219 research outputs found

    Frontmatter, Table of Contents, Preface, Conference Organization, Author Index

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    This proceedings volume has the papers presented at the 30th annual conference on Foundations of Software Technology and Theoretical Computer Science (FSTTCS 2010), held at the Institute of Mathematical Sciences (IMSc), Chennai, during 15–18 December 2010. The conference attracted 128 submissions from 35 countries in 6 continents, most of them of very high quality. We thank the authors who submitted for making this such a competitive conference. The PC succeeded in obtaining the help of 216 external reviewers, in all producing 400 referee reports which were of immeasurable help in deciding the 38 contributed papers which have made it to this publication

    Training machine learning algorithms using actor framework in multi-core or cluster system

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    Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2021-08-01The student, Harshita Meena, accepted the attached license on 2019-07-12 at 16:03.The student, Harshita Meena, submitted this Thesis for approval on 2019-07-12 at 16:13.This Thesis was approved for publication on 2019-07-15 at 13:28.DSpace SAF Submission Ingestion Package generated from Vireo submission #14311 on 2019-11-26 at 14:04:15Machine learning algorithms have shown great promises in many applications, the increase of data has fueled the production of great frameworks that could leverage the combination of data with tools. There have been focus on providing applications to ease the process of training different learning models like Apache Spark, Tensor flow that unifies streaming, batch, and interactive big data workloads. The Actor model is asynchronous message passing protocol for computations in distributed systems and is suitable for exploiting large-scale parallelism. The support that actor system brings with it like fault tolerance, actor spawning, multi-core usage makes it a good model for building Machine learning applications that wants to benefit in local and distributed cloud computing. This thesis provides one such framework for iterative machine Learning algorithms that train the models by asynchronous message passing. We show results of a number of ML algorithms and analyze the benefits of using a scalable (horizontal and vertical) platform of actors to do large-scale data model training. The thesis implements two protocols to do scalable training and compares their performance.Made available in DSpace on 2019-11-26T20:59:48Z (GMT). No. of bitstreams: 2 MEENA-THESIS-2019.pdf: 621826 bytes, checksum: a8c9d4f410e7b3e7cb18722c7f24b18d (MD5) LICENSE.txt: 4211 bytes, checksum: 3595cb4c68fd667366c93c52dd3d5376 (MD5) Previous issue date: 2019-07-15Embargo set by: Seth Robbins for item 113095 Lift date: 2021-11-26T20:59:54Z Reason: Author requested closed access (OA after 2yrs) in Vireo ETD systemLimited Restriction Lifted for Item 113095 on 2021-11-27T10:15:20Z

    “Writing in Search of a Homelandâ€: Re-creating Home in Meena Alexander’s Fault Lines: A Memoir

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    In this article I investigate Indian-American author Meena Alexander's autobiographical memoir, Fault Lines (2003). Multiply fragmented by relocations and remembrances, flights and motions, Alexander‟s memoir is relentlessly marked by her ceaseless quest for stability – at home and in exile. As she repeatedly emphasises her irresistible impulse to write since her childhood and particularly to write her self, I will attempt in this article to explore the importance of self-writing in diaspora. Consequently, I will argue that diasporic self-writing not only induces a therapeutic wholeness amidst disjunction and displacement, but also effectively de-creates and re-creates shifting and changing paradigms of the diasporic homes

    Interview with Ruth Meena

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    The Global Feminisms Project (http://www.umich.edu/~glblfem/en/index.html) is a collaborative international oral history project that examines the history of feminist activism, women's movements, and academic women's studies in sites around the world. The current archive includes interviews with women's movement activists and women's studies scholars in China, India, Nicaragua, Poland, and the United States. We are currently working on adding interviews from Brazil and Russia. The Project is based in the Institute for Research on Women and Gender (IRWG) at UM, which is also the home for the U.S. site research team. Our international collaborators include: - Laboratorio de Historia Oral e Imagem - UFF (the Laboratory of Oral History and Images at the Federal Fluminense University in Rio de Janeiro) and Nucleo de Historia, Memoria e Documento - NUMEM (the Center for History, Memory, and Documentation at the Federal State University in Rio de Janeiro), BRAZIL - China Women's University in Beijing, CHINA - SPARROW, Sound and Picture Archives for Research on Women in Mumbai, INDIA - Movimiento Autonomo de Mujeres de Nicaragua (Autonomous Women's Movement), NICARAGUA - Fundacja Kobiet eFKa (Women's Foundation eFKa) in Krakow, POLANDProf. Ruth Meena (known as Dada Ruti) was born in Moshi in 1946; she is a feminist, human right activist, scholar and author of several publications on gender and women empowerment. She was the first female Tanzanian Professor at the Department of Political Science and Public Administration and served 27 years at University of Dar es salaam, after serving 9 years at both teachers colleges and secondary schools. In 1991 she coordinated the Gender Program for East and Southern Africa under SAPES, based in Harare, Zimbabwe, forming a network of scholars that produced a book titled Southern Africa, Conceptual and Theoretical Issues.She is a co-founder and the first chairperson of the board of Environmental and Human Rights, Care and Gender Organization, an active member of the Tanzania Gender Networking Program (TGNP) co-founder and member of the Board of Trustees of the Women Fund-Trust, (WFT-Trust). In 2013 she actively engaged in the women's rights movement in demanding incorporation of women's rights in the constitutional review process. She has published, authored or co-authored and edited various books, reports, journal articles, and papers on gender, women empowerment and feminist discourses.https://deepblue.lib.umich.edu/bitstreams/bf0f8c00-39b7-4d97-9b14-aa21730610f1/downloadhttps://deepblue.lib.umich.edu/bitstreams/11877819-0349-4c1e-959d-109a1023318c/downloa

    Dravidian Futurities: A Creative Process

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    In this article, author and artist Meena Murugesan analyzes their creative process and research in the making of Dravidian Futurities, a multi-channel video installation with live performance. Methodologies of auto-ethnography, visual aesthetics, embodied movement practices, Tamil historiographies, queer futurities, caste analysis, and poetics are applied to treat the issues at hand. Dravidian Futurities draws connections between communities of South Indian and Sri Lankan Shudra and Dalit caste backgrounds, Dravidian, and Afro-Indian peoples, depending on the historical era examined. As someone of the Shudra caste, the author draws connections between agriculture, land, and earth, as being rooted in Shudra identities, and in opposition to brahminical systems. Therefore, the movement forms of somatics, improvisation, and nature-based embodiment practices are investigated as possible embodied inroads to grapple with caste within brahminized bharatanatyam. Notions of futurity and place-making are unearthed from the depths of the Indian Ocean with a hypothetical sunken landmass called Lemuria or Kumari Kandam that might have once connected South India, Sri Lanka, and Madagascar. Dravidian Futurities also dreams into existence this speculative landmass as a possible utopia we might co-build, similar to that which Dalit mystic saint Guru Ravidas imagined five hundred years ago with Begumpura (“land without sorrow”) as a casteless, stateless utopia

    Reclaiming and Renegotiating Authenticity Through Autofiction: Meena Kandasamy’s When I Hit You

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    Autofiction, often regarded as an innovative means of self-exploration and self-presentation, invites discussions of authenticity. Highlighting the complexity and social value of the notion, I suggest that authenticity is not an outdated ideal that autofiction seeks to transcend; rather, autofiction opens up ways to critically engage with this notion. This potential is realized in Meena Kandasamy’s When I Hit You, a work of “biographical autofiction” that proclaims to be “fiction” but does not contain any perceivable elements of invention. Critiquing Genette’s dismissal of biographical autofiction as “veiled autobiography,” I argue that the paratextual label of “fiction” is not a gesture of evasion but a liberating leap that makes space for the author to renegotiate authenticity, a notion that is highly at stake in the narration of domestic violence but systematically denied to female survivors. A close analysis of the work informed by this new metaphor shows that Kandasamy negotiates four forms of authenticity with her autofictional performances: a partial authenticity that recognizes female survivors’ need for self-protection, an emotional authenticity that registers the psychological repercussions of domestic violence, an emergent authenticity that gives women the space to heal and grow, and a collective authenticity that highlights the importance of culturally sanctioned narrative templates. Kandasamy’s work highlights the need to continually scrutinize and renew our ideas of authenticity and shows the constructive role autofiction can play in this process

    NAVIGATING THE SELF: DIASPORIC CARTOGRAPHIES IN THE FICTION OF BHARATI MUKHERJEE AND MEENA ALEXANDER

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    The beginning of the twenty-first century was marked with unprecedented migrations in the world that has changed the concept of home, belonging, and identity. Bharati Mukherjee and Meena Alexander are two of the key characters who argue on the multidimensionality of the diasporic consciousness in this shifting environment. South Asian origin and sense of acute exile, although both of them share them, take different directions in literary paths. Mukherjee fiction is a radicalized acceptance of assimilation and self-inventing and fetishizes the innovation of a new American identity through breaking and remaking. In his turn, Alexander texts are done in the manner of the lyrical speculations on fragmentation, memory and emotion bargaining of existence between worlds. In this paper, the author draws parallels between the manner in which both authors trace two distinct different diasporic cartographies Mukherjee by producing narratives of radical cultural transformation, and Alexander a poetics of multiple belonging and without-homelandness. The two halves of the immigrant experience they share are the exaltation of renewal and the agony of being in a transitional state that casts light on the issue of identity under the most mobile world

    Syllabi for statics courses

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    Research Initiation Grant: Problem/Project-Based Learning in Statics, a Stepping Stone to Engineering Education Research.The two syllabi included in this document were used during statics courses that were taught as part of a research study on the effect on student outcomes of introducing projects to a traditional lecture course.While projects appear to have much to offer engineering education, rigorous evaluations of the impact of projects on student outcomes are rare. The objective of the project is to study the incorporation of three group design projects into a sophomore level statics course and to measure the effect of the changes on student outcomes including content knowledge and various affective outcomes.National Science Foundation Grant No. 1137023
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