Fashion, Cooperation, and Social Interactions

Fashion plays such a crucial rule in the evolution of culture and society that it is regarded as a second nature to the human being. Also, its impact on economy is quite nontrivial. On what is fashionable, interestingly, there are two viewpoints that are both extremely widespread but almost opposite: conformists think that what is popular is fashionable, while rebels believe that being different is the essence. Fashion color is fashionable in the first sense, and Lady Gaga in the second. We investigate a model where the population consists of the afore-mentioned two groups of people that are located on social networks (a spatial cellular automata network and small-world networks). This model captures two fundamental kinds of social interactions (coordination and anti-coordination) simultaneously, and also has its own interest to game theory: it is a hybrid model of pure competition and pure cooperation. This is true because when a conformist meets a rebel, they play the zero sum matching pennies game, which is pure competition. When two conformists (rebels) meet, they play the (anti-) coordination game, which is pure cooperation. Simulation shows that simple social interactions greatly promote cooperation: in most cases people can reach an extraordinarily high level of cooperation, through a selfish, myopic, naive, and local interacting dynamic (the best response dynamic). We find that degree of synchronization also plays a critical role, but mostly on the negative side. Four indices, namely cooperation degree, average satisfaction degree, equilibrium ratio and complete ratio, are defined and applied to measure people's cooperation levels from various angles. Phase transition, as well as emergence of many interesting geographic patterns in the cellular automata network, is also observed.Comment: 21 pages, 12 figure

L-Music: uma abordagem para composição musical assistida usando L-Systems

Generative music systems have been researched for an extended period of time. The scientific corpus of this research field is translating, currently, into the world of the everyday musician and composer. With these tools, the creative process of writing music can be augmented or completely replaced by machines. The work in this document aims to contribute to research in assisted music composition systems. To do so, a review on the state of the art of these fields was performed and we found that a plethora of methodologies and approaches each provide their own interesting results (to name a few, neural networks, statistical models, and formal grammars). We identified Lindenmayer Systems, or L-Systems, as the most interesting and least explored approach to develop an assisted music composition system prototype, aptly named L-Music, due to the ability of producing complex outputs from simple structures. L-Systems were initially proposed as a parallel string rewriting grammar to model algae plant growth. Their applications soon turned graphical (e.g., drawing fractals), and eventually they were applied to music generation. Given that our prototype is assistive, we also took the user interface and user experience design into its well-deserved consideration. Our implemented interface is straightforward, simple to use with a structured visual hierarchy and flow and enables musicians and composers to select their desired instruments; select L-Systems for generating music or create their own custom ones and edit musical parameters (e.g., scale and octave range) to further control the outcome of L-Music, which is musical fragments that a musician or composer can then use in their own works. Three musical interpretations on L-Systems were implemented: a random interpretation, a scale-based interpretation, and a polyphonic interpretation. All three approaches produced interesting musical ideas, which we found to be potentially usable by musicians and composers in their own creative works. Although positive results were obtained, the developed prototype has many improvements for future work. Further musical interpretations can be added, as well as increasing the number of possible musical parameters that a user can edit. We also identified the possibility of giving the user control over what musical meaning L-Systems have as an interesting future challenge.Sistemas de geração de música têm sido alvo de investigação durante períodos alargados de tempo. Recentemente, tem havido esforços em passar o conhecimento adquirido de sistemas de geração de música autónomos e assistidos para as mãos do músico e compositor. Com estas ferramentas, o processo criativo pode ser enaltecido ou completamente substituído por máquinas. O presente trabalho visa contribuir para a investigação de sistemas de composição musical assistida. Para tal, foi efetuado um estudo do estado da arte destas temáticas, sendo que foram encontradas diversas metodologias que ofereciam resultados interessantes de um ponto de vista técnico e musical. Os sistemas de Lindenmayer, ou L-Systems, foram selecionados como a abordagem mais interessante, e menos explorada, para desenvolver um protótipo de um sistema de composição musical assistido com o nome L-Music, devido à sua capacidade de produzirem resultados complexos a partir de estruturas simples. Os L-Systems, inicialmente propostos para modelar o crescimento de plantas de algas, são gramáticas formais, cujo processo de reescrita de strings acontece de forma paralela. As suas aplicações rapidamente evoluíram para interpretações gráficas (p.e., desenhar fractais), e eventualmente também foram aplicados à geração de música. Dada a natureza assistida do protótipo desenvolvido, houve uma especial atenção dada ao design da interface e experiência do utilizador. Esta, é concisa e simples, tendo uma hierarquia visual estruturada para oferecer uma orientação coesa ao utilizador. Neste protótipo, os utilizadores podem selecionar instrumentos; selecionar L-Systems ou criar os seus próprios, e editar parâmetros musicais (p.e., escala e intervalo de oitavas) de forma a gerarem excertos musicais que possam usar nas suas próprias composições. Foram implementadas três interpretações musicais de L-Systems: uma interpretação aleatória, uma interpretação à base de escalas e uma interpretação polifónica. Todas as interpretações produziram resultados musicais interessantes, e provaram ter potencial para serem utilizadas por músicos e compositores nos seus trabalhos criativos. Embora tenham sido alcançados resultados positivos, o protótipo desenvolvido apresenta múltiplas melhorias para trabalho futuro. Entre elas estão, por exemplo, a adição de mais interpretações musicais e a adição de mais parâmetros musicais editáveis pelo utilizador. A possibilidade de um utilizador controlar o significado musical de um L-System também foi identificada como uma proposta futura relevante

Asynchronous Code-Division Random Access Using Convex Optimization

Many applications in cellular systems and sensor networks involve a random subset of a large number of users asynchronously reporting activity to a base station. This paper examines the problem of multiuser detection (MUD) in random access channels for such applications. Traditional orthogonal signaling ignores the random nature of user activity in this problem and limits the total number of users to be on the order of the number of signal space dimensions. Contention-based schemes, on the other hand, suffer from delays caused by colliding transmissions and the hidden node problem. In contrast, this paper presents a novel pairing of an asynchronous non-orthogonal code-division random access scheme with a convex optimization-based MUD algorithm that overcomes the issues associated with orthogonal signaling and contention-based methods. Two key distinguishing features of the proposed MUD algorithm are that it does not require knowledge of the delay or channel state information of every user and it has polynomial-time computational complexity. The main analytical contribution of this paper is the relationship between the performance of the proposed MUD algorithm in the presence of arbitrary or random delays and two simple metrics of the set of user codewords. The study of these metrics is then focused on two specific sets of codewords, random binary codewords and specially constructed algebraic codewords, for asynchronous random access. The ensuing analysis confirms that the proposed scheme together with either of these two codeword sets significantly outperforms the orthogonal signaling-based random access in terms of the total number of users in the system.Comment: Journal version of work presented at 2010 Allerton Conference on Communication, Control and Computing. Version 2 includes additional analysis of randomly distributed user delays as well as a comparison with a matched filter receive

CONTEST : a Controllable Test Matrix Toolbox for MATLAB

Large, sparse networks that describe complex interactions are a common feature across a number of disciplines, giving rise to many challenging matrix computational tasks. Several random graph models have been proposed that capture key properties of real-life networks. These models provide realistic, parametrized matrices for testing linear system and eigenvalue solvers. CONTEST (CONtrollable TEST matrices) is a random network toolbox for MATLAB that implements nine models. The models produce unweighted directed or undirected graphs; that is, symmetric or unsymmetric matrices with elements equal to zero or one. They have one or more parameters that affect features such as sparsity and characteristic pathlength and all can be of arbitrary dimension. Utility functions are supplied for rewiring, adding extra shortcuts and subsampling in order to create further classes of networks. Other utilities convert the adjacency matrices into real-valued coefficient matrices for naturally arising computational tasks that reduce to sparse linear system and eigenvalue problems