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DEI Talks | “Task scheduling algorithms for fog architectures” by Prof. Celestino Lopes de Barros
Maio 11, 2022 1:30 pm - 2:30 pm
I-105
Abstract:
According to the author’s knowledge task scheduling in fog paradigm is highly complex and in the literature there are still few studies on it. In the cloud architecture, it is widely studied and in many researches, it is approached from the perspective of service providers. Trying to bring innovative contributions in these areas, we propose a solution to the context-aware task-scheduling problem for fog paradigm. In our proposal, different context parameters are normalized through Min Max normalization, requisition priorities are defined through the application of the Multiple Linear Regression (MLR) technique and scheduling is performed using Multi-Objective Non-Linear Programming optimization (MONLIP) technique.
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NCGM WORKSHOP | VIRTUAL REALITY
Maio 11, 2022 3:00 pm - 5:00 pm
B327
Participants must bring their smartphones (android with browser chrome)
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DEI TUTORIALS | “OpenMP, MPI, and CUDA”
Maio 12, 2022 1:00 pm - 4:00 pm
B006
Tutorial:“OpenMP, MPI, and CUDA”
ByFahed Jubair, Assistant Professor of Computer Engineering, University ofJordan, Amman, Jordan.
Ph.D degree in Electrical and Computer Engineeringfrom Purdue University (West Lafayette, IN, USA).
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Creativity Talk | Creativity in post-2020 music practices by Damián Keller
Maio 19, 2022 5:00 pm - 6:00 pm
https://youtu.be/1mfRD8JncvY
Abstract:
Given the current concentration of technological resources by a few financial conglomerates and the ongoing attempts to eliminate free-sharing from the internet, music once again provides a stage for social experiments that may have long-lasting effects. I expand on the idea that we should apply different strategies to post-2020 music-making from the ones we adopted during the twentieth century. I focus on four emerging and complementary trends in an attempt to identify their creative specificities: telematic art, networked music performance, technologies for music notation and representation, and ubiquitous music. I acknowledge the transitory character of some of these labels and stress the difficulties of defining practices that are strongly tied to technological innovations. Rather than claiming the precedence, the intellectual ownership or the territorial hegemony of any of these terms, I propose a conceptual map that highlights their applicability to various creative targets.
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