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[Portrait of Ian Parberry]
No full textPhotograph of Ian Parberry, UNT computer science faculty
Comparing Bananas with Grapes: Ebook Use Data from a Bunch of Vendors
Get PDFThe Penrose Library at the University of Denver has access to hundreds of thousands of electronic books (ebooks) from a wide variety of aggregators and publishers. While many librarians have a great deal of experience in the analysis of journal use data, the analysis and publication of ebook use data is behind the curve. Many journal publishers provide "Counter Compliant" statistics to their subscribing institutions, but this is not the case for most ebook publishers. Thus, comparing ebook use from one vendor to the next can be difficult. Even though many ebook publishers do not provide "Counter Compliant" use statistics, several common data elements were used in this comparison. In order to keep the study focused, the presenter extracted use data from several vendors to analyze use in the subject areas of engineering and computer science. Ebook use data were also compared to print book use data in those two subject areas
Sorting and Order Statistics
No full textly as possible into two sublists L 1 and L 2 , sort each of L 1 and L 2 recursively, and then merge them together. function mergesort(L; n) comment sort a list L of n objects 1. if n 1 then return(L) else 2. break L into 2 lists L 1 ; L 2 of almost equal size 3. return(merge(mergesort(L 1 ; dn=2e), mergesort(L 2 ; bn=2c))) Author's address: Dept. of Computer Sciences, Univ. of North Texas, P.O. Box 13886, Denton, TX 76203--3886, U.S.A. Email: [email protected]. URL: http://hercule.csci.unt.edu/ian. <F35.9
Linear Time Selection
No full text30.03> = j + 1 then return(a) 6. else if k j then return(select(S 1 ; k)) 7. else return(select(S 2 ,k \Gamma j \Gamma 1)) Line 3 is the familiar pivoting operation from quicksort. Let T (n) be the worst case for all k of the average number of comparisons used by procedure select on an array of n numbers. Clearly T (1) = 0. Now, immediately after pivoting, S 1 contains j values, and S 2 contains n \Gamma j \Gamma 1 values, for some 0 j ! n. Hence, the average number of comparisons for the Author's address: Dept. of Computer Sciences, Univ. of North Texas, P.O.
Analysis of Quicksort
No full textmallest value. Then, S 1 is empty and S 2 has n \Gamma 1 values, and so TW (n) = ( 0 if n 1 TW (n \Gamma 1) + n \Gamma 1 otherwise. Author's address: Dept. of Computer Sciences, Univ. of North Texas, P.O. Box 13886, Denton, TX 76203--3886, U.S.A. Email: [email protected]. URL: http://hercule.csci.unt.edu/ian. The solution to this recurrence is easily obtained by repeated substitution: TW (n) = TW (n \Gamma 1) + n \Gamma 1 = TW (n \Gamma 2) + (n \Gamma 2) + (n \Gamma 1) = TW<F
Analysis of Mergesort
No full textF61.01> and L 2 , sort each of L 1 and L 2 recursively, and then merge them together. Author's address: Dept. of Computer Sciences, Univ. of North Texas, P.O. Box 13886, Denton, TX 76203--3886, U.S.A. Email: [email protected]. URL: http://hercule.csci.unt.edu/ian. function mergesort(L; n) comment sort a list L of n objects 1. if n 1 then return(L) else 2. break L into 2 lists L 1 ; L 2 of almost equal size 3. return(merge(mergesort(L 1 ; dn=2e), mergesort(L 2 ; bn=2c))) The merge operation can be performed by itera
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
[[alternative]]An Improved Algorithm for the (n2-1)-puzzle
No full text[[abstract]]The (n2-1)-puzzle has been studied by many researchers since Sam Loyd introduced the “14-15 puzzle” and its variants in 1870. Given an N x N chessboard with (n2-1) random-numbered tiles (leaving one blank block), the goal of the (n2-1)-puzzle is to rearrange all tiles in row-major order by sliding one tile adjacent to the blank repeatedly.
In this paper, we improve the method proposed by Ian Parberry. Using divide- and-conquer and greedy techniques, we solve the (n2-1)-puzzle in at most 13/3n3-59/4n2+263/12n-17 moves. It has been known that the problem requires at least n3-O(n2) moves in the worst case, so our algorithm makes no more than 13/3 times more moves than necessary. Besides, our solution makes no more than 13/2 time more than the numbers it needs in the average case (at least 2/3n3-2/3n2 moves).
Variations on the Author
Get PDF“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
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