Cache-Oblivious Persistence

Partial persistence is a general transformation that takes a data structure and allows queries to be executed on any past state of the structure. The cache-oblivious model is the leading model of a modern multi-level memory hierarchy.We present the first general transformation for making cache-oblivious model data structures partially persistent

Decibel: the relational dataset branching system

As scientific endeavors and data analysis become increasingly collaborative, there is a need for data management systems that natively support the versioning or branching of datasets to enable concurrent analysis, cleaning, integration, manipulation, or curation of data across teams of individuals. Common practice for sharing and collaborating on datasets involves creating or storing multiple copies of the dataset, one for each stage of analysis, with no provenance information tracking the relationships between these datasets. This results not only in wasted storage, but also makes it challenging to track and integrate modifications made by different users to the same dataset. In this paper, we introduce the Relational Dataset Branching System, Decibel, a new relational storage system with built-in version control designed to address these short-comings. We present our initial design for Decibel and provide a thorough evaluation of three versioned storage engine designs that focus on efficient query processing with minimal storage overhead. We also develop an exhaustive benchmark to enable the rigorous testing of these and future versioned storage engine designs.National Science Foundation (U.S.) (1513972)National Science Foundation (U.S.) (1513407)National Science Foundation (U.S.) (1513443)Intel Science and Technology Center for Big Dat

Techniques for Indexing and Querying Temporal Observations for a Collection of Objects

We consider the problem of dynamically indexing temporal observations about a collection of objects, each observation consisting of a key identifying the object, a list of attribute values and a timestamp indicating the time at which these values were recorded. We make no assumptions about the rates at which these observations are collected, nor do we assume that the various objects have about the same number of observations. We develop indexing structures that are almost linear in the total number of observations available at any given time instant, and that support dynamic insertions in polylogarithmic time. Moreover, these structures allow the quick handling of queries to identify objects whose attribute values fall within a certain range at every time instance of a specified time interval. Provably good bounds are established. (UMIACS-TR-2003-72

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