ALD: adaptive layer distribution for scalable video

Recent years have witnessed a rapid growth in the demand for streaming video over the Internet and mobile networks, exposes challenges in coping with heterogeneous devices and varying network throughput. Adaptive schemes, such as scalable video coding, are an attractive solution but fare badly in the presence of packet losses. Techniques that use description-based streaming models, such as multiple description coding (MDC), are more suitable for lossy networks, and can mitigate the effects of packet loss by increasing the error resilience of the encoded stream, but with an increased transmission byte cost. In this paper, we present our adaptive scalable streaming technique adaptive layer distribution (ALD). ALD is a novel scalable media delivery technique that optimises the tradeoff between streaming bandwidth and error resiliency. ALD is based on the principle of layer distribution, in which the critical stream data are spread amongst all packets, thus lessening the impact on quality due to network losses. Additionally, ALD provides a parameterised mechanism for dynamic adaptation of the resiliency of the scalable video. The Subjective testing results illustrate that our techniques and models were able to provide levels of consistent high-quality viewing, with lower transmission cost, relative to MDC, irrespective of clip type. This highlights the benefits of selective packetisation in addition to intuitive encoding and transmission.

ALD: adaptive layer distribution for scalable video

Bandwidth constriction and datagram loss are prominent issues that affect the perceived quality of streaming video over lossy networks, such as wireless. The use of layered video coding seems attractive as a means to alleviate these issues, but its adoption has been held back in large part by the inherent priority assigned to the critical lower layers and the consequences for quality that result from their loss. The proposed use of forward error correction (FEC) as a solution only further burdens the bandwidth availability and can negate the perceived benefits of increased stream quality. In this paper, we propose Adaptive Layer Distribution (ALD) as a novel scalable media delivery technique that optimises the tradeoff between the streaming bandwidth and error resiliency. ALD is based on the principle of layer distribution, in which the critical stream data is spread amongst all datagrams thus lessening the impact on quality due to network losses. Additionally, ALD provides a parameterised mechanism for dynamic adaptation of the scalable video, while providing increased resilience to the highest quality layers. Our experimental results show that ALD improves the perceived quality and also reduces the bandwidth demand by up to 36% in comparison to the well-known Multiple Description Coding (MDC) technique.

Response to the review of the white paper on Irish aid. The urbanisation of poverty: drawing on the skills and techniques of spatial planning to support the aid programme

Submission on behalf of UCC to the Government Consultation on the White paper on Irish Aid

Problems with drawing lines: Theo-geographies of the Catholic parish in Ireland

While people in Catholic parishes in Ireland appear keenly aware of parish boundaries, these understandings are more often oral than cartographic. There is no digital map of all of the Catholic parishes in Ireland. However, the institutional Catholic Church insists that no square kilometre can exist outside of a parish boundary. In this paper, I explain a process whereby the Catholic parishes of Ireland were produced digitally. I will outline some of the technical challenges of digitizing such boundaries. In making these maps, it is not only a question of drawing lines but mapping people’s understanding of their locality. Through an example of one part of the digitisation project, I want to talk about how verifying maps with local people often complicates something which may have at first sight seemed simple. The paper ends on a comparison with how other communities of interest are territorialised in Ireland and elsewhere to draw out some broader theoretical and theological issues of concern.

Within the carnal: re-reading Merleau-Ponty through the language of drawing

In order to present visual art as a paradigm for philosophy, Merleau-Ponty investigated the creative processes of artists whose work corresponded closely with his philosophical ideas. His essays on art are widely valued for emphasising process over product, and for challenging the primacy of the written word in all spheres of human expression. While it is clear that he initially favoured painting, Merleau-Ponty began to develop a much deeper understanding of the complexities of how art is made in his late work in parallel with his advancement of a new ontology. Although his ontology remains unfinished and only exists as working notes and a manuscript entitled The Visible and Invisible, Merleau-Ponty had begun to appreciate the fundamental role drawing plays in the making of art and the creation of a language of expression that is as vital as the written or spoken word. Through an examination of Merleau-Ponty’s unfinished manuscript and working notes my thesis will investigate his working methods and use of materials and also explore how he processed his ideas by using my own art practice as the basis of my research. This research will take the form of an inquiry into how the unfinished and incomplete nature of text and artworks, while they are still ‘works in progress’, can often reveal the more human and carnal components of creative processes. Applying my experience as a practitioner and a teacher in an art school, I focus on the significance of drawing practice for Merleau-Ponty’s later work, in order to rebalance an overemphasis on painting in the literature. Understanding the differences between these two art forms, and how they are taught, can offer an alternative engagement with Merleau-Ponty’s later work and his struggle to find a language to express his developing new ontology. In addition, by re-reading his work through the language of drawing, I believe we gain new insights which reaffirm Merleau-Ponty's relevance to contemporary art making and aesthetics.