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Pervasive computing aims at providing services for human beings that interact with their environment (encompassing objects and people who reside in it). Pervasive computing applications must be able to take into account the context in which users evolve, for example, physical location, social or hierarchical position, current tasks as well as related information. These applications have to deal with the dynamic integration in the environment of new, and sometimes unexpected, elements (users or devices). In turn, the environment has to provide context information to newly designed applications. This requires a framework which is open, dynamic and minimal. We describe an architecture in which context information is distributed in the environment and context managers use semantic Web technologies in order to identify and characterize available resources. The components in the environment maintain their own context expressed in RDF (Resource Description Framework) and described through OWL ontologies. They may communicate this information to other components, obeying a simple protocol for identifying them and determining the information they can provide. We show how this architecture allows introducing new devices and new applications without interrupting what is working. In particular, the openness of ontology description languages makes possible the extension of context descriptions and ontology matching helps dealing with independently developed ontologies.
In contrast to general perceptions of noise as undesirable audio phenomena, consideration of the objective acoustic properties of ‘noise’ and the functional aspects of noise in Information Theory are used to show how, rather than an impediment to communication, noise can aid in increasing communication. A review of noise in music of the twentieth century and beyond shows how this has become increasingly understood by composers, and that the greater use of noise as a sound source has arisen out of developments in audio technology. This article argues that the music of Carsten Nicolai (alva noto) represents a consolidation of this process. The Autorec CD and the track Impulse are cited as examples of how noise is used as part of a new practice in electronic music. By looking at the structural features of the cited musical examples, it is seen how this new practice follows neither the electroacoustic nor the commercial dance music mainstreams but manages to synthesise references to both traditions.
This article documents the resolution of a problem encountered during the design of a semi-permanent interactive sound and video installation currently being installed at a tram station located in Dublin, Ireland. This artwork generates video and multi-channel sound output in real time, responding to changes in traffic patterns on an adjacent street. While the visuals are composed from pre-recorded content, the sound environment explores the use of site-specific sound within public urban space by sampling and processing sounds that occur naturally in and around the station. Regulations involving the artwork's volume resulted in the sound output being reduced to a level at which it was too subtle to be noticed amidst the busy activity of the station. It was therefore necessary to strengthen the artwork's aural presence without interfering with the subtleties of the site-specific sound environment. A dynamic field of sine tones and rhythmic glitches was composed to augment the more subtle sounds of the installation. This juxtaposition of site-specific sound with compositional structures associated with the popular musical genre known as microsound proved to be effective, calling attention to the mediated sound environment even at low volume levels and balancing the artwork's presence with the other functions of the site.
statics is a non-standard sound synthesis program that uses functional iteration to both generate sound events and organise them temporally. This paper gives a brief history on the use of functional iteration in music composition and then describes how it is implemented in statics. Also discussed is the conception of program design as compositional process. Since statics was designed by a composer with musical goals in mind, the program is itself is a collection of compositional decisions. Furthermore, the unique timbres and structures created by statics are a direct result of these decisions. Accordingly, I discuss my compositional process in two stages: those choices that are embedded into the program (general decisions) and those choices that occurred post-design (specific decisions). Using as examples the three individual compositions created with statics (congruent, convergence and cyclian), I delineate the effects of both types of decision on the compositional process and then describe how these three compositions embody different characteristics of my implementation of functional iteration.
This article explores how ‘noise music’ uses its influences, how it refers to them, and what occurs formally, when using influence self-consciously and formally. Specifically, it takes two artists, Nurse With Wound and The New Blockaders, that emerged at the same time as ‘industrial music’, and through different strategies, incorporated visual art influences into their work, to the point where influence as question is raised. Referring to Harold Bloom, the article notes that influence is not linear, nor is it fixed. The article begins with some general considerations about what noise is and how it works when in contact with music; it then looks in detail first at some works by Nurse With Wound, then at works by The New Blockaders. In so doing, it also pays attention to the material presentation of those works, which is a key part of the formal work of these artists. It concludes with some thoughts about how we can not only apply Bloom to experimental music, but that ‘noise music’ can provide itself as a theorisation of influence.
Communicative contract analysis constructs an analytic methodology, taking musical semiotics as a theoretical basis, to look at the ways in which pieces of popular music define themselves generically, and how they make reference to other genres. By taking the different components of a sound as referential to parent genres or foreign genres, one can tease out these references in hybrid musical forms. The method is then applied to three contemporary works, The Kaiser Chiefs' Ruby, Hadouken!'s That Boy, That Girl and Bjork's Joga, and the pertinent issues raised in these works are discussed.
This paper describes a survey of contemporary approaches towards the use of spatial design in electroacoustic music, focusing on the type of spatial systems used by a sample of composers and the way they conceive the use of space in their music. Comparing the results with information gathered from seventeen articles by composers written on the topic in 1997, it is shown that composers nowadays are more used to working with different types of spatialisation systems than before. There is also a considerable increase in the use of surround 5.1 as well as four- and eight-channel systems and a decrease in the use of stereo. The compared results also show that, in general, composers nowadays seem to be less concerned with performance and interpretation issues as well as technical aspects of spatialisation. Further studies could consider a more detailed investigation of how the new spatialisation tools have shaped the aesthetical character of the music composed in recent years.
For over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.
Understanding laptop music requires more than a new perspective on the configuration of a ‘weareable computer and an audio interface’ as a musical instrument for performance. It combines the strategies and traditions of electronic media-related music composition of the twentieth century, like reproductive music, electronic music, computer music and Net music in a single, digital, multi-purpose device originally designed for business and multimedia applications. Consequently, what we hear is mostly not a genuine laptop music, but one facet of the information-technological transformation of music that has been the result of the digital integration of these established traditions. This article gives an overview of the aesthetic implications of these traditions and with respect to laptop performance and musical style.
We study two topological properties of the 5-ary n-cube$Q_{n}^{5}$. Given two arbitrary distinct nodes x and y in$Q_{n}^{5}$, we prove that there exists anx-y path of every length ranging from 2n to 5n - 1, where n ≥ 2. Basedon this result, we prove that $Q_{n}^{5}$ is5-edge-pancyclic by showing that every edge in $Q_{n}^{5}$ lies ona cycle of every length ranging from 5 to 5n.
Tabled Constraint Logic Programming is a powerful execution mechanism for dealing with Constraint Logic Programming without worrying about fixpoint computation. Various applications, e.g. in the fields of program analysis and model checking, have been proposed. Unfortunately, a high-level system for developing new applications is lacking, and programmers are forced to resort to complicated ad hoc solutions.
This papers presents TCHR, a high-level framework for tabled Constraint Logic Programming. It integrates in a light-weight manner Constraint Handling Rules (CHR), a high-level language for constraint solvers, with tabled Logic Programming. The framework is easily instantiated with new application-specific constraint domains. Various high-level operations can be instantiated to control performance. In particular, we propose a novel, generalized technique for compacting answer sets.
We have already seen that optical networks come in a large number of various flavors. Optical networks may have different topologies, may be transparent or opaque, and may deploy time, space, and/or wavelength division multiplexing (TDM, SDM, and/or WDM). They may comprise tunable devices, for example, tunable transmitters, tunable optical filters, and/or tunable wavelength converters (TWCs). Furthermore, to improve their flexibility optical networks may make use of reconfigurable optical add-drop multiplexers (ROADMs) and/or reconfigurable optical cross-connects. We will use the term optical switching networks to refer to all the various types of flexible and reconfigurable optical networks that use any of the aforementioned multiplexing, tuning, and switching techniques. Thus, optical switching networks are single-channel or multichannel (WDM) networks whose configuration can be changed dynamically in response to varying traffic loads and network failures by controlling the state of their tunable and/or reconfigurable network elements accordingly. Optical switching networks are widely deployed in today's wide, metropolitan, access, and local area networks and can be found at every level of the existing network infrastructure hierarchy.
End-to-end optical networks
Optical switching networks have been commonly used in backbone networks in order to cope with the ever-increasing amount of traffic originating from an increasing number of users and bandwidth-hungry applications. As shown in Fig. 2.1, optical switching networks can be found not only in wide area long-haul backbone networks but they also become increasingly the medium of choice in metro(politan), access, and local area networks (Berthelon et al., 2000). As a matter of fact, both telcos and cable providers are steadily moving the fiber-to-copper discontinuity point out toward the end users at the network periphery.
In this part, we discuss and describe in great detail various switching techniques for optical wide area networks (WANs). A number of different optical switching techniques have been proposed for backbone wavelength division multiplexing (WDM) networks over the last few years. Our overview will focus on the major optical switching techniques that can be found in today's operational long-haul WDM networks or are expected to be likely deployed in future optical WANs. In our overview we do not claim to provide a comprehensive description of all proposed switching techniques. Instead, we try to focus on the major optical switching techniques and describe their underlying principles and operation at length. We believe that our overview of carefully selected optical switching techniques fully covers the different types of switching techniques available for optical WANs and helps the reader gain sufficient knowledge to anticipate and understand any of the unmentioned optical switching techniques that in most cases might be viewed as extensions or hybrids of the optical switching techniques discussed. For instance, a so-called light-trail is a generalization of a conventional point-to-point lightpath in which data can be dropped and added at any node along the path, as opposed to a lightpath where data can be added only by the source and dropped only by the destination node, respectively (Gumaste and Zheng, 2005). Another good example is fractional lambda switching (FλS) (Baldi and Ofek, 2002). FλS uses the globally available coordinated universal time (UTC) as a common time reference to synchronize all optical switches throughout the FλS network.
Access networks connect business and residential subscribers to the central offices (COs) of service providers, which in turn are connected to metropolitan area networks (MANs) or wide area networks (WANs). Access networks are commonly referred to as the last mile or first mile, where the latter term emphasizes their importance to subscribers. In today's access networks, telephone companies deploy digital subscriber line (xDSL) technologies and cable companies deploy cable modems. Typically, these access networks are hybrid fiber coax (HFC) systems with an optical fiber–based feeder network between CO and remote node and an electrical distribution network between remote node and subscribers. These access technologies are unable to provide enough bandwidth to current high-speed Gigabit Ethernet local area networks (LANs) and evolving services and applications (e.g., distributed gaming or video on demand). Future first-mile solutions not only have to provide more bandwidth but also have to meet the cost-sensitivity constraints of access networks arising from the small number of costsharing subscribers.
In so-called FTTX access networks the copper-based distribution part of access networks is replaced with optical fiber (e.g., fiber to the curb [FTTC] or fiber to the home [FTTH]). In doing so, the capacity of access networks is sufficiently increased to provide broadband services to subscribers. Due to the cost sensitivity of access networks, these all-optical FTTX systems are typically unpowered and consist of passive optical components (e.g., splitters and couplers). Accordingly, they are called passive optical networks (PONs). PONs had attracted a great deal of attention well before the Internet spurred bandwidth growth.
The European IST project Layers Interworking in Optical Networks (LION) is a multilayer, multivendor, and multidomain managed IP/MPLS over automatic switched optical network (ASON) with a GMPLS-based control plane (Cavazzoni et al., 2003). The ASON framework facilitates the set-up, modification, reconfiguration, and release of both switched and soft-permanent optical connections (lightpaths). Switched connections are controlled by clients as opposed to soft-permanent connections whose set-up and teardown are initiated by the network management system (NMS). An ASON consists of one or more domains, each belonging to a different network operator, administrator, or vendor platform. The points of interaction between different domains are called reference points. Figure 5.1 depicts the ASON reference points between various optical networks and client networks which are connected via lightpaths. Specifically, the reference point between a client network and an administrative domain of an optical network is called user-network interface (UNI). The reference point between the administrative domains of two different optical networks is called external network-network interface (E-NNI). The reference point between two domains (e.g., routing areas) within the same administrative domain of an optical network is called internal network-network interface (I-NNI). The LION testbed comprises three domains consisting of optical adddrop multiplexers (OADMs) and optical cross-connects (OXCs) from different vendors. For video-over-IP (VoIP) and computer-aided design (CAD) applications, the set-up and tear-down of soft-permanent connections through different domains using GMPLS signaling and interworking NMSs was experimentally validated. Furthermore, multilayer resilience tests were successfully carried out demonstrating MPLS fast reroute combined with optical restoration using a holdoff timer at the IP/MPLS layer.
In our introductory discussion of all-optical networks (AONs) in Section 1.5.1 we have seen that the concept of lightpath plays a key role in wavelength-routing optical networks. A lightpath is an optical point-to-point path of light that interconnects a pair of source and destination nodes, where intermediate nodes along the lightpath route the signal all-optically without undergoing OEO conversion. As each lightpath requires one wavelength on every traversed link and the number of both wavelengths and links in AONs is limited for cost and efficiency reasons, it is impossible to interconnect every pair of nodes by a dedicated lightpath. Nodes that cannot be directly connected via a lightpath may use multiple different lightpaths to exchange data. In the resultant multihop optical network, each intermediate node terminating a lightpath performs OEO conversion. As a consequence, such opaque multihop optical networks are unable to provide transparency. Also, note that the transmission capacity between node pairs connected via a lightpath is equal to the bandwidth of an entire wavelength channel. This transmission capacity is dedicated and cannot be shared by other nodes, leading to wasted bandwidth under bursty nonregular traffic. To improve the bandwidth utilization of lightpaths, electronic traffic grooming becomes necessary at each source node.
To avoid the loss of transparency and the need for electronic traffic grooming of lightpath-based optical networks, a novel solution for the design of transparent mesh wavelength division multiplexing (WDM) wide area networks was proposed in Chlamtac et al. (1999b).
Ethernet networks have come a long way and are widely deployed nowadays. In fact, 95% of today's local area networks (LANs) use Ethernet. Ethernet's transmission rate was originally set at 10 megabits per second (10 Mbps) in 1980 and evolved to higher speed versions ever since. A 100-Mbps version, also known as Fast Ethernet, was approved as IEEE standard 802.3u in 1995. In order to save time and standards development resources, physical signaling methods previously developed and standardized for Fiber Distributed Data Interface (FDDI) networks were reused in the IEEE standard 802.3u (Thompson, 1997). Fast Ethernet was immediately accepted by customers and its success prompted the development of an Ethernet standard for operation at 1000 Mbps (1 Gbps), leading to Gigabit Ethernet (GbE). The standard for Gigabit Ethernet, IEEE standard 802.3z, was formally approved in 1998. At present, 10-Gigabit Ethernet (10GbE) is the fastest of the Ethernet standards. The standardization of 10GbE began in March of 1999 and led to the 10GbE standard IEEE 802.3ae, which was formally approved in 2002.
In this chapter, we highlight the salient features of both 1 and 10 Gbps Ethernet. While 10GbE is the fastest existing Ethernet standard at the time of writing, it is worthwhile to mention that 10GbE does not represent the end of the development of ever-increasing higher-speed Ethernet networks. The standardization of 100-Gigabit Ethernet (100GbE) is currently under development by the IEEE 802.3 Higher Speed Study Group (HSSG). The HSSG was formed in 2006 and aims at providing a standard for 100GbE by the end of 2009.
The aforementioned wavelength division multiplexing (WDM) ring networks appear to be natural candidates to extend existing optical single-channel ring networks (e.g., RPR) to multichannel systems by means of WDM. In WDM rings, optical single-channel rings are multichannel upgraded by exploiting the already existing fiber infrastructure without requiring any additional fiber links and modifications of the ring topology. Clearly, deploying WDM on the existing ring infrastructure saves on fiber requirements. At the downside, however, WDM rings require all ring nodes to be WDM upgraded at the same time (e.g., each ring node is equipped with a transceiver array or wavelength (de)multiplexer). Furthermore, WDM rings are able to survive only a single link or node failure due to their underlying ring topology, similar to their single-channel counterparts.
An alternative approach to multichannel upgrade optical single-channel rings relies on topological modifications of the basic ring architecture. Many ways exist to modify and enhance the topology of ring networks, resulting in so-called augmented rings (Aiello et al., 2001). In this chapter, we describe a novel multichannel upgrade of optical single-channel ring networks where the ring network is left untouched and only a subset of ring nodes needs to be WDM upgraded and interconnected by a single–hop star WDM subnetwork in a pay-as-you-grow fashion (Maier and Reisslein, 2006). The resultant hybrid ring-star network, called RINGOSTAR, requires additional fiber links to build the star subnetwork, as opposed to WDM rings. Unlike WDM rings, however, RINGOSTAR does not require all ring nodes to be WDM upgraded at the same time.