Analysis, evaluation and improvement of RT-WMP for real-time and QoS wireless communication: Applications in confined environments

En los ultimos años, la innovación tecnológica, la característica de flexibilidad y el rápido despligue de las redes inalámbricas, han favorecido la difusión de la redes móviles ad-hoc (MANETs), capaces de ofrecer servicios para tareas específicas entre nodos móviles. Los aspectos relacionados al dinamismo de la topología móvil y el acceso a un medio compartido por naturaleza hacen que sea preciso enfrentarse a clases de problemas distintos de los relacionados con la redes cableadas, atrayendo de este modo el interés de la comunidad científica. Las redes ad-hoc suelen soportar tráfico con garantía de servicio mínimo y la mayor parte de las propuestas presentes en literatura tratan de dar garantías de ancho de banda o minimizar el retardo de los mensajes. Sin embargo hay situaciones en las que estas garantías no son suficientes. Este es el caso de los sistemas que requieren garantías mas fuertes en la entrega de los mensajes, como es el caso de los sistemas de tiempo real donde la pérdida o el retraso de un sólo mensaje puede provocar problemas graves. Otras aplicaciones como la videoconferencia, cada vez más extendidas, implican un tráfico de datos con requisitos diferentes, como la calidad de servicio (QoS). Los requisitos de tiempo real y de QoS añaden nuevos retos al ya exigente servicio de comunicación inalámbrica entre estaciones móviles de una MANET. Además, hay aplicaciones en las que hay que tener en cuenta algo más que el simple encaminamiento de los mensajes. Este es el caso de aplicaciones en entornos subterráneos, donde el conocimiento de la evolución de propagación de la señal entre los diferentes nodos puede ser útil para mejorar la calidad de servicio y mantener la conectividad en cada momento. A pesar de ésto, dentro del amplio abanicos de propuestas presente en la literatura, existen un conjunto de limitaciones que van de el mero uso de protocolos simulados a propuestas que no tienen en cuenta entornos no convencionales o que resultan aisladas desde el punto de vista de la integración en sistemas complejos. En esta tesis doctoral, se propone un estudio completo sobre un plataforma inalámbrica de tiempo real, utilizando el protocolo RT-WMP capaz de gestionar trafíco multimedia al mismo tiempo y adaptado al entorno de trabajo. Se propone una extensión para el soporte a los datos con calidad de servicio sin limitar las caractaristícas temporales del protocolo básico. Y con el fin de tener en cuenta el efecto de la propagación de la señal, se caracteriza el entorno por medio de un conjunto de restricciones de conectividad. La solución ha sido desarrollada y su validez ha sido demostrada extensamente en aplicaciones reales en entornos subterráneos, en redes malladas y aplicaciones robóticas

Media Infrastructures and the Politics of Digital Time

Digital media everyday inscribe new patterns of time, promising instant communication, synchronous collaboration, intricate time management, and profound new advantages in speed. The essays in this volume reconsider these outward interfaces of convenience by calling attention to their supporting infrastructures, the networks of digital time that exert pressures of conformity and standardization on the temporalities of lived experience and have important ramifications for social relations, stratifications of power, practices of cooperation, and ways of life. Interdisciplinary in method and international in scope, the volume draws together insights from media and communication studies, cultural studies, and science and technology studies while staging an important encounter between two distinct approaches to the temporal patterning of media infrastructures, a North American strain emphasizing the social and cultural experiences of lived time and a European tradition, prominent especially in Germany, focusing on technological time and time-critical processes

Rethinking gamification

Gamification marks a major change to everyday life. It describes the permeation of economic, political, and social contexts by game-elements such as awards, rule structures, and interfaces that are inspired by video games. Sometimes the term is reduced to the implementation of points, badges, and leaderboards as incentives and motivations to be productive. Sometimes it is envisioned as a universal remedy to deeply transform society toward more humane and playful ends. Despite its use by corporations to manage brand communities and personnel, however, gamification is more than just a marketing buzzword. States are beginning to use it as a new tool for governing populations more effectively. It promises to fix what is wrong with reality by making every single one of us fitter, happier, and healthier. Indeed, it seems like all of society is up for being transformed into one massive game.The contributions in this book offer a candid assessment of the gamification hype. They trace back the historical roots of the phenomenon and explore novel design practices and methods. They critically discuss its social implications and even present artistic tactics for resistance. It is time to rethink gamification

Unmute This: Circulation, Sociality, and Sound in Viral Media

Cats at keyboards. Dancing hamsters. Giggling babies and dancing flashmobs. A bi-colored dress. Psy’s “Gangnam Style” music video. Over the final decade of the twentieth century and the first decades of the twenty-first, these and countless other examples of digital audiovisual phenomena have been collectively adjectivally described through a biological metaphor that suggests the speed and ubiquity of their circulation—“viral.” This circulation has been facilitated by the internet, and has often been understood as a product of the web’s celebrated capacities for democratic amateur creation, its facilitation of unmediated connection and sharing practices. In this dissertation, I suggest that participation in such phenomena—the production, watching, listening to, circulation, or “sharing” of such objects—has constituted a significant site of twenty-first-century musical practice. Borrowing and adapting Christopher Small’s influential 1998 coinage, I theorize these strands of practice as viral musicking. While scholarship on viral media has tended to center on visual parameters, rendering such phenomena silent, the term “viral musicking” seeks to draw media theory metaphors of voice and listening into dialogue with musicology, precisely at the intersection of audiovisual objects which are played, heard, listened to. The project’s methodology comprises a sonically attuned media archeology, grounded in close readings of internet artifacts and practices; this sonic attunement is afforded through musicological methods, including analyses of genre, aesthetics, and style, discourse analysis, and twenty-first-century reception (micro)histories across a dynamic media assemblage. By analyzing particular ecosystems of platforms, behavior, and devices across the first decades of the twenty-first century, I chart a trajectory in which unpredictable virtual landscapes were tamed into entrenched channels and pathways, enabling a capacious “virality” comprising disparate phenomena from simple looping animations to the surprise release of Beyoncé’s 2013 album. Alongside this narrative, I challenge utopian claims of Web 2.0’s digital democratization by explicating the iterative processes through which material, work, and labor were co-opted from amateur content creators and leveraged for the profit of established media and corporate entities. “Unmute This” articulates two main arguments. First, that virality reified as a concept and set of dynamic-but-predictable processes over the course of the first decades of the twenty-first century; this dissertation charts a cartography of chaos to control, a heterogeneous digital landscape funneled into predictable channels and pathways etched ever more firmly and deeply across the 2010s. Second, that analyzing the musicality of viral objects, attending to the musical and sonic parameters of virally-circulating phenomena, and thinking of viral participation as an extension of musical behavior provide a productive framework for understanding the affective, generic, and social aspects of twenty-first-century virality. The five chapters of the dissertation present analyses of a series of viral objects, arranged roughly chronologically from the turn of the twenty-first century to the middle of the 2010s. The first chapter examines the loops of animated phenomena from The Dancing Baby to Hampster Dance and the Badgers animation; the second moves from loops to musicalization, considering remixing approaches to the so-called “Bus Uncle” and “Bed Intruder” videos. The third chapter also deals with viral remixing, centering around Rebecca Black’s “Friday” video, while the fourth chapter analyzes “unmute this” video posts in the context of the mid-2010s social media platform assemblage. The final chapter presents the 2013 surprise release of Beyoncé’s self-titled visual album as an apotheosis to the viral narratives that precede it—a claim that is briefly interrogated in the dissertation’s epilogue

A barren legacy? The Arabian desert as trope in English travel writing, post-Thesiger

This thesis examines the anglophone literature of the recent expeditioners, scientists and travellers who have been inspired to write about their experience of the Arabian desert in the period since 1950. Many of these texts respond to the writing of earlier generations of travellers to the region, and especially to the key desert narratives of T.E. Lawrence and Wilfred Thesiger. All the modern texts under scrutiny participate in a rich intertextuality that contributes to an imaginative landscape that exceeds the sum of its geographical parts. This in turn offers an opportunity, exploited in this study, to examine how modern travellers have been able to redefine the wilderness encounter in light of wider discourses concerning postcolonialism, globalisation and ecocriticism, or whether they continue to project primarily Western preoccupations onto the supposed terra nullius of 'Arabia'. Texts contributing to the desert literature genre are identified and analysed through this study, including work by so-called ‘footstep travellers’ Charles Blackmore and Mark Evans; those drawn to the urban experience within the desert context, including James (now Jan) Morris and Tim Mackintosh-Smith; women desert travellers, such as Adrienne Brady and Marguerite van Geldermalsen, and a number of writers whose travels have taken place since 2010 and whose work helps to throw light on emerging theories such as the 'accelerated sublime' – a concept defined by sociologists Claudia Bell and John Lyall and adapted to literary criticism by Graham Huggan. Many of the texts are little-studied combinations of travel and memoir that have hitherto attracted little or no scholarly attention; by bringing them together with more prominent modern desert texts, this thesis aims to establish the existence of a subgenre of Arabian desert literature that both engages with the celebrated canon of literature connected with the region while providing new ways of reflecting on Arab modernity. This thesis contributes new scholarship, therefore, to the study of anglophone travel literature, as reflective of broader cultural discourses, and demonstrates the potential of that literature to contest divisive stereotypes of the Arabian 'other'

Securing public safety in the 'danger zone' : naval and aerial bombardment on the north-east coast of England during the First World War

The First World War was ‘total’ in scope, in that it involved the mobilisation of the entire belligerent societies, turning civilian men into soldiers for the battlefront, and endangering the lives of those remaining on the ‘home front’. While historians have dealt with the military aspects of the war from many angles, including the social and cultural lives of ‘citizen soldiers’, in addition to the movements of troops, decisive battles and military strategy, there remain omissions in the study of the home front. In particular, the experiences of non-combatants in the direct line of fire has received scant attention. This is surprising, given the degree to which civilian spaces were militarised in response to the threat of invasion and bombardment, initially from naval vessels and then from Zeppelin airships and aeroplanes. In Britain, the north-east coast of England was particularly badly affected by naval and aerial attacks, but historians have not reflected in detail on the specificities of coastal community experience in the war context.This thesis provides a multi-faceted analysis of the phenomenon of bombardment, with a distinct focus on beleaguered coastal-urban towns and cities. Taking a social and cultural approach to an array of written sources and material culture, multiple levels and voices are explored, from that of Whitehall politicians and civil servants, to local councillors, borough engineers, special constables and civilians. Beginning with pre-war and wartime narratives related to the threat of invasion and bombardment, the thesis moves on to the social and cultural resonance of bomb damage to the coastal-urban environment. This is then followed by analysis of varying levels of government policy pertaining to defence, both military and civil, including state policy-makers, local government officials, military leaders and police forces. The thesis concludes with a long view of the legacies of bombardment, beginning during the war and ending with the recent centenary period (2014-18).This thesis makes the case for a unique coastal-urban experience of war on the home front, underpinned not only by the shocking record of attacks upon the north-east coast, but by the reflection of prevalent fears about invasion and bombing in pre-war and wartime planning perspectives and policing strategies. By exploring the development of nascent civil defence as a guard against civilian bombardment, the thesis also puts forward a perspective on the endurance and resilience of civilians in coastal communities. Notions of public safety and defence, including the repulsion of enemy actions and the defence of family, community and ‘home’, undergirded both official and popular narratives. As such, this work presents a view of the coastal-urban environment at war that can enrich historical perspectives on the First World War home front, in addition to state-society and central-local relations. These phenomena are seen through the lens of the manifold activities governments and civilians themselves devised to steel resolve in the face of attack

A cinema of white masculine crisis: race and gender in contemporary British film

The focus of this thesis is contemporary British cinema. Specifically, the emergence of a representational trend within its texts that has resulted in a disproportionate number of films whose protagonists are white, male, and who are in some way, beset by crisis. Two categories of identity are thus explored in this thesis, each of which possesses its own register of meaning, each of which requires (or seems to require) a particular approach in terms of the way that it is represented in film. These two categories are race and gender. In every sense then, this thesis seeks to take part in the dialogue which since the late eighties and particularly during the 1990’s, has formed around the idea that contemporary white masculinity is in crisis, and has sought to provide evidence both for and against that idea in the texts of contemporary popular culture. What this thesis aims to add to that dialogue, however, is a greater awareness of the way in which race functions in society and in cultural representations, as well as a better understanding of the extent to which its influence is discernible in the texts of contemporary British cinema alongside the trend towards portrayals of white masculine crisis. Employing a cultural studies trajectory throughout, this thesis draws on areas of whiteness and race theory, masculinity studies, film theory, culture and media studies, plus theories of representation, in presenting its arguments, and uses the tools of close textual analysis during the film readings that are its single largest element. Special emphasis is placed on situating both the arguments put forward and the films discussed in their appropriate cultural context, and the thesis frequently looks for parallels outside cinema as a means of illustrating key ideas. Ultimately, this thesis aims to increase the balance of the discussion on the subject of white masculine crisis by highlighting the first term in the phrase, and to better the understanding of contemporary British cinema in the process