The Ubiquitous B-tree: Volume II

Major developments relating to the B-tree from early 1979 through the fall of 1986 are presented. This updates the well-known article, The Ubiquitous B-Tree by Douglas Comer (Computing Surveys, June 1979). After a basic overview of B and B+ trees, recent research is cited as well as descriptions of nine B-tree variants developed since Comer\u27s article. The advantages and disadvantages of each variant over the basic B-tree are emphasized. Also included are a discussion of concurrency control issues in B-trees and a speculation on the future of B-trees

Indexing for efficient main memory processing

Ph.DDOCTOR OF PHILOSOPH

Attribute-Level Versioning: A Relational Mechanism for Version Storage and Retrieval

Data analysts today have at their disposal a seemingly endless supply of data and repositories hence, datasets from which to draw. New datasets become available daily thus making the choice of which dataset to use difficult. Furthermore, traditional data analysis has been conducted using structured data repositories such as relational database management systems (RDBMS). These systems, by their nature and design, prohibit duplication for indexed collections forcing analysts to choose one value for each of the available attributes for an item in the collection. Often analysts discover two or more datasets with information about the same entity. When combining this data and transforming it into a form that is usable in an RDBMS, analysts are forced to deconflict the collisions and choose a single value for each duplicated attribute containing differing values. This deconfliction is the source of a considerable amount of guesswork and speculation on the part of the analyst in the absence of professional intuition. One must consider what is lost by discarding those alternative values. Are there relationships between the conflicting datasets that have meaning? Is each dataset presenting a different and valid view of the entity or are the alternate values erroneous? If so, which values are erroneous? Is there a historical significance of the variances? The analysis of modern datasets requires the use of specialized algorithms and storage and retrieval mechanisms to identify, deconflict, and assimilate variances of attributes for each entity encountered. These variances, or versions of attribute values, contribute meaning to the evolution and analysis of the entity and its relationship to other entities. A new, distinct storage and retrieval mechanism will enable analysts to efficiently store, analyze, and retrieve the attribute versions without unnecessary complexity or additional alterations of the original or derived dataset schemas. This paper presents technologies and innovations that assist data analysts in discovering meaning within their data and preserving all of the original data for every entity in the RDBMS

Graphical modelling of modular machines

This research is aimed at advancing machine design through specifying and implementing (in "proof of concept" form) a set of tools which graphically model modular machines. The tools allow mechanical building elements (or machine modules) to be selected and configured together in a highly flexible manner so that operation of the chosen configuration can be simulated and performance properties evaluated. Implementation of the tools has involved an extension in capability of a proprietary robot simulation system. This research has resulted in a general approach to graphically modelling manufacturing machines built from modular elements. A focus of study has been on a decomposition of machine functionality leading to the establishment of a library of modular machine primitives. This provides a useful source of commonly required machine building elements for use by machine designers. Study has also focussed on the generation of machine configuration tools which facilitate the construction of a simulation model and ultimately the physical machine itself. Simulation aspects of machine control are also considered which depict methods of manipulating a machine model in the simulation phase. In addition methods of achieving machine programming have been considered which specify the machine and its operational tasks. Means of adopting common information data structures are also considered which can facilitate interfacing with other systems, including the physical machine system constructed as an issue of the simulation phase. Each of these study areas is addressed in its own context, but collectively they provide a means of creating a complete modular machine design environment which can provide significant assistance to machine designers. Part of the methodology employed in the study is based on the use of the discrete event simulation technique. To easily and effectively describe a modular machine and its activity in a simulation model, a hierarchical ring and tree data structure has been designed and implemented. The modularity and reconfigurability are accommodated by the data structure, and homogeneous transformations are adopted to determine the spatial location and orientation of each of the machine elements. A three-level machine task programming approach is used to describe the machine's activities. A common data format method is used to interface the machine design environment with the physical machine and other building blocks of manufacturing systems (such as CAD systems) where systems integration approaches can lead to enhanced product realisation. The study concludes that a modular machine design environment can be created by employing the graphical simulation approach together with a set of comprehensive configuration. tools. A generic framework has been derived which outlines the way in which machine design environments can be constructed and suggestions are made as to how the proof of concept design environment implemented in this study can be advanced

Tracing the Compositional Process. Sound art that rewrites its own past: formation, praxis and a computer framework

The domain of this thesis is electroacoustic computer-based music and sound art. It investigates a facet of composition which is often neglected or ill-defined: the process of composing itself and its embedding in time. Previous research mostly focused on instrumental composition or, when electronic music was included, the computer was treated as a tool which would eventually be subtracted from the equation. The aim was either to explain a resultant piece of music by reconstructing the intention of the composer, or to explain human creativity by building a model of the mind. Our aim instead is to understand composition as an irreducible unfolding of material traces which takes place in its own temporality. This understanding is formalised as a software framework that traces creation time as a version graph of transactions. The instantiation and manipulation of any musical structure implemented within this framework is thereby automatically stored in a database. Not only can it be queried ex post by an external researcher—providing a new quality for the empirical analysis of the activity of composing—but it is an integral part of the composition environment. Therefore it can recursively become a source for the ongoing composition and introduce new ways of aesthetic expression. The framework aims to unify creation and performance time, fixed and generative composition, human and algorithmic “writing”, a writing that includes indeterminate elements which condense as concurrent vertices in the version graph. The second major contribution is a critical epistemological discourse on the question of ob- servability and the function of observation. Our goal is to explore a new direction of artistic research which is characterised by a mixed methodology of theoretical writing, technological development and artistic practice. The form of the thesis is an exercise in becoming process-like itself, wherein the epistemic thing is generated by translating the gaps between these three levels. This is my idea of the new aesthetics: That through the operation of a re-entry one may establish a sort of process “form”, yielding works which go beyond a categorical either “sound-in-itself” or “conceptualism”. Exemplary processes are revealed by deconstructing a series of existing pieces, as well as through the successful application of the new framework in the creation of new pieces