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The 6 Series MSO comes with a standard removable SSD that contains a closed embedded operating system that will boot as a dedicated scope with no ability to run or install other programs. An optional SSD with Windows 10 operating system is available that will boot to an open Windows 10 configuration, so you can minimize the oscilloscope application and access a Windows desktop where you can install and run additional applications on the oscilloscope or you can connect additional monitors and extend your desktop. Simply swap the drives as needed through an access panel on the bottom of the instrument.
The instrument contains an optional integrated arbitrary/function generator, perfect for simulating sensor signals within a design or adding noise to signals to perform margin testing. The integrated function generator provides output of predefined waveforms up to 50 MHz for sine, square, pulse, ramp/triangle, DC, noise, sin(x)/x (Sinc), Gaussian, Lorentz, exponential rise/fall, Haversine and cardiac. The AFG can load waveform records up to 128 k points in size from an internal file location or a USB mass storage device.
Another key test was related to the validation of analog signal acquisition. A sinusoidal signal of 200 Hz and 200 mVpp was generated with an Agilent 33220a signal generator, then acquired with the entire pipeline of hardware ADC, firmware on the ARM microcontroller and recorded in a desktop computer with the public user API. The result is shown in the time domain in Figure 4a. In order to verify the spectral quality of the acquired signal and discard artifacts, such that those caused by jitter are in the sampling frequency (refer to Section 2.2), we also computed the power spectral density of the signal (using a Hanning window). The result, in Figure 4b, demonstrates an excellent performance, with a very clean peak at 200 Hz, an average of a 90-dB Signal-to-Noise Ratio (SNR), with the theoretical prediction for an N-bit ADC and a sinusoidal input being 6.02N + 1.76 dB = 98.08 dB.
The ever-present PC, in many ways, parallels the presence of the typewriter in the 1950s, 60s and 70s, which led artists to experiment with the grid-like form of mechanical type to create concrete and, eventually, dirty concrete poetry. My work is inspired by these artists and the typewriter poetry they composed. My work also references art collective JODI's compositions and how our contemporary society resists the limitations of the GUI.
The ever-present PC, in many ways, parallels the presence of the typewriter in the 1950s, 60s and 70s, which led artists to experiment with the grid-like form of mechanical type to create concrete poetry. Perhaps the most obvious reincarnation of these dirty typewriter artists and their goals is through glitch art. Glitch art or glitch aesthetics has its roots in the most basic malfunctioning of electronic equipment (glitch). Its aesthetics reside in those moments when the digital, visual, or auditory performs in unexpected ways: the wrong colors, extreme pixilation, a skipping recording, an alien-like photo, an upside-down video, a link that leads nowhere, etc. Glitch aesthetics, then, as Emerson explains it in The John Hopkins Guide to Digital Media, involves experimentation with the visible results of provoked or unprovoked computer error . The artists who glitch rely on the unanticipated, and often anxiety-producing, behaviors of technology as the foundation of their art form. That is, theirs are compositions focus on what usually creates unease in the user, something other than the standard, anticipated construct of the GUI. 2b1af7f3a8