post-war popular music, encompassing influences from both Sinatra and Sonique, forms a functional collage, rather than patchwork, of masculinity. He has been prepared to not only age in public, but to discuss the crevices and cracks in the facade. He strips, smokes, plays football, wears interesting underwear and drinks too much. My short paper trails behind this combustible masculinity, focussing on his sorties with both masculine modalities and the rock discourse. My words attack the gap between text and readership, beat and ear, music and men. The aim is to reveal how this 'sick masculinity' problematises the conservative rendering of men's crisis. Come follow me I'm an honorary Sean Connery, born '74 There's only one of me … Press be asking do I care for sodomy I don't know, yeah, probably I've been looking for serial monogamy Not some bird that looks like Billy Connolly But for now I'm down for ornithology Grab your binoculars, come follow me. 'Kids,' Robbie Williams Robbie Williams is a man for our age. Between dating supermodels and Geri 'Lost Spice' Halliwell [1], he has time to "love … his mum and a pint," (Ansen 85) but also subvert the Oasis cock(rock)tail by frocking up for a television appearance. Williams is important to theories of masculine representation. As a masculinity to think with, he creates popular culture with a history. In an era where Madonna practices yoga and wears cowboy boots, it is no surprise that by June 2000, Robbie Williams was voted the world's sexist man [2]. A few months later, in the October edition of Vogue, he posed in a British flag bikini. It is reassuring in an era where a 12 year old boy states that "You aren't a man until you shoot at something," (Issac in Mendel 19) that positive male role models exist who are prepared to both wear a frock and strip on national television. Reading Robbie Williams is like dipping into the most convincing but draining of intellectual texts. He is masculinity in motion, conveying foreignness, transgression and corruption, bartering in the polymorphous economies of sex, colonialism, race, gender and nation. His career has spanned the boy bands, try-hard rock, video star and hybrid pop performer. There are obvious resonances between the changes to Williams and alterations in masculinity. In 1988, Suzanne Moore described (the artist still known as) Prince as "the pimp of postmodernism." (165-166) Over a decade later, the simulacra has a new tour guide. Williams revels in the potency of representation. He rarely sings about love or romance, as was his sonic fodder in Take That. Instead, his performance is fixated on becoming a better man, glancing an analytical eye over other modes of masculinity. Notions of masculine crisis and sickness have punctuated this era. Men's studies is a boom area of cultural studies, dislodging the assumed structures of popular culture [3]. William Pollack's Real Boys has created a culture of changing expectations for men. The greater question arising from his concerns is why these problems, traumas and difficulties are emerging in our present. Pollack's argument is that boys and young men invest energy and time "disguising their deepest and most vulnerable feelings." (15) This masking is difficult to discern within dance and popular music. Through lyrics and dancing, videos and choreography, masculinity is revealed as convoluted, complex and fragmented. While rock music is legitimised by dominant ideologies, marginalised groups frequently use disempowered genres - like country, dance and rap genres - to present oppositional messages. These competing representations expose seamless interpretations of competent masculinity. Particular skills are necessary to rip the metaphoric pacifier out of the masculine mouth of popular culture. Patriarchal pop revels in the paradoxes of everyday life. Frequently these are nostalgic visions, which Kimmel described as a "retreat to a bygone era." (87) It is the recognition of a shared, simpler past that provides reinforcement to heteronormativity. Williams, as a gaffer tape masculinity, pulls apart the gaps and crevices in representation. Theorists must open the interpretative space encircling popular culture, disrupting normalising criteria. Multiple nodes of assessment allow a ranking of competent masculinity. From sport to business, drinking to sex, masculinity is transformed into a wired site of ranking, judgement and determination. Popular music swims in the spectacle of maleness. From David Lee Roth's skied splits to Eminem's beanie, young men are interpellated as subjects in patriarchy. Robbie Williams is a history lesson in post war masculinity. This nostalgia is conservative in nature. The ironic pastiche within his music videos features motor racing, heavy metal and Bond films. 'Rock DJ', the 'sick text' that vexed Doctor Laura, is Williams' most elaborate video. Set in a rollerdrome with female skaters encircling a central podium, the object of fascination and fetish is a male stripper. This strip is different though, as it disrupts the power held by men in phallocentralism. After being confronted by Williams' naked body, the observing women are both bored and disappointed at the lack-lustre deployment of masculine genitalia. After this display, Williams appears embarrassed, confused and humiliated. As Buchbinder realised, "No actual penis could every really measure up to the imagined sexual potency and social or magical power of the phallus." (49) To render this banal experience of male nudity ridiculous, Williams then proceeds to remove skin and muscle. He finally becomes an object of attraction for the female DJ only in skeletal form. By 'going all the way,' the strip confirms the predictability of masculinity and the ordinariness of the male body. For literate listeners though, a higher level of connotation is revealed. The song itself is based on Barry White's melody for 'It's ecstasy (when you lay down next to me).' Such intertextuality accesses the meta-racist excesses of a licentious black male sexuality. A white boy dancer must deliver an impotent, but ironic, rendering of White's (love unlimited) orchestration of potent sexuality. Williams' iconography and soundtrack is refreshing, emerging from an era of "men who cling … tightly to their illusions." (Faludi 14) When the ideological drapery is cut away, the male body is a major disappointment. Masculinity is an anxious performance. Fascinatingly, this deconstructive video has been demeaned through its labelling as pornography [4]. Oddly, a man who is prepared to - literally - shave the skin of masculinity is rendered offensive. Men's studies, like feminism, has been defrocking masculinity for some time. Robinson for example, expressed little sympathy for "whiny men jumping on the victimisation bandwagon or playing cowboys and Indians at warrior weekends and beating drums in sweat lodges." (6) By grating men's identity back to the body, the link between surface and depth - or identity and self - is forged. 'Rock DJ' attacks the new subjectivities of the male body by not only generating self-surveillance, but humour through the removal of clothes, skin and muscle. He continues this play with the symbols of masculine performance throughout the album Sing when you're winning. Featuring soccer photographs of players, coaches and fans, closer inspection of the images reveal that Robbie Williams is actually every character, in every role. His live show also enfolds diverse performances. Singing a version of 'My Way,' with cigarette in tow, he remixes Frank Sinatra into a replaying and recutting of masculine fabric. He follows one dominating masculinity with another: the Bond-inspired 'Millennium.' Some say that we are players Some say that we are pawns But we've been making money Since the day we were born Robbie Williams is comfortably located in a long history of post-Sinatra popular music. He mocks the rock ethos by combining guitars and drums with a gleaming brass section, hailing the lounge act of Dean Martin, while also using rap and dance samples. Although carrying fifty year's of crooner baggage, the spicy scent of homosexuality has also danced around Robbie Williams' career. Much of this ideology can be traced back to the Take That years. As Gary Barlow and Jason Orange commented at the time, Jason: So the rumour is we're all gay now are we? Gary: Am I gay? I am? Why? Oh good. Just as long as we know. Howard: Does anyone think I'm gay? Jason: No, you're the only one people think is straight. Howard: Why aren't I gay? What's wrong with me? Jason: It's because you're such a fine figure of macho manhood.(Kadis 17) For those not literate in the Take That discourse, it should come as no surprise that Howard was the TT equivalent of The Beatle's Ringo Starr or Duran Duran's Andy Taylor. Every boy band requires the ugly, shy member to make the others appear taller and more attractive. The inference of this dialogue is that the other members of the group are simply too handsome to be heterosexual. This ambiguous sexuality has followed Williams into his solo career, becoming fodder for those lads too unappealing to be homosexual: Oasis. Born to be mild I seem to spend my life Just waiting for the chorus 'Cause the verse is never nearly Good enough Robbie Williams "Singing for the lonely." Robbie Williams accesses a bigger, brighter and bolder future than Britpop. While the Gallagher brothers emulate and worship the icons of 1960s British music - from the Beatles' haircuts to the Stones' psychedelia - Williams' songs, videos and persona are chattering in a broader cultural field. From Noel Cowardesque allusions to the ordinariness of pub culture, Williams is much more than a pretty-boy singer. He has become an icon of English masculinity, enclosing all the complexity that these two terms convey. Williams' solo success from 1999-2001 occurred at the time of much parochial concern that British acts were not performing well in the American charts. It is bemusing to read Billboard over this period. The obvious quality of Britney Spears is seen to dwarf the mediocrity of British performers. The calibre of Fatboy Slim, carrying a smiley backpack stuffed with reflexive dance culture, is neither admitted nor discussed. It is becoming increasing strange to monitor the excessive fame of Williams in Britain, Europe, Asia and the Pacific when compared to his patchy career in the United States. Even some American magazines are trying to grasp the disparity. The swaggering king of Britpop sold a relatively measly 600,000 copies of his U.S. debut album, The ego has landed … Maybe Americans didn't appreciate his songs about being famous. (Ask Dr. Hip 72) In the first few years of the 2000s, it has been difficult to discuss a unified Anglo-American musical formation. Divergent discursive frameworks have emerged through this British evasion. There is no longer an agreed centre to the musical model. Throughout 1990s Britain, blackness jutted out of dance floor mixes, from reggae to dub, jazz and jungle. Plied with the coldness of techno was an almost too hot hip hop. Yet both were alternate trajectories to Cool Britannia. London once more became swinging, or as Vanity Fair declared, "the nerve centre of pop's most cohesive scene since the Pacific Northwest grunge explosion of 1991." (Kamp 102) Through Britpop, the clock turned back to the 1960s, a simpler time before race became 'a problem' for the nation. An affiliation was made between a New Labour, formed by the 1997 British election, and the rebirth of a Swinging London [5]. This style-driven empire supposedly - again - made London the centre of the world. Britpop was itself a misnaming. It was a strong sense of Englishness that permeated the lyrics, iconography and accent. Englishness requires a Britishness to invoke a sense of bigness and greatness. The contradictions and excesses of Blur, Oasis and Pulp resonate in the gap between centre and periphery, imperial core and colonised other. Slicing through the arrogance and anger of the Gallaghers is a yearning for colonial simplicity, when the pink portions of the map were the stable subjects of geography lessons, rather than the volatile embodiment of postcolonial theory. Simon Gikandi argues that "the central moments of English cultural identity were driven by doubts and disputes about the perimeters of the values that defined Englishness." (x) The reason that Britpop could not 'make it big' in the United States is because it was recycling an exhausted colonial dreaming. Two old Englands were duelling for ascendancy: the Oasis-inflected Manchester working class fought Blur-inspired London art school chic. This insular understanding of difference had serious social and cultural consequences. The only possible representation of white, British youth was a tabloidisation of Oasis's behaviour through swearing, drug excess and violence. Simon Reynolds realised that by returning to the three minute pop tune that the milkman can whistle, reinvoking parochial England with no black people, Britpop has turned its back defiantly on the future. (members.aol.com/blissout/Britpop.html) Fortunately, another future had already happened. The beats per minute were pulsating with an urgent affirmation of change, hybridity and difference. Hip hop and techno mapped a careful cartography of race. While rock was colonialisation by other means, hip hop enacted a decolonial imperative. Electronic dance music provided a unique rendering of identity throughout the 1990s. It was a mode of musical communication that moved across national and linguistic boundaries, far beyond Britpop or Stateside rock music. While the Anglo American military alliance was matched and shadowed by postwar popular culture, Brit-pop signalled the end of this hegemonic formation. From this point, English pop and American rock would not sail as smoothly over the Atlantic. While 1995 was the year of Wonderwall, by 1996 the Britpop bubble corroded the faces of the Gallagher brothers. Oasis was unable to complete the American tour. Yet other cultural forces were already active. 1996 was also the year of Trainspotting, with "Born Slippy" being the soundtrack for a blissful journey under the radar. This was a cultural force that no longer required America as a reference point [6]. Robbie Williams was able to integrate the histories of Britpop and dance culture, instigating a complex dialogue between the two. Still, concern peppered music and entertainment journals that British performers were not accessing 'America.' As Sharon Swart stated Britpop acts, on the other hand, are finding it less easy to crack the U.S. market. The Spice Girls may have made some early headway, but fellow purveyors of pop, such as Robbie Williams, can't seem to get satisfaction from American fans. (35 British performers had numerous cultural forces working against them. Flat global sales, the strength of the sterling and the slow response to the new technological opportunities of DVD, all caused problems. While Britpop "cleaned house," (Boehm 89) it was uncertain which cultural formation would replace this colonising force. Because of the complex dialogues between the rock discourse and dance culture, time and space were unable to align into a unified market. American critics simply could not grasp Robbie Williams' history, motives or iconography. It's Robbie's world, we just buy tickets for it. Unless, of course you're American and you don't know jack about soccer. That's the first mistake Williams makes - if indeed one of his goals is to break big in the U.S. (and I can't believe someone so ambitious would settle for less.) … Americans, it seems, are most fascinated by British pop when it presents a mirror image of American pop. (Woods 98 There is little sense that an entirely different musical economy now circulates, where making it big in the United States is not the singular marker of credibility. Williams' demonstrates commitment to the international market, focussing on MTV Asia, MTV online, New Zealand and Australian audiences [7]. The Gallagher brothers spent much of the 1990s trying to be John Lennon. While Noel, at times, knocked at the door of rock legends through "Wonderwall," he snubbed Williams' penchant for pop glory, describing him as a "fat dancer." (Gallagher in Orecklin 101) Dancing should not be decried so summarily. It conveys subtle nodes of bodily knowledge about men, women, sex and desire. While men are validated for bodily movement through sport, women's dancing remains a performance of voyeuristic attention. Such a divide is highly repressive of men who dance, with gayness infiltrating the metaphoric masculine dancefloor [8]. Too often the binary of male and female is enmeshed into the divide of rock and dance. Actually, these categories slide elegantly over each other. The male pop singers are located in a significant semiotic space. Robbie Williams carries these contradictions and controversy. NO! Robbie didn't go on NME's cover in a 'desperate' attempt to seduce nine-year old knickerwetters … YES! He used to be teenybopper fodder. SO WHAT?! So did the Beatles the Stones, the Who, the Kinks, etc blah blah pseudohistoricalrockbollocks. NO! Making music that gurlz like is NOT a crime! (Wells 62) There remains an uncertainty in his performance of masculinity and at times, a deliberate ambivalence. He grafts subversiveness into a specific lineage of English pop music. The aim for critics of popular music is to find a way to create a rhythm of resistance, rather than melody of credible meanings. In summoning an archaeology of the archive, we begin to write a popular music history. Suzanne Moore asked why men should "be interested in a sexual politics based on the frightfully old-fashioned ideas of truth, identity and history?" (175) The reason is now obvious. Femininity is no longer alone on the simulacra. It is impossible to separate real men from the representations of masculinity that dress the corporeal form. Popular music is pivotal, not for collapsing the representation into the real, but for making the space between these states livable, and pleasurable. Like all semiotic sicknesses, the damaged, beaten and bandaged masculinity of contemporary music swaddles a healing pedagogic formation. Robbie Williams enables the writing of a critical history of post Anglo-American music [9]. Popular music captures such stories of place and identity. Significantly though, it also opens out spaces of knowing. There is an investment in rhythm that transgresses national histories of music. While Williams has produced albums, singles, video and endless newspaper copy, his most important revelations are volatile and ephemeral in their impact. He increases the popular cultural vocabulary of masculinity. [1] The fame of both Williams and Halliwell was at such a level that it was reported in the generally conservative, pages of Marketing. The piece was titled "Will Geri's fling lose its fizz?" Marketing, August 2000: 17. [2] For poll results, please refer to "Winners and Losers," Time International, Vol. 155, Issue 23, June 12, 2000, 9 [3] For a discussion of this growth in academic discourse on masculinity, please refer to Paul Smith's "Introduction," in P. Smith (ed.), Boys: Masculinity in contemporary culture. Colorado: Westview Press, 1996. [4] Steve Futterman described Rock DJ as the "least alluring porn video on MTV," in "The best and worst: honour roll," Entertainment Weekly 574-575 (December 22-December 29 2000): 146. [5] Michael Bracewell stated that "pop provides an unofficial cartography of its host culture, charting the national mood, marking the crossroads between the major social trends and the tunnels of the zeitgeist," in "Britpop's coming home, it's coming home." New Statesman .(February 21 1997): 36. [6] It is important to make my point clear. The 'America' that I am summoning here is a popular cultural formation, which possesses little connection with the territory, institution or defence initiatives of the United States. Simon Frith made this distinction clear, when he stated that "the question becomes whether 'America' can continue to be the mythical locale of popular culture as it has been through most of this century. As I've suggested, there are reasons now to suppose that 'America' itself, as a pop cultural myth, no longer bears much resemblance to the USA as a real place even in the myth." This statement was made in "Anglo-America and its discontents," Cultural Studies 5 1991: 268. [7] To observe the scale of attention paid to the Asian and Pacific markets, please refer to http://robbiewilliams.com/july13scroll.html, http://robbiewilliams.com/july19scroll.html and http://robbiewilliams.com/july24scroll.html, accessed on March 3, 2001 [8] At its most naïve, J. Michael Bailey and Michael Oberschneider asked, "Why are gay men so motivated to dance? One hypothesis is that gay men dance in order to be feminine. In other words, gay men dance because women do. An alternative hypothesis is that gay men and women share a common factor in their emotional make-up that makes dancing especially enjoyable," from "Sexual orientation in professional dance," Archives of Sexual Behaviour. 26.4 (August 1997). Such an interpretation is particularly ludicrous when considering the pre-rock and roll masculine dancing rituals in the jive, Charleston and jitterbug. Once more, the history of rock music is obscuring the history of dance both before the mid 1950s and after acid house. [9] Women, gay men and black communities through much of the twentieth century have used these popular spaces. For example, Lynne Segal, in Slow Motion. London: Virago, 1990, stated that "through dancing, athletic and erotic performance, but most powerfully through music, Black men could express something about the body and its physicality, about emotions and their cosmic reach, rarely found in white culture - least of all in white male culture,": 191 References Ansen, D., Giles, J., Kroll, J., Gates, D. and Schoemer, K. "What's a handsome lad to do?" Newsweek 133.19 (May 10, 1999): 85. "Ask Dr. Hip." U.S. News and World Report 129.16 (October 23, 2000): 72. Bailey, J. Michael., and Oberschneider, Michael. "Sexual orientation in professional dance." Archives of Sexual Behaviour. 26.4 (August 1997):expanded academic database [fulltext]. Boehm, E. "Pop will beat itself up." Variety 373.5 (December 14, 1998): 89. Bracewell, Michael. "Britpop's coming home, it's coming home." New Statesman.(February 21 1997): 36. Buchbinder, David. Performance Anxieties .Sydney: Allen and Unwin, 1998. Faludi, Susan. Stiffed. London: Chatto and Windus, 1999. Frith, Simon. "Anglo-America and its discontents." Cultural Studies. 5 1991. Futterman, Steve. "The best and worst: honour roll." Entertainment Weekly, 574-575 (December 22-December 29 2000): 146. Gikandi, Simon. Maps of Englishness. New York: Columbia University Press, 1996. Kadis, Alex. Take That: In private. London: Virgin Books, 1994. Kamp, D. "London Swings! Again!" Vanity Fair ( March 1997): 102. Kimmel, Michael. Manhood in America. New York: The Free Press, 1996. Mendell, Adrienne. How men think. New York: Fawcett, 1996. Moore, Susan. "Getting a bit of the other - the pimps of postmodernism." In Rowena Chapman and Jonathan Rutherford (ed.) Male Order .London: Lawrence and Wishart, 1988. 165-175. Orecklin, Michele. "People." Time. 155.10 (March 13, 2000): 101. Pollack, William. Real boys. Melbourne: Scribe Publications, 1999. Reynolds, Simon. members.aol.com/blissout/britpop.html. Accessed on April 15, 2001. Robinson, David. No less a man. Bowling Green: Bowling Green State University, 1994. Segal, Lynne. Slow Motion. London: Virago, 1990. Smith, Paul. "Introduction" in P. Smith (ed.), Boys: Masculinity in contemporary culture. Colorado: Westview Press, 1996. Swart, S. "U.K. Showbiz" Variety.(December 11-17, 2000): 35. Sexton, Paul and Masson, Gordon. "Tips for Brits who want U.S. success" Billboard .(September 9 2000): 1. Wells, Steven. "Angst." NME.(November 21 1998): 62. "Will Geri's fling lose its fizz?" Marketing.(August 2000): 17. Woods, S. "Robbie Williams Sing when you're winning" The Village Voice. 45.52. (January 2, 2001): 98.

Диссертация на соискание ученой степени кандидата технических наук по специальности 05.13.06 – информационные технологии. – Национальный технический университет "Харьковский политехнический институт", Харьков, 2016. Диссертация посвящена решению научно-практической задачи разработки метода для повышения эффективности обнаружения и распознавания сигналов в радиолокационных комплексах путем интеллектуализации обработки сигнальной информации. В работе проанализированы научные достижения в области обработки сигналов, определены задачи обработки сигналов и подходы к их решению. В технологии обработки радиолокационных сигналов предложено выделить два этапа: внутриобзорная и междуобзорная обработка сигналов. На основе данного подхода разработаны спектрально-семантическая и пространственно-семантическая модели обработки радиолокационных сигналов. В работе усовершенствован метод формализации процессов восприятия и преобразования сигналов и сигнальных образов, который основан на компараторной идентификации, и позволяет определять семантическую составляющую сигналов и сигнальных образов на этапе предварительной обработки информации. Предложена реализация информационной технологии обработки сигналов в интеллектуальных радиолокационных комплексах с учетом спектрально-семантической и пространственно-семантической моделей. Данный подход позволяет моделировать процессы обработки и распознавания радиолокационных сигналов и сигнальных образов средствами алгебры конечных предикатов. На этапе внутриобзорной обработки сигналов и сигнальных образов объекты классифицируются по спектральному образу с помощью спектрально-семантической модели. Предварительная обработка пачки сигналов основана на формировании предикатной формы спектрального образа, затем на ее основе определяются значения признаков, и осуществляется идентификация объекта. На этапе междуобзорной обработки сигналов для уточнения результатов идентификации объектов используется пространственно-семантическая модель. Рассматривается система дискретных выборок – элементов обработки по дальности и азимуту. Для описания ситуации вокруг анализируемого в данный момент элемента изображения (элемента зоны обзора РЛС), вводится система предикатных признаков. По оценке значений признаков в каждом элементе обработки и полученным предикатным уравнениям определяется воздушный объект. Предложенная модель позволяет определять отметки воздушных объектов на фоне мешающих отражений и наблюдать динамику изменения в течение нескольких обзоров РЛС.
Thesis for a candidate degree in technical science, specialty 05.13.06 – Information Technologies. – National Technical University "Kharkiv Polytechnic Institute". – Kharkiv, 2016. This thesis deals with a topical theoretical and practical task to improve the efficiency of information technologies for the processing and identifying of radar signals. Scientific achievements in signal processing are analysed, tasks to process signals and approaches to their solution are determined in the thesis. It is proposed to distinguish two stages in the technology of radar signal processing: intrasurveillance and intersurveillance signal processing. On the basis of this approach, spectral-semantic and spatial-semantic models are developed. Testing and the evaluation of the research results, which are based on the information technology developed, are made. The results are put into practice in: the module of multisurveillance processing of radar signals and data for surveillance radars of the Ministry of Defence of Ukraine; the research project Development of Systems of Radiomonitoring and Passive Direction Finding; Scientific Production Firm Optima Ltd.; an educational process of the Department of Information Technologies and Mechatronics in Kharkov National Automobile and Highway University.

Дисертація на здобуття наукового ступеня кандидата технічних наук за спеціальністю 05.13.06 – інформаційні технології. – Національний технічний університет "Харківський політехнічний інститут", Харків, 2016. У дисертаційній роботі вирішена науково-практична задача розроблення методу для підвищення ефективності виявлення та розпізнавання сигналів в радіолокаційних комплексах шляхом інтелектуалізації обробки сигнальної інформації. У роботі проаналізовано наукові досягнення в галузі обробки сигналів, визначено задачі обробки сигналів та підходи до їх вирішення. У технології обробки радіолокаційних сигналів запропоновано виділити два етапи: внутрішньооглядова й міжоглядова обробка сигналів. На основі цього підходу створено спектрально-семантичну і просторово-семантичну моделі обробки радіолокаційних сигналів. Проведено апробацію й оцінку ефективності результатів дослідження, отриманих на базі розробленої інформаційної технології. Результати впроваджено в модулі багатооглядової обробки радіолокаційних сигналів та інформації для оглядових РЛС МО України, у науково-дослідному проекті "Розробка систем радіоконтролю, радіомоніторингу та систем пасивної пеленгації" ТОВ НПФ "Оптима", а також у навчальний процес кафедри інформаційних технологій та мехатроніки ХНАДУ.
Thesis for a candidate degree in technical science, specialty 05.13.06 – Information Technologies. – National Technical University "Kharkiv Polytechnic Institute". – Kharkiv, 2016. This thesis deals with a topical theoretical and practical task to improve the efficiency of information technologies for the processing and identifying of radar signals. Scientific achievements in signal processing are analysed, tasks to process signals and approaches to their solution are determined in the thesis. It is proposed to distinguish two stages in the technology of radar signal processing: intrasurveillance and intersurveillance signal processing. On the basis of this approach, spectral-semantic and spatial-semantic models are developed. Testing and the evaluation of the research results, which are based on the information technology developed, are made. The results are put into practice in: the module of multisurveillance processing of radar signals and data for surveillance radars of the Ministry of Defence of Ukraine; the research project Development of Systems of Radiomonitoring and Passive Direction Finding; Scientific Production Firm Optima Ltd.; an educational process of the Department of Information Technologies and Mechatronics in Kharkov National Automobile and Highway University.