According to all known laws of aviation, there is no way that a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyways. Because bees don't care what humans think is impossible.
According to all known laws of aviation, there is no way that a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyways. Because bees don't care what humans think is impossible.
Adjusting primitives for graph : SHORT REPORT / NOTESSubhajit Sahu
Graph algorithms, like PageRank Compressed Sparse Row (CSR) is an adjacency-list based graph representation that is
Multiply with different modes (map)
1. Performance of sequential execution based vs OpenMP based vector multiply.
2. Comparing various launch configs for CUDA based vector multiply.
Sum with different storage types (reduce)
1. Performance of vector element sum using float vs bfloat16 as the storage type.
Sum with different modes (reduce)
1. Performance of sequential execution based vs OpenMP based vector element sum.
2. Performance of memcpy vs in-place based CUDA based vector element sum.
3. Comparing various launch configs for CUDA based vector element sum (memcpy).
4. Comparing various launch configs for CUDA based vector element sum (in-place).
Sum with in-place strategies of CUDA mode (reduce)
1. Comparing various launch configs for CUDA based vector element sum (in-place).
Chatty Kathy - UNC Bootcamp Final Project Presentation - Final Version - 5.23...John Andrews
SlideShare Description for "Chatty Kathy - UNC Bootcamp Final Project Presentation"
Title: Chatty Kathy: Enhancing Physical Activity Among Older Adults
Description:
Discover how Chatty Kathy, an innovative project developed at the UNC Bootcamp, aims to tackle the challenge of low physical activity among older adults. Our AI-driven solution uses peer interaction to boost and sustain exercise levels, significantly improving health outcomes. This presentation covers our problem statement, the rationale behind Chatty Kathy, synthetic data and persona creation, model performance metrics, a visual demonstration of the project, and potential future developments. Join us for an insightful Q&A session to explore the potential of this groundbreaking project.
Project Team: Jay Requarth, Jana Avery, John Andrews, Dr. Dick Davis II, Nee Buntoum, Nam Yeongjin & Mat Nicholas
Techniques to optimize the pagerank algorithm usually fall in two categories. One is to try reducing the work per iteration, and the other is to try reducing the number of iterations. These goals are often at odds with one another. Skipping computation on vertices which have already converged has the potential to save iteration time. Skipping in-identical vertices, with the same in-links, helps reduce duplicate computations and thus could help reduce iteration time. Road networks often have chains which can be short-circuited before pagerank computation to improve performance. Final ranks of chain nodes can be easily calculated. This could reduce both the iteration time, and the number of iterations. If a graph has no dangling nodes, pagerank of each strongly connected component can be computed in topological order. This could help reduce the iteration time, no. of iterations, and also enable multi-iteration concurrency in pagerank computation. The combination of all of the above methods is the STICD algorithm. [sticd] For dynamic graphs, unchanged components whose ranks are unaffected can be skipped altogether.
Opendatabay - Open Data Marketplace.pptxOpendatabay
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From intelligent search and recommendations to automated data productisation and quotation, Opendatabay AI-driven features streamline the data workflow. Finding the data you need shouldn't be a complex. Opendatabay simplifies the data acquisition process with an intuitive interface and robust search tools. Effortlessly explore, discover, and access the data you need, allowing you to focus on extracting valuable insights. Opendatabay breaks new ground with a dedicated, AI-generated, synthetic datasets.
Leverage these privacy-preserving datasets for training and testing AI models without compromising sensitive information. Opendatabay prioritizes transparency by providing detailed metadata, provenance information, and usage guidelines for each dataset, ensuring users have a comprehensive understanding of the data they're working with. By leveraging a powerful combination of distributed ledger technology and rigorous third-party audits Opendatabay ensures the authenticity and reliability of every dataset. Security is at the core of Opendatabay. Marketplace implements stringent security measures, including encryption, access controls, and regular vulnerability assessments, to safeguard your data and protect your privacy.
2. Goodwin’s Six Features
One way of understanding whether my music video uses, develops or challenges forms and conventions of real media products is to compare it with Andrew Goodwin’s six
features of a music video.
Music Videos Demonstrate Genre Characteristics
As dream-pop is such an experimental genre, (as well as being closely affiliated with alternative rock) it is difficult to spot ‘fixed’ conventions in music videos of this genre.
However, there does seem to be a blend of narrative, conceptual and performance elements in music videos of this genre. In my own music video, I incorporated multiple
narrative and conceptual elements throughout the video. Therefore, it could be said that my music video demonstrates genre characteristics.
There is a Relationship Between Lyrics and Visuals
I would say this theory could be applied to my music video; both the lyrics and title of the song are ‘Don’t wake me up’. This encouraged me to construct my narrative around
the concept of dreaming, with my protagonist being trapped inside multiple layers of a dream. For this reason, I believe that my video would conform to this theory proposed
by Goodwin.
There is a Relationship Between Music and Visuals
This is evident in my video. For example, in the underpass sequence, there is a scene where the transitions between cuts are timed with the beat of the music. Also, near the
end of the video there is a sequence of cuts used in quick succession to match with the repetition of the lyrics “Don’t wake me up”.
The Demands of the Record Label Will Include the Need For Lots of Close-Ups
It is difficult to say whether my video conforms to this feature, as there is no ‘star image’ used. There are however multiple close-up shots of my protagonist which would
suggest he is the main feature of my video, despite not being represented as the song’s artist.
There is Frequent Reference to Notion of Looking
I would say this feature can’t be applied to my video, because it wasn’t a performance-based video and so the camera wasn’t acknowledged at all, otherwise this would have
broken the fourth wall and defeated the purpose of narrative in my video.
There are Often Intertextual References to films, TV Programmes and Other Music Videos, etc.
This feature is not evident in my video.
3. In conclusion, my music video does use some of Goodwin’s
six features but also challenges some. I will now select nine
frames from my video and analyse them in further detail.
4.
5. This is the first frame of my music video, which immediately engages the audience. This is
because there are a couple of seconds of darkness before the frame suddenly appears. The clip
is also synced with the non-diegetic sound of a loud/sudden opening beat from the song’s
instrumentals, which allows the clip to enter both dramatically and unexpectedly as the audience
aren’t expecting the image to suddenly appear. This frame is also significant in conveying the late
night setting to the audience, with the clouds gently passing over the moon making for engaging
visuals. Furthermore, the night setting is indicative of the dark nature of the events that follow.
This is the second frame, reinforcing the late night backdrop and the evening atmosphere of
zooming headlights, traffic, etc. The dual carriageway suggests that the events are either taking
place in/near a suburban environment. The blurred light dots suggest a sense of fatigue, almost
as if the viewer is too tired to focus their eyes. This links in to the late night setting, with the
passing cars representing the passing of time as the events of the video unfold.
This frame reveals the video’s antagonist, blocking the path through the tunnel. His dark costume
blends in with the black backdrop at the end of the tunnel, suggesting his dark and evil nature.
The fact that his hood partly conceals his face represents him as a possible threat to the safety of
our main character, causing the audience to side with our protagonist and subsequently engaging
them with the narrative.
6. The ‘Texturize’ effect became a key element in giving my music video it’s own distinctive look.
Many of my clips were merged with this effect throughout the video, creating a signature
aesthetic. This frame is one of many demonstrating the effect in action. Here, I used it to blend
my motorway time-lapse with a close up shot of the protagonist’s face, showing the passing of
time and hinting that this is a dream/journey taking place inside the character’s head.
This frame introduces the first conceptual element of my video, with the graffiti from the
surrounding walls suddenly appearing on the protagonist's face. This alters his normal
appearance, turning his skin a pale yellow and placing a ‘third eye’ on his forehead with black
paint dripping down from it, highlighting the video’s conceptual structure. I used the ‘Texturize’
effect on Premiere Pro to achieve this layering of clips. This frame makes it clear that my video
will be of the conceptual genre due to it’s stylised visuals.
This scene was transitioned through a smash cut, used to continue the narrative, with the
startling jump (from dying in the previous dream) causing the protagonist to suddenly wake up in
a dark red room. This is an unconventional narrative style for a music video, and so it would fit
into the conceptual genre, as it does not conform to the traditional format of a music video. This
is reinforced by the conceptual elements such as the stylised lighting (an intense red, which has
connotations of danger/anger) and the texturized clips which are used throughout the whole
video. The lighting is symbolic in suggesting a negative mood/emotion due to it’s aforementioned
connotations. Symbolic elements such as these are common conventions of conceptual music
videos, as they help to give the video it’s own distinctive look, making them more memorable for
the audience.
7. Here, the antagonist is shown blocking the end of the tunnel again, (similarly to the frame he
previously featured in) but this time he is surrounded by flames, presenting him as an even
bigger threat than before. The flames are merged into this clip from the previous campfire
scene with the protagonist, linking both the events and aesthetics together.
In this frame, I merged a grainy stock video of blood cell chemicals with a clip of Andrew’s face in
the middle. I adjusted the saturation and brightness of the surrounding areas, giving it a bright
greenish/yellow look, creating a nice contrast with the red lighting from Andrew’s clip. Many of the
clips in my video are visually-stylised, as I wanted to make the video more engaging for the
audience.
This frame is used to show the change in both style and pace of the video. Before cutting to this
particular clip, there is a dramatic build-up (montage) of previous frames used in quick succession,
before finally cutting to a long take of the glowing embers from the fire, signalling the end of the video.
Before the final cut takes place, the shots are jumpy, erratic and random, reinforcing the conceptual
style of the video; after the cut takes place however, the camerawork is smooth and steady,
juxtaposing that of the previous scenes. As this is the last clip in the video, the ending is
polysomic/interpretive since the previous frames suggest that there is no clear/fixed ending to the
video, leaving the audience to decide what happens next. This is another common convention of
conceptual music videos.