The continuously growing throughput in wireless applications severely impacts the architecture and design of modern transceivers. One of the most challenging aspects is the design of the power amplifier (PA). Indeed, this block dominantly determines the overall transceiver power efficiency and therefore battery life-time. On the other hand, PA linearity is a key feature that limits the maximum allowed data rate. The goal of this thesis is to investigate and design novel smart architectures circumventing the stringent linearity/efficiency trade-off for third generation cellular and data transmission standards. A demonstrator has been developed on silicon (0.25µm BiCMOS ST Microelectronics technology), and has allowed validating the efficiency/linearity improvement principle. / Abstract

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A poetry chapbook. / https://dc.etsu.edu/alumni_books/1011/thumbnail.jpg

Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 125-129). Available online via OhioLINK's ETD Center

Thesis (M.F.A.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains vi, 32 p. : ill. (some col.). Includes sound file in the mp3 audio format. Vita. Includes abstract. Includes bibliographical references (p. 29).

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The creative project consisted of ten drawings, as well as research, documentation, and written evaluation. These drawings involved the surface manipulation of elements, physical and implied, within the two-dimensional plane.The drawings evolved from relatively conventional methods utilizing non-traditional materials to more experimental processes employing traditional media. A very strong emphasis was placed on the development of appropriate geometric and bio-morphic, plastic elements. The actual process of drawing was give primary focus in the refinement of style.This creative project provided many new insights into the manipulative properties of various materials upon the imaged surface.

This study was composed of several large detailed drawings of forms from nature. The drawings were total abstractions of organic forms that had been photographed. The basic composition was structures-of ovals, rectangles and circles with various combinations of the three. With in the basic structures the writer subdivided the areas manipulating organic free forms with reliefs of white special areas.