A forest model archive?

The recent history and current trends in the collection and archiving of forest information and models is reviewed. The question is posed as to whether the community of forest modellers ought to take some action in setting up a Forest Model Archive (FMA) as a means of conserving and sharing the heritage of forest models that have been developed over several decades. The paper discusses the various alternatives of what an FMA could be, and should be. It then goes on to formulate a conceptual model as the basis for the construction of a FMA. Finally the question of software architecture is considered. Again there are a number of possible solutions. We discuss the alternatives, some in considerable detail, but leave the final decisions on these issues to the forest modelling community. This paper has spawned the “Greenwich Initiative” on the FMA. An internet discussion group on the topic will be started and launched by the “Trafalar Group”, which will span both IUFRO 4.1 and 4.11, and further discussion is planned to take place at the Forest Modelling Conference in Portugal, June 2002.

Automatic relative debugging of OpenMP programs

In this work we show how automatic relative debugging can be used to find differences in computation between a correct serial program and an OpenMP parallel version of that program that does not yield correct results. Backtracking and re-execution are used to determine the first OpenMP parallel region that produces a difference in computation that may lead to an incorrect value the user has indicated. Our approach also lends itself to finding differences between parallel computations, where executing with M threads produces expected results but an N thread execution does not (M, N > 1, M ≠ N). OpenMP programs created using a parallelization tool are addressed by utilizing static analysis and directive information from the tool. Hand-parallelized programs, where OpenMP directives are inserted by the user, are addressed by performing data dependence and directive analysis.

Home is where my archive is

The miniaturization and dissemination of audiovisual media into small, mobile assemblages of cameras, screens and microphones has brought "database cinema" (Manovich) into pockets and handbags. In turn, this micro-portability of video production calls for a reconsideration of database cinema, not as an aesthetic but rather as a media ecology that makes certain experiences and forms of interaction possible. In this context the clip and the fragment become a social currency (showing, trading online, etc.), and the enjoyment of a moment or "occasion" becomes an opportunity for recording, extending, preserving and displaying. If we are now the documentarists of our lives (as so many mobile phone adverts imply), it follows that we are also our own archivists as well. From the folksonomies of Flickr and YouTube to the slick "media centres" of Sony, Apple and Microsoft, the audiovisual home archive is a prized territory of struggle among platforms and brands. The database is emerging as the dominant (screen) medium of popular creativity and distribution – but it also brings the categories of "home" and "person" closer to that of the archive.

Narrating the archive and archiving narrative: the electronic book and the logic of the index

The creation of my hypermedia work Index of Love, which narrates a love story as an archive of moments, images and objects recollected, also articulated for me the potential of the book as electronic text. The book has always existed as both narrative and archive. Tables of contents and indexes allow the book to function simultaneously as linear narrative and non-linear, searchable database. The book therefore has more in common with the so-called 'new media' of the 21st century than it does with the dominant 20th century media of film, video and audiotape, whose logic and mode of distribution are resolutely linear. My thesis is that the non-linear logic of new media brings to the fore an aspect of the book - the index - whose potential for the production of narrative is only just beginning to be explored. When a reader/user accesses an electronic work, such as a website, via its menu, they simultaneously experience it as narrative and archive. The narrative journey taken is created through the menu choices made. Within the electronic book, therefore, the index (or menu) has the potential to function as more than just an analytical or navigational tool. It has the potential to become a creative, structuring device. This opens up new possibilities for the book, particularly as, in its paper based form, the book indexes factual work, but not fiction. In the electronic book, however, the index offers as rich a potential for fictional narratives as it does for factual volumes. [ABSTRACT FROM AUTHOR]