Multi-Tenant Virtual GPUs for Optimising Performance of a Financial Risk Application

Graphics Processing Units (GPUs) are becoming popular accelerators in modern High-Performance Computing (HPC) clusters. Installing GPUs on each node of the cluster is not efficient resulting in high costs and power consumption as well as underutilisation of the accelerator. The research reported in this paper is motivated towards the use of few physical GPUs by providing cluster nodes access to remote GPUs on-demand for a financial risk application. We hypothesise that sharing GPUs between several nodes, referred to as multi-tenancy, reduces the execution time and energy consumed by an application. Two data transfer modes between the CPU and the GPUs, namely concurrent and sequential, are explored. The key result from the experiments is that multi-tenancy with few physical GPUs using sequential data transfers lowers the execution time and the energy consumed, thereby improving the overall performance of the application.

Before the “Comics:” On the Seriality of Graphic Narratives during the Nineteenth Century

While the connection between seriality and comics in the twentieth century has frequently been a subject of study, far less attention has been paid to the role of serialisation in the previous century, when the language of comics gradually developed in the illustrated and satirical press. This article discusses a heterogeneous group of graphic narratives published in various European countries between the 1830s and the 1880s, before a new generation of comic magazines influenced by American newspaper strips transformed this emerging field into the autonomous medium of comics. Serial works flourished during this period and included diverse modes, such as series of “graphic novels,” the use of recurring characters, the serialisation of picture stories in humour periodicals, and the use of graphic narratives as a regular feature in the illustrated news magazines. By providing a panoramic survey of various types of serial texts, the article suggests that the hybrid nature of these graphic narratives and the publishing strategies applied to them can be better understood if considered in relation to the larger context of nineteenth-century print culture, rather than in comparison with the future of the medium.