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    Adaptive spectrum assessment for opportunistic access in cognitive radio networks

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    Abstract-Studies showed that the static nature of the traditional spectrum allocation methods, currently being used to share the radio spectrum, resulted in a plenty of unused spectrum opportunities that wireless devices can still potentially exploit. Fortunately, recent technological advances enabled software-defined radios (SDRs) that can switch from one spectrum band (SB) to another at minimum cost, thereby promoting dynamic and adaptive spectrum access and sharing. In this paper, we derive and study an adaptive spectrum assessment approach that allows devices to decide how to seek spectrum opportunities effectively. In the event when a decision is made in favor of discovering new opportunities, the proposed approach allows devices to determine the optimal number of SBs to be explored so that the device benefits from such an opportunistic spectrum access. This approach is optimal in that it strikes a balance between two conflicting needs: keeping spectrum assessment overhead low while increasing the likelihood of discovering spectrum opportunities. We study the effect of several network parameters, such as the primary traffic load, the secondary traffic load, and the collaboration level of the sensing method, on the optimal number of SBs that devices need to explore. Index Terms-Adaptive spectrum assessment, opportunistic spectrum access, software-defined radios, cognitive radio networks I. INTRODUCTION The recently-witnessed success of wireless-based services and networks has resulted in an explosive demand for the electromagnetic radio spectrum. The spectrum supply, on the other hand, hasn't kept up with this fast demand. As a result, there is an expected shortage of spectrum supply, which prompted regulatory bodies, such as FCC (Federal Communications Commission), to think of new ways that will make use of the available spectrum more effectively. In an effort to assess the current state of spectrum use, FCC has recently conducted a measurement-based study As of today, the available radio spectrum is divided by FCC into spectrum bands (SBs), and statically assigned to users according to one of two model

    Going Beyond Counting First Authors in Author Co-citation Analysis

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    The present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed

    Variations on the Author

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    “Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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