El siguiente trabajo tiene como principal objetivo el plantear la condición de subalternidad que poseen ciertos discursos minoritarios en relación a un discurso oficial dominante, y cuales son las formas que estos discursos no oficiales han ocupado para manifestarse o construir un cuerpo de identificación que les permita diferenciarse. Para ello se abordará el tema de las tribus urbanas y sus modos de comportamientos, en especial el Hip Hop, por conformar una subcultura urbana que agrupa un comportamiento estético y de expresión artística para manifestar su desacuerdo con el sistema social imperante.

With the rise of First Nations owned and created television content at the turn of the century, came a demand to see an accurate representation of Aboriginality that could look at Aboriginals as both here and modern. From 2003-2006, the first Aboriginal made and produced television series entitled Moccasin Flats, I argue, used modern day hip-hop discourse to both engage and dissect a host of complex issues facing modern day urban Aboriginal society. This research project mobilizes multiple methodologies; including: 1.) Eco’s code and sign function semiotic analysis, which operates to identify various hip-hop codes in the text; 2.)Hall’s method of articulation to look at how meaning is fixed in the discourse surrounding the show; and finally 3) Deleuze’s rhizomic approach to identity to see how the shows main characters are constructed in a way to highlight the paradoxical and undercut certain flirtations with essentialization. This three-tiered methodological process paints a picture of a new complex use of discourse to accentuate different facets of aboriginality that had previously been the sole product of dominant hegemonic institutions which relied on racist stereotypes. By dissecting how identity is formed on Moccasin Flats, I will show how aboriginal filmmakers construct a self-reflexive space where the character is perpetually in the process of ‘becoming’ and identity is always a site of negotiation.

Multiple Input Multiple Output (MIMO) systems use multiple transmit and receive antennas to achieve higher data rates by transmitting multiple independent data systems. Transmission errors can be reduced by using Hybrid Automatic Repeat request (HARQ) combining techniques with MIMO systems. In this thesis, the use of HARQ for MIMO multi-hop communication is studied. We propose two MIMO HARQ combining methods which are based on using pre-combiningonly and a joint pre and post combining techniques. In addition to conventional single-hop transmission, HARQ schemes for MIMO multi-hop relay systems are also investigated. A novel approach is proposed to deal with the parallel HARQ processes in MIMO relay scenario. An information theoretic throughput analysis is performed to evaluate the performance of the relay system by employing various transmission techniques for relay-destination link. Evaluation is carried out on the delay involved while employing the relay systems as compared to single hop systems. Simulation results show that the proposed system can enhance the overall throughput performance of MIMO single-hop and multi-hop relay systems. Considering the recent research interest in green radio and requirements of reduced energy consumption by the wireless networks, we evaluated the energy efficiency of existing and proposed MIMO HARQ techniques for sensor and cellular networks. The results show that the proposed scheme is more energy efficient compared to other schemes in single-hop as well as multi-hop scenarios.

The thesis deals with sensor networks and their localization. First section describes sensor networks in general and explains problems of localization and routing. The second part deals with localization using anchors. The principal of the Dv-hop and DV-Distance are there described in detail. These algorithms are used for simulations in Matlab in the main part of this thesis. According to the simulations the most sufficient number of sensors for good localization is estimated.

Tesis para optar al grado de magíster en artes, mención musicología / Adentrarme en el estudio del comportamiento de quienes se reúnen alrededor de la música hip hop en Chile me exigía la utilización de un concepto que diera cuenta del grupo social que investigo, es decir, a los hiphoperos chilenos. Reconozco en el concepto de escena musical un referente para caracterizar a mi objeto de estudio, porque hace mención a una territorialidad en donde confluyen diferentes participantes por el agrado hacia un determinado género musical, en este caso el hip hop. No obstante, el término no es satisfactorio del todo a mis propósitos porque básicamente infiero una cierta jerarquización entre los involucrados. Tanto la industria como los músicos se encontrarían en un estadio superior en referencia a por ejemplo los seguidores, quienes incluso algunos no necesariamente se inmiscuyen en la práctica de este género. Ante esto, en el presente trabajo, prefiero utilizar el de comunidad musical, porque aun cuando los propios hiphoperos chilenos incurren en una jerarquización del tipo informal, en un primer momento todos se posicionaron desde un mismo escalafón, especialmente cuando la industria cultural aún no se relacionaba con el hip hop nacional. Esta circunstancia provocó que el sentido “comunitario y de hermandad” se convierta en la marca identitaria de este género en sus primeros años en Chile (los ’80). De este modo, puedo construir un relato en que evidencio cómo las relaciones sociales de los exponentes locales se complejizaron y se abandonó este enfoque de comunidad, facilitando así el paso a una escena musical. Una que, por cierto, hizo que este tipo de música pudiese llegar a oídos de una mayor cantidad de personas en el país.

Tesis para optar al título de periodista / A nivel nacional como internacional el hip hop es una cultura urbana masiva donde sus cultores encuentran un punto de unión en las condiciones de marginalidad social contra las que primero se irigió el movimiento siendo heredero de otras formas de protesta social de raíces afroamericanas nacidas en la década del ´60. Así, esta memoria, a través de un reportaje, busca establecer un paralelo entre los alcances políticos de este movimiento artístico en sus expresiones estadounidenses y chilenas.

Some of the enhancements that hit the mobile phone industry in recent years include checking email, demanded changes in the traditional ways of service delivery. People find it convenient to be able to check for incoming emails without being required to be at a fixed location. High-end mobile phones with high resolution color screens and mail clients (or plug-ins) much like the classic clients that run on desktop and laptop computers, have made mail manipulation on a mobile phone both easy and interesting. However, one key difference is the phone’s battery power source. Where power was not an issue for desktop and even many laptop computers, since they are almost all the time connected to an AC supply or have high capacity battery storage, it is a major issue for mobile phones. While email applications have greatly advanced, there has not been much improvement in mobile battery capacity. In addition the battery lifetime has decreased due to the high power demands of multimedia applications, which may be running almost constantly. Traditionally, a mail client checks for new email messages by polling the mail server. This works well with computers attached to the power mains or with a large capacity battery, but for mobile phones, polling causes significant battery drain. A solution would be to poll the server less frequently by increasing the polling interval, however this would delay email reception hence increasing latency. In this thesis we implement and evaluate a new mail delivery system without changing the underlying mail or communications infrastructure. The new system eliminates the need for polling by using network initiated mail delivery. This means that a mail server will forward mail directly to a particular user. Tests conducted with a prototype are compared to the use of the existing system in terms of power consumption and latency. These tests show that the new mail delivery system reduces both power consumption and delivery delay. / På senaste tiden har mobilindustrin utvecklas och tagit stora steg framåt. Högprestanda mobiler med hög upplösning, färgskärmar och epost klienter (eller så kallade plug-ins) har gjort användingen av epost på mobiltelefoner både lätt och intressant. Användarna har funnit att det är bekvämt att ha förmågan att kunna ta emot och skicka epost vart som helst. En viktig skillnad mellan mobiltelefoner och t.ex. en dator är att mobiltelefonen har en begränsad elförsörjning. Olika Funktioner till mobiltelefoner har utvecklas mycket på sistonde men undertiden har batteritiden förblivit nästintill konstant. Programmen som har utvecklas kräver mer och mer kraft av mobiltelefonen och speciellt den senaste trenden med multimedia applikationer, så som mp3 spelare och kamera, som används mycket frekvent av användarna. Tratitionellt så skickar en epost klient förfrågningarn med jämna mellanrum till epost servern för att ta reda på om det har kommit några nya e-mails. Detta fungerar väl för datorer som inte har några elförsörjnings problem men för en mobil så kostar den periodiska förfrågningen mycket batteritid. En lösning till problemet vore att höja periodstiden mellan varje förfrågning. Detta skulle dock leda till en högre fördröjning på leveransen av eposten. I det här examensarbetet har vi undersökt och implementerat ett nytt system för epost leverans utan att förändra den underliggande infrastrukturen. Det nya systemet tar bort behovet av periodisk förfrågan, för att ta emot nya e-mails, genom att låta nätverket initiera leveransen. Detta betyder att e-mail servern kommer att vidarebefordra ett inkommande e-mail direkt till mobiltelefonen. Prestandan, i form av elförbrukning och leverans fördröjning, på det nya systemet har mätts genom att testa en prototyp och jämföra prototypen med de systemen som finns tillgängliga idag. Testen har visat att det nya systemet reducerar både ström förbrukningen och leverans fördröjningen.

Can you feel the groove? Hip-Hop has the rhythmic power to connect individuals while providing an outlet for creative expression. The COVID-19 pandemic has been a disruption in our day-to-day lives, causing a sense of disconnect between each other. The implementation of government protocols such as mask mandates, social distancing, and the transition to virtual learning has caused challenges for teachers in the dance community. I am curious to phenomenologically inquire into the experience of pedagogical connection during the COVID-19 pandemic. Can we connect in a time of disconnection? The purpose of this Motion-Sensing Phenomenological study is to understand the interactive experiences of connection through Hip-Hop dance during the COVID-19 pandemic. Participants of this study were three Hip-Hop dance teachers who taught consistently, in-person or online through interactive technology during the pandemic. By actively immersing myself in the pedagogical connection, I observed, moved, and sensed this phenomenon in action. I conducted semi-structured motion-sensing phenomenological interviews with teacher to elaborate on their meaningful and connective experiences. Drawing from my participatory sensations and observations, I used the Interactive Function to Flow Model (Lloyd & Smith, 2022) to form my research questions: What connective postures showed when a participant was ready to groove? What connective gestures drew out the moments of connection? What qualities of timing and force cultivated feelings of a connection, and what kinaesthetic sensations were experienced when connections were felt? By stepping into these motion-sensing experiences, pedagogical connective moments emerged between participants, revealing somatic connective meanings in Hip-Hop dance. A deeper understanding of the intricate relation between Hip-Hop, movement, and its connective power within a global pandemic was found tethered within three contexts: a cypher, a partnered dance activity, and beyond a four walled computer screen. From relational positions of teacher and students, connective gestures shaped moments of collective synergies cultivated interactive flow. Despite the barriers of the COVID-19 pandemic, we can feel the groove, and it is clear with HIP-HOP, WE DON’T STOP.

Historical contexts of trauma have created a complex relationship with African Americans and farming. Further, the lack of urban participation within the food system has resulted in little knowledge of how food is produced or understanding of environmental impacts of food and fiber production. The only participation has been the consumption of food. This study indicated the importance of exposing normalized food system inequalities and fostering critical consciousness to challenge systems of oppression. Further, this study alludes to returning to the food system and reimagining taking control of the food system through a reconnection to the land as a form of resistance, protest, and liberation from oppressive systems. The school system is failing to teach about the inequalities of the food system and how youth can participate in the food system. To address disparities in education, education should be more relevant to the student population. In order to make progress toward connecting the food system and urban minority youth, new methods should be implemented to engage and connect. After-school and non-formal spaces are innovative educational opportunities to address these problems. This study was guided by critical pedagogy that challenges the current social order and culturally relevant pedagogy's cultural relevance. To break away from the oppressive banking system, students must acquire a critical awareness of the systems of oppression and confront reality critically by recognizing its causes, which will require breaking away from oppressive guidelines and the freedom of autonomy and responsibility. To assess minority youth conceptions of the food system through a hip-hop based learning curriculum, the researcher selected a group of seven students from an after-school program in Roanoke, Virginia, to participate in the workshop. The qualitative case study consisted of one workshop a week for two weeks, followed by an initial focus group. Two workshop groups were conducted after and were followed by a concluding focus group. Data sources included researcher field notes and focus group transcripts. Transcripts were analyzed using two cycles with field notes utilized for triangulation of findings. In the first coding cycle, descriptive coding paired with emotion coding was used. The second cycle of coding consisted of axial coding and then codes were consolidated by matching like codes grouped by similar categories. Finally, the researcher developed themes based on the research literature, research questions, and conceptual framework. Findings of this study include the importance of exposing normalized food system inequalities and fostering critical consciousness to challenge systems of oppression. Further, this study expressed that youth are engaged in hip-hop culture and creating culturally relevant spaces for youth allows for participation and connection that other after-school programs cannot provide. Participants presented a change in conception and developed an emerging critical viewpoint to the once-normalized systems of food access. Lastly, participants expressed interest in developing the local community and improving healthy food access. / Master of Science in Life Sciences / Creating educational spaces that support the cultural context of youth is a growing concern. Disconnection from the traditional classroom has led education researchers and practitioners to explore ways to connect minority students to the learning environment. The concern of the modern education system and its deficit in supporting minority populations has called for implementing new strategies. Outside of the classroom, non-traditional spaces have become spaces of creativity. Historical disconnection and historical trauma from agriculture has resulted in the population of minorities becoming passive recipients of an unequal food system. In order to assess the importance of exposing normalized food system inequalities and fostering critical consciousness within minority youth, a culturally relevant program was used to explore minority youth conceptions of the food system and explore their change in conceptions. Youth participated in a four-week, hip-hop-based workshop to explore the food system. This workshop challenged their perceived understanding of their local food system and the hidden inequalities within it. The findings of this study indicated the importance of exposing normalized food system inequalities and fostering critical consciousness within minority youth. Participants presented a change in their conception of the food system. Further, participants expressed emerging socio-political awareness of food access. This research study contributes to the work of culturally relevant education, the development of youth critical consciousness, awareness, and community development.

Masters of Art / Since the arrival of hip-hop in Cape Town and indeed South Africa in the 1980s, a diverse and vibrant range of hip-hop sub-genres has developed in Cape Town. Scholarship, however, have approached hip-hop mainly through a linguistical angle focusing mostly on Cipha hiphop in the Cape Flats. This ethnographic work looks at performances and practices of Spaza hip-hop. It explores the musical genre of Spaza hip-hop in the township of Khayelitsha, discussing ideas advanced by scholarship almost ten years ago and re-assessing issues of language, citizenship and ethnicity from today’s perspective. It looks at Spaza hip-hop not only as a musical genre, as it explores questions of identity, ethnicity, race, and gender. My research discusses how Spaza hip-hop music is consumed today, how it is produced and how it circulates. Across two years of fieldwork, I followed park sessions, open mic sessions and events; I have interviewed artists, producers and audiences. I argue that Spaza hip-hop in 2018 had changed drastically from its first apparition. Not only most of the artists are now older, but also the Spaza hip-hop scene is now invaded by trap hip-hop artists. Across my research I explore issues of gender in hip hop which is generally perceived as a “masculine” music. I illustrate how female artists constantly challenge norms and negotiate a space of their own, paradoxically transforming Spaza hip hop in a space for freedom.