Efficient cross-validation of the complete two stages in KFD classifier formulation

This paper presents an efficient evaluation algorithm for cross-validating the two-stage approach of KFD classifiers. The proposed algorithm is of the same complexity level as the existing indirect efficient cross-validation methods but it is more reliable since it is direct and constitutes exact cross-validation for the KFD classifier formulation. Simulations demonstrate that the proposed algorithm is almost as fast as the existing fast indirect evaluation algorithm and the twostage cross-validation selects better models on most of the thirteen benchmark data sets.

Global software development : measuring, approximating and reducing the complexity of global software development using extended axiomatic design theory

This paper considers GSD projects as designed artefacts, and proposes the application of an Extended Axiomatic Design theory to reduce their complexity in order to increase the probability of project success. Using an upper bound estimation of the Kolmogorov complexity of the so-called ‘design matrix’ (as a proxy of Information Content as a complexity measure) we demonstrate on two hypothetical examples how good and bad designs of GSD planning compare in terms of complexity. We also demonstrate how to measure and calculate the ‘structural’ complexity of GSD projects and show that by satisfying all design axioms this ‘structural’ complexity could be minimised.

Recovering the hidden through found-footage films

In the early nineteen seventies materialist experimental film was cogently rejected by feminist theorists for its inability to deliver a feminist counter-cinema addressing its political agenda. The concomitant development of feminist psychoanalytic readings of “dominant cinema” against its grain also discounted such work. This split is marked by Peter Wollen’s formulation of “two avant-gardes”, one narrative and explicit about its political position and the other non-narrative and focusing directly on implicit perceptual processes. Materialist film’s fixation on structure jettisoned content, and extended post-war painting’s essentialist move to pure abstraction manifest in abstract expressionism and minimalism. The emergence of trauma theory and the recent explosion of moving image digital media with its non-linear bias and the complex layering of “technical images” have created a new situation opening up alternate readings of such discounted materialist practices. As well as a historic precursor for digital media, it is suggested that a materialist cinema, represented here by the found footage films: Alone: Life Wastes Andy Hardy (Arnold 1998) and Dreamwork (Tscherkassky 2001), signposts a belated return for materialist film within the context of trauma studies. This materialist turn rescues such experimental film from its traumatic excision and extends an understanding of what has been termed a “trauma cinema” by Janet Walker. Rather than pure, abstract or visionary such practice is read here through trauma theory as performing implicit mechanisms of denial and erasure.