Performance analysis and deployment of VoLTE mechanisms over 3GPP LTE-based networks

Long Term Evolution based networks lack native support for Circuit Switched (CS) services. The Evolved Packet System (EPS) which includes the Evolved UMTS Terrestrial Radio Access Network (E-UTRAN) and Evolved Packet Core (EPC) is a purely all-IP packet system. This introduces the problem of how to provide voice call support when a user is within an LTE network and how to ensure voice service continuity when the user moves out of LTE coverage area. Different technologies have been proposed for the purpose of providing a voice to LTE users and to ensure the service continues outside LTE networks. The aim of this paper is to analyze and evaluate the overall performance of these technologies along with Single Radio Voice Call Continuity (SRVCC) Inter-RAT handover to Universal Terrestrial Radio Access Networks/ GSM-EDGE radio access Networks (UTRAN/GERAN). The possible solutions for providing voice call and service continuity over LTE-based networks are Circuit Switched Fall Back (CSFB), Voice over LTE via Generic Access (VoLGA), Voice over LTE (VoLTE) based on IMS/MMTel with SRVCC and Over The Top (OTT) services like Skype. This paper focuses mainly on the 3GPP standard solutions to implement voice over LTE. The paper compares various aspects of these solutions and suggests a possible roadmap that mobile operators can adopt to provide seamless voice over LTE.

'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

Backtracks: a devised performance

Backtracks aimed to investigate critical relationships between audio-visual technologies and live performance, emphasising technologies producing sound, contrasted with non-amplified bodily sound. Drawing on methodologies for studying avant garde theatre, live performance and the performing body, it was informed by work in critical and cultural theory by, for example, Steven Connor and Jonathan Rée, on the body's experience and interpretation of sound. The performance explored how shifting national boundaries, mobile workforces, complex family relationships, cultural pluralities and possibilities for bodily transformation have compelled a re-evaluation of what it means to feel 'at home' in modernity. Using montages of live and mediated images, disrupted narratives and sound, it evoked destablised identities which characterise contemporary lived experience, and enacted the displacement of certainties provided by family and nation, community and locality, body and selfhood. Homer's Odyssey framed the performance: elements could be traced in the mise-en-scène; in the physical presence of Athene, the narrator and Penelope weaving mementoes from the past into her loom; and in voice-overs from Homer's work. The performance drew on personal experiences and improvisations, structured around notions of journey. It presented incomplete narratives, memories, repressed anxieties and dreams through different combinations of sounds, music, mediated images, movement, voice and bodily sound. The theme of travel was intensified by performers carrying suitcases and umbrellas, by soundtracks incorporating travel effects, and by the distorted video images of forms of transport playing across 'screens' which proliferated across the space (sails, umbrellas, the loom, actors' bodies). The performance experimented with giving sound and silence performative dimensions, including presenting sound in visual and imagistic ways, for example by using signs from deaf sign language. Through-composed soundtracks of live and recorded song, music, voice-over, and noise exploited the viscerality of sound and disrupted cognitive interpretation by phenomenological, somatic experience, thereby displacing the impulse for closure/destination/home.

Cancellation of siren noise from two way voice communications inside emergency vehicles

Sirens used by police, fire and paramedic vehicles have been designed so that they can be heard over large distances, but unfortunately the siren noise enters the vehicle and corrupts intelligibility of voice communications from the emergency vehicle to the control room. Often the siren needs to be turned off to enable the control room to hear what is being said. This paper discusses a siren noise filter system that is capable of removing the siren noise picked up by the two-way radio microphone inside the vehicle. The removal of the siren noise improves the response time for emergency vehicles and thus save lives. To date, the system has been trialed within a fire tender in a non-emergency situation, with good results.

The voice of the consumer speaks forcefully in brand identity: user-generated content forces smart marketers to listen

User-generated content (UGC) is attracting a great deal of interest - some of it effective, some misguided. This article reviews the marketing-related factors that gave rise to UGC, tracing the relevant development of market orientation, social interaction, word of mouth, brand relationships, consumer creativity, co-creation, and customization, largely through the pages of the Journal of Advertising Research over the last 40 (or so) of its 50 years. The authors then discuss the characteristic features of UGC and how they differ from (and are similar to) these concepts. The insights thus gained will help practitioners and researchers understand what UGC is (and is not) and how it should (and should not) be used.

An assessment of upper ocean salinity content from the ocean reanalyses inter-comparison project (ORA-IP)

Many institutions worldwide have developed ocean reanalyses systems (ORAs) utilizing a variety of ocean models and assimilation techniques. However, the quality of salinity reanalyses arising from the various ORAs has not yet been comprehensively assessed. In this study, we assess the upper ocean salinity content (depth-averaged over 0–700 m) from 14 ORAs and 3 objective ocean analysis systems (OOAs) as part of the Ocean Reanalyses Intercomparison Project. Our results show that the best agreement between estimates of salinity from different ORAs is obtained in the tropical Pacific, likely due to relatively abundant atmospheric and oceanic observations in this region. The largest disagreement in salinity reanalyses is in the Southern Ocean along the Antarctic circumpolar current as a consequence of the sparseness of both atmospheric and oceanic observations in this region. The West Pacific warm pool is the largest region where the signal to noise ratio of reanalysed salinity anomalies is >1. Therefore, the current salinity reanalyses in the tropical Pacific Ocean may be more reliable than those in the Southern Ocean and regions along the western boundary currents. Moreover, we found that the assimilation of salinity in ocean regions with relatively strong ocean fronts is still a common problem as seen in most ORAs. The impact of the Argo data on the salinity reanalyses is visible, especially within the upper 500m, where the interannual variability is large. The increasing trend in global-averaged salinity anomalies can only be found within the top 0–300m layer, but with quite large diversity among different ORAs. Beneath the 300m depth, the global-averaged salinity anomalies from most ORAs switch their trends from a slightly growing trend before 2002 to a decreasing trend after 2002. The rapid switch in the trend is most likely an artefact of the dramatic change in the observing system due to the implementation of Argo.