The ability to recreate computational results with minimal effort and actionable metrics provides a solid foundation for scientific research and software development. When people can replicate an analysis at the touch of a button using open-source software, open data, and methods to assess and compare proposals, it significantly eases verification of results, engagement with a diverse range of contributors, and progress. However, we have yet to fully achieve this; there are still many sociotechnical frictions.
Inspired by David Donoho's vision, this talk aims to revisit the three crucial pillars of frictionless reproducibility (data sharing, code sharing, and competitive challenges) with the perspective of deep software variability.
Our observation is that multiple layers — hardware, operating systems, third-party libraries, software versions, input data, compile-time options, and parameters — are subject to variability that exacerbates frictions but is also essential for achieving robust, generalizable results and fostering innovation. I will first review the literature, providing evidence of how the complex variability interactions across these layers affect qualitative and quantitative software properties, thereby complicating the reproduction and replication of scientific studies in various fields.
I will then present some software engineering and AI techniques that can support the strategic exploration of variability spaces. These include the use of abstractions and models (e.g., feature models), sampling strategies (e.g., uniform, random), cost-effective measurements (e.g., incremental build of software configurations), and dimensionality reduction methods (e.g., transfer learning, feature selection, software debloating).
I will finally argue that deep variability is both the problem and solution of frictionless reproducibility, calling the software science community to develop new methods and tools to manage variability and foster reproducibility in software systems.
Exposé invité Journées Nationales du GDR GPL 2024
DERIVATION OF MODIFIED BERNOULLI EQUATION WITH VISCOUS EFFECTS AND TERMINAL V...Wasswaderrick3
In this book, we use conservation of energy techniques on a fluid element to derive the Modified Bernoulli equation of flow with viscous or friction effects. We derive the general equation of flow/ velocity and then from this we derive the Pouiselle flow equation, the transition flow equation and the turbulent flow equation. In the situations where there are no viscous effects , the equation reduces to the Bernoulli equation. From experimental results, we are able to include other terms in the Bernoulli equation. We also look at cases where pressure gradients exist. We use the Modified Bernoulli equation to derive equations of flow rate for pipes of different cross sectional areas connected together. We also extend our techniques of energy conservation to a sphere falling in a viscous medium under the effect of gravity. We demonstrate Stokes equation of terminal velocity and turbulent flow equation. We look at a way of calculating the time taken for a body to fall in a viscous medium. We also look at the general equation of terminal velocity.
Richard's aventures in two entangled wonderlandsRichard Gill
Since the loophole-free Bell experiments of 2020 and the Nobel prizes in physics of 2022, critics of Bell's work have retreated to the fortress of super-determinism. Now, super-determinism is a derogatory word - it just means "determinism". Palmer, Hance and Hossenfelder argue that quantum mechanics and determinism are not incompatible, using a sophisticated mathematical construction based on a subtle thinning of allowed states and measurements in quantum mechanics, such that what is left appears to make Bell's argument fail, without altering the empirical predictions of quantum mechanics. I think however that it is a smoke screen, and the slogan "lost in math" comes to my mind. I will discuss some other recent disproofs of Bell's theorem using the language of causality based on causal graphs. Causal thinking is also central to law and justice. I will mention surprising connections to my work on serial killer nurse cases, in particular the Dutch case of Lucia de Berk and the current UK case of Lucy Letby.
THE IMPORTANCE OF MARTIAN ATMOSPHERE SAMPLE RETURN.Sérgio Sacani
The return of a sample of near-surface atmosphere from Mars would facilitate answers to several first-order science questions surrounding the formation and evolution of the planet. One of the important aspects of terrestrial planet formation in general is the role that primary atmospheres played in influencing the chemistry and structure of the planets and their antecedents. Studies of the martian atmosphere can be used to investigate the role of a primary atmosphere in its history. Atmosphere samples would also inform our understanding of the near-surface chemistry of the planet, and ultimately the prospects for life. High-precision isotopic analyses of constituent gases are needed to address these questions, requiring that the analyses are made on returned samples rather than in situ.
Professional air quality monitoring systems provide immediate, on-site data for analysis, compliance, and decision-making.
Monitor common gases, weather parameters, particulates.
The ability to recreate computational results with minimal effort and actionable metrics provides a solid foundation for scientific research and software development. When people can replicate an analysis at the touch of a button using open-source software, open data, and methods to assess and compare proposals, it significantly eases verification of results, engagement with a diverse range of contributors, and progress. However, we have yet to fully achieve this; there are still many sociotechnical frictions.
Inspired by David Donoho's vision, this talk aims to revisit the three crucial pillars of frictionless reproducibility (data sharing, code sharing, and competitive challenges) with the perspective of deep software variability.
Our observation is that multiple layers — hardware, operating systems, third-party libraries, software versions, input data, compile-time options, and parameters — are subject to variability that exacerbates frictions but is also essential for achieving robust, generalizable results and fostering innovation. I will first review the literature, providing evidence of how the complex variability interactions across these layers affect qualitative and quantitative software properties, thereby complicating the reproduction and replication of scientific studies in various fields.
I will then present some software engineering and AI techniques that can support the strategic exploration of variability spaces. These include the use of abstractions and models (e.g., feature models), sampling strategies (e.g., uniform, random), cost-effective measurements (e.g., incremental build of software configurations), and dimensionality reduction methods (e.g., transfer learning, feature selection, software debloating).
I will finally argue that deep variability is both the problem and solution of frictionless reproducibility, calling the software science community to develop new methods and tools to manage variability and foster reproducibility in software systems.
Exposé invité Journées Nationales du GDR GPL 2024
DERIVATION OF MODIFIED BERNOULLI EQUATION WITH VISCOUS EFFECTS AND TERMINAL V...Wasswaderrick3
In this book, we use conservation of energy techniques on a fluid element to derive the Modified Bernoulli equation of flow with viscous or friction effects. We derive the general equation of flow/ velocity and then from this we derive the Pouiselle flow equation, the transition flow equation and the turbulent flow equation. In the situations where there are no viscous effects , the equation reduces to the Bernoulli equation. From experimental results, we are able to include other terms in the Bernoulli equation. We also look at cases where pressure gradients exist. We use the Modified Bernoulli equation to derive equations of flow rate for pipes of different cross sectional areas connected together. We also extend our techniques of energy conservation to a sphere falling in a viscous medium under the effect of gravity. We demonstrate Stokes equation of terminal velocity and turbulent flow equation. We look at a way of calculating the time taken for a body to fall in a viscous medium. We also look at the general equation of terminal velocity.
Richard's aventures in two entangled wonderlandsRichard Gill
Since the loophole-free Bell experiments of 2020 and the Nobel prizes in physics of 2022, critics of Bell's work have retreated to the fortress of super-determinism. Now, super-determinism is a derogatory word - it just means "determinism". Palmer, Hance and Hossenfelder argue that quantum mechanics and determinism are not incompatible, using a sophisticated mathematical construction based on a subtle thinning of allowed states and measurements in quantum mechanics, such that what is left appears to make Bell's argument fail, without altering the empirical predictions of quantum mechanics. I think however that it is a smoke screen, and the slogan "lost in math" comes to my mind. I will discuss some other recent disproofs of Bell's theorem using the language of causality based on causal graphs. Causal thinking is also central to law and justice. I will mention surprising connections to my work on serial killer nurse cases, in particular the Dutch case of Lucia de Berk and the current UK case of Lucy Letby.
THE IMPORTANCE OF MARTIAN ATMOSPHERE SAMPLE RETURN.Sérgio Sacani
The return of a sample of near-surface atmosphere from Mars would facilitate answers to several first-order science questions surrounding the formation and evolution of the planet. One of the important aspects of terrestrial planet formation in general is the role that primary atmospheres played in influencing the chemistry and structure of the planets and their antecedents. Studies of the martian atmosphere can be used to investigate the role of a primary atmosphere in its history. Atmosphere samples would also inform our understanding of the near-surface chemistry of the planet, and ultimately the prospects for life. High-precision isotopic analyses of constituent gases are needed to address these questions, requiring that the analyses are made on returned samples rather than in situ.
Professional air quality monitoring systems provide immediate, on-site data for analysis, compliance, and decision-making.
Monitor common gases, weather parameters, particulates.
Observation of Io’s Resurfacing via Plume Deposition Using Ground-based Adapt...Sérgio Sacani
Since volcanic activity was first discovered on Io from Voyager images in 1979, changes
on Io’s surface have been monitored from both spacecraft and ground-based telescopes.
Here, we present the highest spatial resolution images of Io ever obtained from a groundbased telescope. These images, acquired by the SHARK-VIS instrument on the Large
Binocular Telescope, show evidence of a major resurfacing event on Io’s trailing hemisphere. When compared to the most recent spacecraft images, the SHARK-VIS images
show that a plume deposit from a powerful eruption at Pillan Patera has covered part
of the long-lived Pele plume deposit. Although this type of resurfacing event may be common on Io, few have been detected due to the rarity of spacecraft visits and the previously low spatial resolution available from Earth-based telescopes. The SHARK-VIS instrument ushers in a new era of high resolution imaging of Io’s surface using adaptive
optics at visible wavelengths.
What is greenhouse gasses and how many gasses are there to affect the Earth.moosaasad1975
What are greenhouse gasses how they affect the earth and its environment what is the future of the environment and earth how the weather and the climate effects.
Seminar of U.V. Spectroscopy by SAMIR PANDASAMIR PANDA
Spectroscopy is a branch of science dealing the study of interaction of electromagnetic radiation with matter.
Ultraviolet-visible spectroscopy refers to absorption spectroscopy or reflect spectroscopy in the UV-VIS spectral region.
Ultraviolet-visible spectroscopy is an analytical method that can measure the amount of light received by the analyte.
2. Alien (1979)
What Makes This A SCI-FI?
Mise-en-scene: The Mise-en-scene is crucial in
representing the Genre of SCI-FI in this scene,
firstly the set its self is of an unusual design with
computers placed in the central ceiling fixture
also the colour pallet and white lighting on the
walls etc. all work together to create a Space
Ship looking interior.
Also all of the actors are wearing a uniform which
includes rank, name and a mission patch, the
idea of wearing a uniform especially a white and
light blue one is stereotypical to the SCI-FI
Genre.
Probably the most crucial aspect of Mise-en-scene in this scene that represents Sci-Fi is the Alien (Prop) itself which is
one of the most common and expected aspects of Sci-Fi an alien.
Sound: Throughout the clip a hum can be heard in the background, this sounds is not immediately noticeable but
helps in showing this is a spaceship thus a Sci-Fi as the background noise sounds like the hum from the ship
mechanics, computers running etc.
Also there are sounds which seem to be emulating from the Alien itself such as a creaking/purring sounds which can
be heard which gives it a very animalistic feeling yet not quite a creature we would be familiar with as it is not as
comforting of a sound such as from a cat with the aliens purr being more unnerving. We also hear what appears to be
the alien screeching, these unusual and unnerving sounds are a key aspect in this sequence which show this is a
science fiction.
3. Blade Runner 1982 - (opening scene)
What Makes This A SCI-FI?
Mise-en-scene: The scene incorporates a large
futuristic model city scape, model making
although prevalent in a large variety of genres it
is Sci-Fi’s that are filled with them, this is
because with Sci-Fi’s the places either don’t exist
or is set in the future as such has to be made, as
a result models are rife throughout Sci-Fi’s.
Sound: The soundtrack throughout this sequence is very unusual which is ideal in a science fiction, the music itself
sounds very unnatural i.e. done via a synthesizer this always gives an unusual robotic sound to a soundtrack which is
perfect for most Sci-Fi’s. As the sequence progresses other sounds can be heard adding over the original soundtrack
the sound of what sounds like a orchestra but with a synthesized sound comes in this once again is something we
recognise as an audience but presented in a unusual manner seen in Sci-Fi’s. The last sound to emerge into the
soundtrack is a twinkly sound another common sound heard in science fiction
4. 2001 a Space Odyssey 1968
What Makes This A SCI-FI?
Mise-en-scene: The Mise-en-scene in this scene consists largely of visual effects which is a very prominent aspect in
most Science fiction films. Also the colouration throughout the scene is vibrant and unusual which helps in showing the
alien nature of what is happening as such successfully represents the Sci-Fi genre.
Sound: The sound in this sequence from 2001 a space odyssey is especially unusual in its composition of music as the
soundtrack is high pitch and sounds like a choir, this gives an especially unusual/alian and unnerving sound, the sound
changes throughout the sequence but throughout remains odd and uncomfortablr creating tension through the build up of
high pitch rumbling sounds.
5. 2001 A Space Odyssey 1968
(Moon Scene)
What Makes This A SCI-FI?
Mise-en-scene: The set combined with the
matte painting are vital aspects of Mise-en-
scene that show that this a Sci-Fi, with
especially the matte painting which is of the
moon with the earth and space in the
background, this is effective in showing this
is Science fiction emphasized by the fact
there is a man made underground structure
with lights on the moon. Also the men in the
scene are wearing white & Silver spacesuits
which are standard in most Sci-Fi films due
to their familiarity to actual space
exploration.
Sound: the sound in this sequence is almost entirely no-diegetic, this soundtrack is unnerving as it becomes higher
and higher in pitch, as with the other clip from 2001 a space odyssey the sound initially sounds like voices and slowly
becomes faster and more uncomfortable as such creates a feeling of an otherworldly environment and builds tension.
6. RoboCop 1987 - (Robot Wars)
What Makes This A SCI-FI?
Mise-en-scene: Costume is a key aspect in
showing this scene is from a Sci-Fi film as the
main character is a cyborg type being which
like prosthetics is common place in science
fiction for i.e. robots, aliens etc. Also there is a
model/prop of another robot looking nothing
like a human, the use of a prop/model as
character is only really seen in science fiction
films usually in the forms or robots or
computers.
Sound: The mechanical sound of the ED-209 (big robot) as well as the noises of Robocop himself are mechanical
sounds, such sounds are only really ever heard in Science fiction especially from the source of the noise robots. The
soundtrack sounds very metallic i.e. as if pieces of metal are being bashed together to create the sound, having a
soundtrack that uses either metallic or high pitch whistling sounds are a common theme in the Sci-Fi genre. As the
robots fight we hear lots of explosions etc such dramatic action scene are another common attribute in Science fiction
films as but rather than fist fighting etc it is advanced weponary making load explosions or laser beam sounds etc.
7. Star wars VI 1983
(Luke VS Vader)
What Makes This A SCI-FI?
Mise-en-scene: The set design is very
specific to a Sci-Fi film as there are many
metallic features and a grey tone to the
structure and there are big windows, this
reveals the stars etc. beyond to show that
this scene is set in space defining that it is
a science fiction. Props are also effective in
showing this is a Sci-Fi for example the
lightsaber fictional equipment such as
weapons are common in Sci-Fi's with
usually a familiar look but in a much more
complex and advanced form than we
would know i.e. lightsaber-sword this is effective in conveying the film is a Sci-Fi. Costume also proved crucial in
representing this is a science fiction film as the costume is complex and with Darth Vader robotic like to show this is
set in a science fiction environment.
Sound: The sound in this scene is powerful in showing this is a Sci-Fi mainly through Diegetic sound for example the
sound of the lightsaber humming and crashing as the two are hit together, these sounds sound very electrical, such
sounds are effective in showing this scene is from a science fiction. Other sounds heard include Darth Vader’s
breathing although the sound is familiar i.e. it sounds like a divers breathing apparatus yet is in an environment you
wouldn't’t expect to hear such a noise and as a result fits well with the science fiction genre as it is relatable yet
remains different and alien to what you would expect.
Also Darth Vader’s voice is powerful and unusual this is also a common feature in science fiction whether it be the
voice of an alien a robot or characters such as Darth Vader.
8. The Terminator 1984
(opening Scene)
What Makes This A SCI-FI?
Mise-en-scene: This opening sequence
is made up almost completely of models
and sets which is common in Science
fictions. The set consists of an
apocalyptic world in which there are
collapsed buildings and the skulls of
humans are littering the floor, this is
effective in representing the
apocalyptical/end of the world scene
which is common in scientific stories.
Also there are models of high tech
looking machines these robotic looking
machines are firing what appear to be
lasers
Sound: The sound in this sequence sounds synthesized, such sounding music is common is science fiction films due
to its unnatural sound which gives an other worldly feel. Also the sound of lasers and explosions can be heard in
most Sci-Fi films as they consist of fictional advanced technology usually in the form of weaponry and as such give
them an unusual sound whilst still being somewhat familiar this is a common thing in science fiction via sound as it
still makes sense to the audience but sounds completely different to anything you hear in the real modern world.
as the humans running around effectively destroying them, this also effectively shows Sci-Fi as big mechanical
machinery with lasers are iconically only seen in Sci-Fi’s.
9. Star Trek II 1982
(Spock death Scene) What Makes This A SCI-FI?
Mise-en-Scene: The Mise-en-scene is
probably the most crucial micro feature In
this scene as it is in most SCI-FI films in
representing the genre. The set is very
crisp and white with lots of lights and
computer panels etc. scattered around the
set which is perfect in showing that this is a
SCI-FI as It is a setting in which you
associate with either science or space with
similar sets being used in almost all SCI-
FI’s. The costumes also give the impression
of a Sci-fi as many are crisp white or have
some white to them (this choice of colour is
associated with actual space I.E. NASA
space suits)
as well as this the costumes appear to be a uniform with some sort of mission path and rank pin, also associated with
actual space exploration as well as fictional. Lastly Mr. Spock’s ears are a key aspect of Sci-Fi Mise-en-scene as in many
SCI-FI films prosthetics are used to create aliens etc.
Sound: This sequence uses an unusual sounding (Non-Diegetic) soundtrack with lots of sharp notes with violins making
high piercing sounds etc. this helps in showing that this is a Sci-Fi as the sound is alien like also towards the end the
iconic franchise them tune can be heard common in science fiction films i.e. Star Wars and Star Trek.
We also hear Captain Kirk and Mr. Spock talking (Diegetic) long complex dialogue or philosophical/intellectual dialogue is
also common in Sci-Fi films as they are usually based on actual science or scientific theory's in some way.
10. Conclusion what makes a Sci-Fi?
A Sci-Fi relays heavily on the Mise-en-scene to create the genre, such as sets
which can depict spaceships, other planets or our own planet with a difference i.e.
set in the future or with some scientific differences. Also they use props and models
such as spaceships, aliens weapons and other fictional technology these are crucial
in creating a science fiction, as well as props and models makeup is a key aspect in
creating a Sci-Fi whether its to add pointed ears or green skin special effects
makeup when teamed with costume proves crucial in creating the aliens etc. we
expect from Science fiction films.
Sound is another key aspect in making a Sci-Fi, as science fiction films relay on a
soundtrack that has another worldly interesting sound usually being metallic,
electrical, high pitched etc. also background noise such as the rumbling of the ship,
doors opening footsteps all have to be understandable to an audience but also
different to what you would expect in the real world such as foot steps being heavier
with a metallic clink as the character walks or the computers beeping, these noises
are effective in showing that a film is a Sci-Fi as the sounds are often relatable but
also unusual in some way to give a futuristic or alien feeling.
There are thousands of things added into a film to show it’s a science fiction
down to that the main characters usually have a close family like relationship
similar to that depicted in the war genre as usually these characters are in space,
isolated on a spaceship so are are much closer and relay on each other much
more than in other genres i.e. rather than just one character saving the day such
a James bond, Sci-Fi’s usually relay much more on a team effort.