63 resultados para appropriation of space


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Observations from the Heliospheric Imager (HI) instruments aboard the twin STEREO spacecraft have enabled the compilation of several catalogues of coronal mass ejections (CMEs), each characterizing the propagation of CMEs through the inner heliosphere. Three such catalogues are the Rutherford Appleton Laboratory (RAL)-HI event list, the Solar Stormwatch CME catalogue, and, presented here, the J-tracker catalogue. Each catalogue uses a different method to characterize the location of CME fronts in the HI images: manual identification by an expert, the statistical reduction of the manual identifications of many citizen scientists, and an automated algorithm. We provide a quantitative comparison of the differences between these catalogues and techniques, using 51 CMEs common to each catalogue. The time-elongation profiles of these CME fronts are compared, as are the estimates of the CME kinematics derived from application of three widely used single-spacecraft-fitting techniques. The J-tracker and RAL-HI profiles are most similar, while the Solar Stormwatch profiles display a small systematic offset. Evidence is presented that these differences arise because the RAL-HI and J-tracker profiles follow the sunward edge of CME density enhancements, while Solar Stormwatch profiles track closer to the antisunward (leading) edge. We demonstrate that the method used to produce the time-elongation profile typically introduces more variability into the kinematic estimates than differences between the various single-spacecraft-fitting techniques. This has implications for the repeatability and robustness of these types of analyses, arguably especially so in the context of space weather forecasting, where it could make the results strongly dependent on the methods used by the forecaster.

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The Bloom filter is a space efficient randomized data structure for representing a set and supporting membership queries. Bloom filters intrinsically allow false positives. However, the space savings they offer outweigh the disadvantage if the false positive rates are kept sufficiently low. Inspired by the recent application of the Bloom filter in a novel multicast forwarding fabric, this paper proposes a variant of the Bloom filter, the optihash. The optihash introduces an optimization for the false positive rate at the stage of Bloom filter formation using the same amount of space at the cost of slightly more processing than the classic Bloom filter. Often Bloom filters are used in situations where a fixed amount of space is a primary constraint. We present the optihash as a good alternative to Bloom filters since the amount of space is the same and the improvements in false positives can justify the additional processing. Specifically, we show via simulations and numerical analysis that using the optihash the false positives occurrences can be reduced and controlled at a cost of small additional processing. The simulations are carried out for in-packet forwarding. In this framework, the Bloom filter is used as a compact link/route identifier and it is placed in the packet header to encode the route. At each node, the Bloom filter is queried for membership in order to make forwarding decisions. A false positive in the forwarding decision is translated into packets forwarded along an unintended outgoing link. By using the optihash, false positives can be reduced. The optimization processing is carried out in an entity termed the Topology Manger which is part of the control plane of the multicast forwarding fabric. This processing is only carried out on a per-session basis, not for every packet. The aim of this paper is to present the optihash and evaluate its false positive performances via simulations in order to measure the influence of different parameters on the false positive rate. The false positive rate for the optihash is then compared with the false positive probability of the classic Bloom filter.

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This is a two-part audiovisual essay on Victor Sjöström’s extraordinary film The Phantom Carriage (Körkarlen), which was released on New Year’s Day 1921. Part 1 explores a sequence in detail, revealing a mastery of three-dimensional film space which is remarkable for its period; the essay then look at the ways in which this handling of space is integral to the film’s rich articulation of character and action. Part 2 considers aspects of the film’s mise-en-scène and shows how the features of the sequence explored in Part 1 take on their full resonance within patterns and motifs that develop across the film. Published by Movie: a journal of film criticism, the essay complements our chapter on the film in the volume Silent Features, edited by Steve Neale (Exeter University Press, 2016).