Energy and latency are the significant Quality of Service parameters of ad hoc networks. Lower latency and limited energy expenditure of nodes in the ad hoc network contributes to a prolonged lifetime of the network. Reactive protocols determine the route to the destination using a route discovery process which results in increased delay and increased energy expenditure. This paper proposes a new technique of route discovery, Dynamic Blocking Expanded Ring Search (DBERS) which minimizes time delay and energy required for route discovery process. DBERS reduces energy expenditure and time delay occurring in the existing route discovery techniques of reactive protocols. The performance of DBERS is simulated with various network topologies by considering a different number of hop lengths. The analytical results of DBERS are validated through conduction of extensive experiments by simulations that consider topologies with varying hop lengths. The analytical and simulated results of DBERS are evaluated and compared with widely used route discovery techniques such as BERS, BERS+. The comparison of results demonstrates that DBERS provides substantial improvement in time efficiency and also minimizes energy consumption.
This paper presents the design of a compact protocol for fixed-latency, high-speed, reliable, serial transmission between simple field-programmable gate arrays (FPGA) devices. Implementation of the project aims to delineate word boundaries, provide randomness to the electromagnetic interference (EMI) generated by the electrical transitions, allow for clock recovery and maintain direct current (DC) balance. An orthogonal concatenated coding scheme is used for correcting transmission errors using modified Bose–Chaudhuri–Hocquenghem (BCH) code capable of correcting all single bit errors and most of the double-adjacent errors. As a result all burst errors of a length up to 31 bits, and some of the longer group errors, are corrected within 256 bits long packet. The efficiency of the proposed solution equals 46.48%, as 119 out of 256 bits are fully available to the user. The design has been implemented and tested on Xilinx Kintex UltraScale+ KCU116 Evaluation Kit with a data rate of 28.2 Gbps. Sample latency analysis has also been performed so that user could easily carry out calculations for different transmission speed. The main advancement of the work is the use of modified BCH(15, 11) code that leads to high error correction capabilities for burst errors and user friendly packet length.
Virtual or active acoustics refers to the generation of a simulated room response by means of electroacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user interface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.
The window is a recurring image in the imaginarium and the art of Tadeusz Kantor. Fixed in his memory at an early age, it resurfaced in the spectacle Wielopole, Wielopole (1980) as a plain object "of the reality of the lowest kind", and in the 'cricotage' A Very Short Lesson (1988) as a quasi stage prop charged with metaphysical meaning. The window motif is also a persistent feature of his graphic art. Most notably, it appears in the drawing Man and window (1971), a picture for the Dead Class (Window) from 1983, an autothematic cycle of paintings You cannot look inside through the window with impunity (1988-1990), and Kantor's last dated drawing of pigeons being watched through a window. Kantor's fascination with the window as an objet d'art can be explained by his philosophical aesthetics (especially the use of objects as markers of the 'spaces' of the stage action). This article analyzes the image of the window as a 'site' of special significance in Kantor's art (an object that encapsulates the antynomy of inside/outside, or a claustrophobic incarceration/a barrier to entry) in the context of Hans-Ulrich Gumbrecht's theory of latency (i.e. the inability of throwing off the past, the suspension of time symbolized by artistic constructs of imprisonment).