Fiber Optic Communication Joseph C Palais Pdf

[Juvencio Parise]

JosephPalais joined the faculty in 1964 and is the graduate program chair and an Emeritus Professor in the School of Electrical, Computer and Energy Engineering at Arizona State University. He is also academic director of online and professional programs for the Ira A. Fulton Schools of Engineering. He has published a textbook on fiber optics. The book has been translated into Japanese, Chinese, Korean and Persian. He has contributed chapters to numerous books, written more than 41 research articles in refereed journals, and presented more than 35 papers at scientific meetings. He has presented more than 150 short courses on fiber optics.

Palais is a Life Fellow of the IEEE, elected for contributions to university and continuing education, primarily in the area of fiber optical communications.In 1999 he was presented the Conferences and Professional Programs (CaPP) Faculty Service Award from the University Continuing Education Association, Washington, 1999.

In recognition of his contributions to continuous education (particularly in the area of fiber optics), he received the IEEE Educational Activities Board Meritorious Achievement Award in Continuing Education in 1993. Dr. Palais was presented the IEEE Phoenix Section 1974 Annual Achievement Award for Contributions to Education, Academic and Industrial Research, and IEEE Technical Activities.

Palais is a Professor in the School of Electrical, Computer and Energy Engineering (ECEE) at Arizona State University (ASU) where he has been teaching since 1964. He is the ECEE Graduate Program Chair.

Prior to his work at ASU, Palais worked as a Microwave Engineer for Motorola and for Stanford Research Institute. In 1973 he served as a Visiting Associate Professor at the Technion-Israel Institute of Technology.

Professor Palais, longtime graduate program chair, and his wife Sandra, established the Palais Outstanding Doctoral Student Award. This award is presented annually to the best graduating doctoral student in the electrical engineering program.

Five years later, the pair introduced the Palais Doctoral Student award, which is presented annually to the best graduating doctoral student in the electrical engineering program. The students selected are nominated by faculty members, have at least a 3.75 GPA and have at least one journal or conference publication.

Established in 2016, the faculty award is bestowed on an outstanding all-around faculty member teaching in the electrical engineering program. The faculty member must demonstrate excellence in teaching, research and service. The monetary award is gifted annually.

Even with a legacy well established through the three awards, and his residency on campus, Palais has no plans on going anywhere soon. He is looking ahead to a post-pandemic world and hoping to establish office hours at Mirabella to help advise future electrical engineers.

After receiving his doctorate from the University of Michigan, Palais joined the engineering faculty at ASU in 1964. Retiring 47 years later, he continues to serve as graduate program chair in the School of Electrical, Computer and Energy Engineering.

His research interests include fiber-optic communications, holography and distance education. He delivered more than 150 short courses in fiber optics to organizations throughout the U.S. and for the ASU online enterprise (initially the ASU Center for Professional Development and subsequently the Global Outreach and Extended Education program, for which he serves as academic director).

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The unknown factors are numerous: fashion today is undergoing an epochal change, a moment of radical revolution, a change of rhythm in progress to keep up, first of all, with the new challenges of the marketplace as well as with the spirit of the times, the imagination which it draws from is fed and diverted by the pervasive presence of an uninterrupted and confused flow of images and stimuli which come too fast for the individual to interiorize and elaborate his or her own precise collective symbols. We are living in the internet age of social media: the imagination is dead from an excess of words and an overdose of images empty of sense.

Reality and its opposite make a dangerous mix (hyperconnectivity, fake news, fake videos, ephemeral myths). We are surrounded by worn out images and we deserve new ones: the difference between fact and profound truth, between banal truth and ecstatic truth is that the second is mysterious and elusive and can be perceived only by means of invention, imagination and stylization.

In every grand era of civilization, formed with clearly defined features, a central concept can be perceived from which spiritual impulses spring and converge; whether the same epoch possesses an abstract conscience of this concept or it forms only the ideal irradiating point of those impulses, their nature and the meaning they had for the epoch can only be known by posterity. Each of these central concepts naturally has its deviations, distortions, contradictions but, despite all that, remains king of that spiritual era.

In the portrait videos of Bob Wilson reality and fiction synergize together to give life and movement, by means of the innovative and seductive use of the visual arts, to masterpieces that are interesting references from classic painting.

Similar effect but still more alienating is that of Shudu, Lil Miquela and Noonoouri, virtual models of Balmain, Prada and Dior, respectively - so celebrated today and real as to be received, eagerly awaited guests, by fashion houses and hundreds of thousands of followers - realized by means of the use of computer-generated imagery. But even this fact, no longer so unique, has a precedent: the creation of the identity of AnnLee - a Japanese manga character and avatar with a built-in personality - is a trip where fiction and reality overlap as well as a clear example of narration that materializes.

Here nature rightfully enters, by way of innovation, the technological textile supply chain, where wearable technology has provided fashion with inspiring ideas: thus from orange and apple peels and seeds it is possible to produce biological textiles and ecological leather so attractive and pleasant to touch as to constitute an excellent sustainable alternative to that derived from animals. Similarly, from chitin, a substance deriving from the exoskeletons of crustaceans, particularly shrimp shucks, comes an innovative, non-toxic, biocompatible and biodegradable product. It goes to work in the silk-producing production line as well as in the making of sustainable jeans and reduces water and energy consumption by 90%, not to mention the use of chemical and toxic compounds.

Carsten Hoeller, artist, biologist, and agrarian science expert, travels a road parallel to reality, bordering on rigorous scientific and sensorial experimentation: poisonous mushrooms, the stuff of magic potions, are part of his spectacular work and at the same time giant guests in an installation depicting a disturbing fairy tale landscape, representing a nature that we hardly recognize as friendly.

If in antiquity technology - from the Greek tkhne and loga, methodical treatise on an art, on knowing how to do it - was strictly connected to painting, especially the chemistry and production of pigments, but as time passed, the combination of science and technology at the service of knowledge led to fundamental discoveries for humanity. In in the age of mechanical reproduction, art has lost its aura that emanates from a unique and unrepeatable work, its hic and nunc, (here and now), but since then an incalculable number of reproductions has invaded the world. Fashion too has used parts of artworks, thus contributing in some way to the definitive democratization of art.

Art thus loses its ritual function and at the same time becomes an instrument for intimate or universal reflection, desecration or social communication. Ethics, politics and ecology often number among its essential themes.

Today art and fashion in unison regard technological evolution as the principle element to conform to the spirit of the times. Contamination seeps in at various levels - from the formal to the philosophical - and in many directions.

From Paul Klee to Kandinsky, from Matisse to Picasso, the great painters of the 20th century evoke new universes far from the known world, incarnating symbols of a narrative that was both disturbing at that time and enticing to be discovered. Today we observe Olafur Eliasson: an artist who creates scenarios that are a prodigious deception of the senses, perfect reconstructions of the world - by means of water, wind, and light, but above all, high technology - so the spectator can experience these parallel worlds. We see Laurent Grasso who, thanks to perfectly calibrated light projections based on algorithms, simulates solar activity with suggestive magnetic storms that materialize with thrilling efficiency on the surfaces of two huge silos, on view along the Priphrique in Paris.

Dan Flavin, James Turrell, Philippe Parreno: art and light are paired inseparably in installations that are the technological or hyper-realistic copies of the world that we know, images of dream worlds we lose ourselves in like as labyrinth with resemblances of the known, but not as familiar. These artists, demonstrating their own technological abilities, create artificial stars and suns, parallel universes to lose yourself in, exorcizing the fear peculiar to our own era of losing control of the world we know, the doubt of letting it slip from our fingers. The spectator moves inside spaces as strange to him as dreamscapes, struck by the intermittent violent colors and lights that create unequalled perceptual adventures for an unique multi-sensorial experience. These are immense cathedrals for laymen where a spiritual dimension can be re-discovered, similar in some way to mystic contemplation, disconnected from religion but instead closely correlated to reflection, introspection, and the absorbed observation of phenomena inherent in the universe, nature, life itself and the mystery that, beyond scientific perspicacity, surrounds them.

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