1,721,945 research outputs found
Comment on Stochastic Polyak Step-Size: performance of ALI-G
Full text linkThis is a short note on the performance of the ALI-G algorithm (Berrada et al., 2020) as reported in (Loizou et al., 2021). ALI-G (Berrada et al., 2020) and SPS (Loizou et al., 2021) are both adaptations of the Polyak step-size to optimize machine learning models that can interpolate the training data. The main algorithmic differences are that (1) SPS employs a multiplicative constant in the denominator of the learning-rate while ALI-G uses an additive constant, and (2) SPS uses an iteration-dependent maximal learning-rate while ALI-G uses a constant one. There are also differences in the analysis provided by the two works, with less restrictive assumptions proposed in (Loizou et al., 2021). In their experiments, (Loizou et al., 2021) did not use momentum for ALI-G (which is a standard part of the algorithm) or standard hyper-parameter tuning (for e.g. learning-rate and regularization). Hence this note as a reference for the improved performance that ALI-G can obtain with well-chosen hyper-parameters. In particular, we show that when training a ResNet-34 on CIFAR-10 and CIFAR-100, the performance of ALI-G can reach respectively 93.5% (+6%) and 76% (+8%) with a very small amount of tuning. Thus ALI-G remains a very competitive method for training interpolating neural networks
Liquid racism and the ambiguity of Ali G
No full text This article analyses Ali G through the concept of ‘liquid racism’. As a polysemic and elusive form, liquid racism requires reflexivity in order to critique it fully, and is a racism that, in media representation, often polarizes debate of its meaning. The article explains how academics have struggled to explain Ali G’s relationship to racism, how his ambiguity is complicated by some social actors seeing him as a real person, before it explains how Ali G expresses three strands of liquid racism. These are ‘postmodern minstrelsy’ — Ali G as a black man, ‘ethnocultural hybrid racism’ — Ali G as a white man pretending to be black, and ‘anti-Asian racism’ — Ali G as an Asian man pretending to be black. It is the combination of the three and the erasure they inflict on one another that creates liquidity. Finally, some non-racist themes in Baron Cohen’s comedy are outlined that encourage analytic confusion. </jats:p
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Race in the Marketplace: Postmodern Passing and Ali G
No full textThe concern of this essay is to use recent critical disputes on balckface as a backdrop for examining how postmodern racial passing (as a form of racial morphing) in the visual media of film and television – with specific reference to the fictional character Ali G – frees racial stereotypes of their essentialist strength by relying on the widespread acceptance and familiarity of such stereotypes. That is, as the postmodern passer, Ali G subverts racial categories both graphically and linguistically in ways that highlight the mutability, multiplicity, and indeterminacy of those categories, even if the question still remains whether or not the character concurrently resets the same stereotypes that he attempts to destabilize. As opposed to earlier passers who “were” either “black” or “white,” Ali G lacks a fundamental racial essence. Race is overtly constructed as performance, just as a photographic image can be easily altered to widen a nose or fatten a lip. Such visual cues, understood as biological because embodied, have come to signify racial categories. The postmodern audience, however, must understand the artifice: a race, like a face, can be constructed to signify in ways divorced from a biological “essence.”info:eu-repo/semantics/publishedVersio
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Race in the Marketplace: Postmodern Passing and Ali G
No full textThe concern of this essay is to use recent critical disputes on balckface as a backdrop for examining how postmodern racial passing (as a form of racial morphing) in the visual media of film and television – with specific reference to the fictional character Ali G – frees racial stereotypes of their essentialist strength by relying on the widespread acceptance and familiarity of such stereotypes. That is, as the postmodern passer, Ali G subverts racial categories both graphically and linguistically in ways that highlight the mutability, multiplicity, and indeterminacy of those categories, even if the question still remains whether or not the character concurrently resets the same stereotypes that he attempts to destabilize. As opposed to earlier passers who “were” either “black” or “white,” Ali G lacks a fundamental racial essence. Race is overtly constructed as performance, just as a photographic image can be easily altered to widen a nose or fatten a lip. Such visual cues, understood as biological because embodied, have come to signify racial categories. The postmodern audience, however, must understand the artifice: a race, like a face, can be constructed to signify in ways divorced from a biological “essence.”info:eu-repo/semantics/publishedVersio
Race in the Marketplace: Postmodern Passing and Ali G
No full textThe concern of this essay is to use recent critical disputes on balckface as a backdrop for examining how postmodern racial passing (as a form of racial morphing) in the visual media of film and television – with specific reference to the fictional character Ali G – frees racial stereotypes of their essentialist strength by relying on the widespread acceptance and familiarity of such stereotypes. That is, as the postmodern passer, Ali G subverts racial categories both graphically and linguistically in ways that highlight the mutability, multiplicity, and indeterminacy of those categories, even if the question still remains whether or not the character concurrently resets the same stereotypes that he attempts to destabilize. As opposed to earlier passers who “were” either “black” or “white,” Ali G lacks a fundamental racial essence. Race is overtly constructed as performance, just as a photographic image can be easily altered to widen a nose or fatten a lip. Such visual cues, understood as biological because embodied, have come to signify racial categories. The postmodern audience, however, must understand the artifice: a race, like a face, can be constructed to signify in ways divorced from a biological “essence.”info:eu-repo/semantics/publishedVersio
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