(h,k)-Arbiters for h-out-of-k mutual exclusion problem

Abstracth-Out-of-k mutual exclusion is a generalization of the 1-mutual exclusion problem, where there are k units of shared resources and each process requests h(1⩽h⩽k) units at the same time. Though k-arbiter has been shown to be a quorum-based solution to this problem, quorums in k-arbiter are much larger than those in the 1-coterie for 1-mutual exclusion. Thus, the algorithm based on k-arbiter needs many messages. This paper introduces the new notion that each request uses different quorums depending on the number of units of its request. Based on the notion, this paper defines two (h,k)-arbiters for h-out-of-k mutual exclusion: a uniform (h,k)-arbiter and a (k+1)-cube (h,k)-arbiter. The quorums in each (h,k)-arbiter are not larger than the ones in the corresponding k-arbiter; consequently, it is more efficient to use (h,k)-arbiters than the k-arbiters. A uniform (h,k)-arbiter is a generalization of the majority coterie for 1-mutual exclusion. A (k+1)-cube (h,k)-arbiter is a generalization of square grid coterie for 1-mutual exclusion

k-coteries for tolerating network 2-Partition

Network partition, which makes it impossible for some pairs of precesses to communicate with each other, is one of the most serious network failures. Although the notion of k-coterie is introduced to design a k-mutual exclusion algorithm robust against network failures, the number of processes allowed to simultaneously access the critical section may fatally decrease once network partition occurs. This paper discusses how to construct a k-coterie such that the k-mutual exclusion algorithm adopting it is robust against network 2-partition. To this end, we introduce the notion of complemental k-coterie, and show that complemental k-coteries meet our purpose. We then give methods for constructing complemental k-coteries, and show a necessary and sufficient condition for a k-coteries to be complemental

Coterie Join Operation and Tree Structured k-Coteries

The coterie join operation proposed by Neilsen and Mizuno produces, from a k-coterie and a coterie, a new k-coterie. For the coterie join operation, this paper first shows 1) a necessary and sufficient condition to produce a nondominated k-coterie (more accurately, a nondominated k-semicoterie satisfying Nonintersection Property) and 2) a sufficient condition to produce a k-conterie with higher availability. By recursively applying the coterie join operation in such a way that the above conditions hold, we define nondominated k-coteries, called tree structured k-coteries, the availabilities of which are thus expected to be very high. This paper then proposes a new k-mutual exclusion algorithm that effectively uses a tree structured k-coterie, by extending Agrawal and El Abbadi's tree algoriyhm. The number of messages necessary for k processes obeying the algorithm to simultaneously enter the critical section is approximately bounded by k log (n / k) in the best case, where n is the number of processes in the system

The Problem of Mutual Exclusion: A New Distributed Solution

In both centralized and distributed systems, processes cooperate and compete with each other to access the system resources. Some of these resources must be used exclusively. It is then required that only one process access the shared resource at a given time. This is referred to as the problem of mutual exclusion. Several synchronization mechanisms have been proposed to solve this problem. In this thesis, an effort has been made to compile most of the existing mutual exclusion solutions for both shared memory and message-passing based systems. A new distributed algorithm, which uses a dynamic information structure, is presented to solve the problem of mutual exclusion. It is proved to be free from both deadlock and starvation. This solution is shown to be economical in terms of the number of message exchanges required per critical section execution. Procedures for recovery from both site and link failures are also given

The sociology of an artistic movement: art nouveau in Glasgow, 1890-1914

This thesis attempts to present a controlled sociological examination of Art Nouveau in Glasgow from the eighteen-nineties into the first decade of the twentieth century. The phenomenon of Glasgow Art Nouveau (its ideological groundings, its socio-cultural base, and the nature of its artistic production), provides a case-study of avant-gardism. The main intention is to illustrate, with historical exemplification, to what extent Art Nouveau can be interpreted as a radical social critique underpinned by specific theoretical and ideolgoical concerns. I begin by examining (a) the analytic means whereby statisfactory criteria are developed for the purpose of defining Art Nouveau as an artistic style; the specific manifestations of this style in a variety of European countries, and its transformation from organic/symbolic to abstract/geometric form-language; and (b) Art Nouveau as a distinctive cultural movement which was attempting to transform the public sphere in accordance with artistic principles. The second chapter has a dual purpose: firstly, it examines the status of Art Nouveau as an avant-garde movement, and, secondly, it attempts to construct the basis for a specifically sociological theory of Art Nouveau by bringing together the arguments of certain social theorists who have made significant reference to the phenomenon. Subsequently, it is demonstrated that, within the sphere of influence of the Glasgow School of Art, continental avant-gardiste trends at the end of the nineteenth century provided the frame of reference for the understanding of new artistic movements in Glasgow. This leads to an analysis of Mackintosh's extant writings in order that a reconstruction of the essentials of Scottish Art Nouveau's distinctive ideology can be presented. It is argued that Glasgow Art Nouveau had a coherent viewpoint in many respects deriving from the formulations of the Edinburgh sociologist and theorist Patrick Seddes. As well as demonstrating the closeness of Mackintosh's theorising to that of certain Viennese Art Nouveau exponents (Wagner, Hoffmann) with whom he had contact, it is shown to what extent Scottish Art Nouveau was attempting to transcend the traditional distinction between the utilitarian and the artistic, and address the issue of a social environment transformed in accordance with modern social needs. The remainder of the thesis substantively examines crucially related aspects of the Glasgow cultural context. Firstly, it focusses upon the Art School as institutional context within which Art Nouveau emerges, and demonstrates the relevance of the implementation of an experimental approach to art teaching there. Secondly, it examines the issue of the actual and potential production of goods manifesting the new form-language. Thirdly, the nature of the reception given to the new form-language is investigated: this invovles an analysis of relevant reportage in Glasgow. The reasons for the failure of the movement to gain ground in Glasgow are shown to be connected with a number of complex factors ranging from moral outrage at its `decadence' to the absence of the kind of technical expertise capable of consolidating its innovations for a mass society

The Irish plays of James Shirley, 1636-1640

Although he was a prominent and influential playwright during his theatrical career, the work of James Shirley (1596-1666) has been neglected since Dryden's description of him in 'MacFlecknoe' as a mere 'type...of tautology'. Shirley holds a unique place amongst Caroline dramatists as, at the height of his career, he left London to become resident playwright of the first purpose-built theatre in Ireland, the Werburgh Street Theatre. This seminal event has received fairly little attention from scholars, and the plays of this Irish period (The Royal Master, The Doubtful Heir, The Gentleman of Venice, The Politician and St. Patrick for Ireland) have not previously been examined as a whole. This thesis examines Shirley's Irish period in its entirety, from the circumstances surrounding his move to Dublin in 1636, through an exploration of his relationship with the Werburgh Street Theatre and what influenced his Irish plays, to the factors which resulted in his return to England in 1640. The thesis historicises the production of these plays in their socio-political context. The chapters (chronologically arranged by play) provide close textual studies and contextual material relating the texts to their patrons, performance spaces, audiences, print history and Irish politics. This research reveals that during this four year period, Shirley gradually adapted his writing style in a targeted attempt to appeal to the tastes of the Dublin audience. Shirley managed the theatre with John Ogilby, who was appointed Master of the Revels in Ireland by Lord Deputy Wentworth. An analysis of the relationship between these three key figures has contributed to a comprehensive picture of the socio-political conditions of Shirley‘s writing. Through the investigation of Shirley's work and professional position during this time, this thesis builds on recent critical recovery work (including that by Hadfield/Maley, Rankin, Dutton) on the literary-political circumstances of Stuart Ireland