Dithen: A Computation-as-a-Service Cloud Platform For Large-Scale Multimedia Processing

We present Dithen, a novel computation-as-a-service (CaaS) cloud platform specifically tailored to the parallel ex-ecution of large-scale multimedia tasks. Dithen handles the upload/download of both multimedia data and executable items, the assignment of compute units to multimedia workloads, and the reactive control of the available compute units to minimize the cloud infrastructure cost under deadline-abiding execution. Dithen combines three key properties: (i) the reactive assignment of individual multimedia tasks to available computing units according to availability and predetermined time-to-completion constraints; (ii) optimal resource estimation based on Kalman-filter estimates; (iii) the use of additive increase multiplicative decrease (AIMD) algorithms (famous for being the resource management in the transport control protocol) for the control of the number of units servicing workloads. The deployment of Dithen over Amazon EC2 spot instances is shown to be capable of processing more than 80,000 video transcoding, face detection and image processing tasks (equivalent to the processing of more than 116 GB of compressed data) for less than $1 in billing cost from EC2. Moreover, the proposed AIMD-based control mechanism, in conjunction with the Kalman estimates, is shown to provide for more than 27% reduction in EC2 spot instance cost against methods based on reactive resource estimation. Finally, Dithen is shown to offer a 38% to 500% reduction of the billing cost against the current state-of-the-art in CaaS platforms on Amazon EC2 (Amazon Lambda and Amazon Autoscale). A baseline version of Dithen is currently available at dithen.com.

Monsters Take to the Streets! Monstrous Street-Art as Pedagogy of Resistance to Post-Olympic Regeneration in Hackney Wick?

This chapter explores geographies of gentrification and resistance in relation to the monstrous through the lens of street-art in post-Olympic London. It takes as a geographic case study Hackney Wick, which has for a long time been a bastion of alternative and creative living due to cheap rents in large, ex-industrial warehouse spaces. The artistic sociality of the area is imbued within its landscape, as prolific street artists have adorned ex-industrial warehouses and canal-side walls with graffiti and murals. Since the announcement of the 2012 Olympic Games, the area has been a site of intense political and aesthetic contestation. The post-Olympic legacy means that the area has been earmarked for redevelopment, with current residents facing the possibility of joining thousands already displaced by the games. The anxiety of dispossession is reflected by monstrous characters and sinister disembodied teeth, eyes and fingers embedded within the landscape, painted by local artists. Using geographically sensitive mobile and visual methodology to document the landscape and artwork, the chapter analyses and interprets the monstrous themes using a range of theorists including Mikhail Bakhtin, Georges Bataille and Nick Land. I argue that monstrous street-art lays visible claim to public territory for aesthetic purposes at odds with the visions of redevelopers and the needs of capital. Whilst street-art and graffiti do not fit easily within frameworks of organized political resistance or collective social movements, they operate as a kind of epistemological transgression that triggers transformative affects in the viewer. This creates conditions for pedagogies of resistance to gentrification by expressing and mobilizing political affects such as anger and anxiety, raising awareness of geographical politics, and encouraging the viewer to question the status quo of the built environment.