dPAM: A Distributed Prefetching Protocol for Scalable Asynchronous Multicast in P2P Systems

We leverage the buffering capabilities of end-systems to achieve scalable, asynchronous delivery of streams in a peer-to-peer environment. Unlike existing cache-and-relay schemes, we propose a distributed prefetching protocol where peers prefetch and store portions of the streaming media ahead of their playout time, thus not only turning themselves to possible sources for other peers but their prefetched data can allow them to overcome the departure of their source-peer. This stands in sharp contrast to existing cache-and-relay schemes where the departure of the source-peer forces its peer children to go the original server, thus disrupting their service and increasing server and network load. Through mathematical analysis and simulations, we show the effectiveness of maintaining such asynchronous multicasts from several source-peers to other children peers, and the efficacy of prefetching in the face of peer departures. We confirm the scalability of our dPAM protocol as it is shown to significantly reduce server load.

AIRSTREAM: A Neural Network Model of Auditory Scene Analysis and Source Segregation

Multiple sound sources often contain harmonics that overlap and may be degraded by environmental noise. The auditory system is capable of teasing apart these sources into distinct mental objects, or streams. Such an "auditory scene analysis" enables the brain to solve the cocktail party problem. A neural network model of auditory scene analysis, called the AIRSTREAM model, is presented to propose how the brain accomplishes this feat. The model clarifies how the frequency components that correspond to a give acoustic source may be coherently grouped together into distinct streams based on pitch and spatial cues. The model also clarifies how multiple streams may be distinguishes and seperated by the brain. Streams are formed as spectral-pitch resonances that emerge through feedback interactions between frequency-specific spectral representaion of a sound source and its pitch. First, the model transforms a sound into a spatial pattern of frequency-specific activation across a spectral stream layer. The sound has multiple parallel representations at this layer. A sound's spectral representation activates a bottom-up filter that is sensitive to harmonics of the sound's pitch. The filter activates a pitch category which, in turn, activate a top-down expectation that allows one voice or instrument to be tracked through a noisy multiple source environment. Spectral components are suppressed if they do not match harmonics of the top-down expectation that is read-out by the selected pitch, thereby allowing another stream to capture these components, as in the "old-plus-new-heuristic" of Bregman. Multiple simultaneously occuring spectral-pitch resonances can hereby emerge. These resonance and matching mechanisms are specialized versions of Adaptive Resonance Theory, or ART, which clarifies how pitch representations can self-organize durin learning of harmonic bottom-up filters and top-down expectations. The model also clarifies how spatial location cues can help to disambiguate two sources with similar spectral cures. Data are simulated from psychophysical grouping experiments, such as how a tone sweeping upwards in frequency creates a bounce percept by grouping with a downward sweeping tone due to proximity in frequency, even if noise replaces the tones at their interection point. Illusory auditory percepts are also simulated, such as the auditory continuity illusion of a tone continuing through a noise burst even if the tone is not present during the noise, and the scale illusion of Deutsch whereby downward and upward scales presented alternately to the two ears are regrouped based on frequency proximity, leading to a bounce percept. Since related sorts of resonances have been used to quantitatively simulate psychophysical data about speech perception, the model strengthens the hypothesis the ART-like mechanisms are used at multiple levels of the auditory system. Proposals for developing the model to explain more complex streaming data are also provided.

A Distributed Outstar Network for Spatial Pattern Learning

The distributed outstar, a generalization of the outstar neural network for spatial pattern learning, is introduced. In the outstar, signals from a source node cause weights to learn and recall arbitrary patterns across a target field of nodes. The distributed outstar replaces the outstar source node with a source field of arbitrarily many nodes, whose activity pattern may be arbitrarily distributed or compressed. Learning proceeds according to a principle of atrophy due to disuse, whereby a path weight decreases in joint proportion to the transmitted path signal and the degree of disuse of the target node. During learning, the total signal to a target node converges toward that node's activity level. Weight changes at a node are apportioned according to the distributed pattern of converging signals. Three synaptic transmission functions, by a product rule, a capacity rule, and a threshold rule, are examined for this system. The three rules are computationally equivalent when source field activity is maximally compressed, or winner-take-all. When source field activity is distributed, catastrophic forgetting may occur. Only the threshold rule solves this problem. Analysis of spatial pattern learning by distributed codes thereby leads to the conjecture that the unit of long-term memory in such a system is an adaptive threshold, rather than the multiplicative path weight widely used in neural models.

A Neural Network for Synthesizing the Pitch of an Acoustic Source

This article describes a neural network model capable of generating a spatial representation of the pitch of an acoustic source. Pitch is one of several auditory percepts used by humans to separate multiple sound sources in the environment from each other. The model provides a neural instantiation of a type of "harmonic sieve". It is capable of quantitatively simulating a large body of psychoacoustical data, including new data on octave shift perception.