Tempo Documentation - Interacting with a C Program Specializer

Tempo is a program specializer for C programs. It has been developed at IRISA / INRIA - University of Rennes 1 (1994-2000), and then at LaBRI / INRIA - University of Bordeaux 1 (since 2000). This technical report puts together a cleaned-up and reformatted version of the various on-line manuals and other useful documents that have been written on Tempo for its distribution, but that used to exist only as separate and sometimes mobile HTML pages. Grouping them and giving them a technical report number make it easy to reference them in a publication. Although it is not developed and maintained anymore, Tempo is still distributed. It can be downloaded from the Phoenix project-team web pages (http://phoenix.inria.fr/). Publications concerning Tempo as well as tutorial slides are also available on this web site. Technical information in this report is (theoretically) up to date with respect to the last official release of Tempo, dated February 11th, 2003.Tempo est un spécialiseur de programmes C. Il a été développé à l'IRISA / INRIA - University of Rennes 1 (1994-2000), puis au LaBRI / INRIA - University of Bordeaux 1 (à partir de 2000). Ce rapport technique rassemble des versions « nettoyées » et remise en forme des divers manuels et autres documents pratiques qui ont été écrits pour la distribution de Tempo, mais qui n'existaient que sous forme de pages HTML séparées et parfois mobiles. Les regrouper et leur donner un numéro de rapport technique permet d'y faire proprement référence dans des publications. Bien qu'il ne soit désormais plus développé et maintenu, Tempo est toujours distribué. Il peut être téléchargé sur le site web de l'équipe-projet (http://phoenix.inria.fr/). Les publications de l'équipe sur Tempo ainsi que les transparents d'un tutoriel sont également disponibles sur ce site. Les informations techniques dans ce rapport sont (en théorie) à jour par rapport à la dernière version officielle de Tempo, qui date du 11 février 2003

Tempo Documentation - Interacting with a C Program Specializer

Tempo is a program specializer for C programs. It has been developed at IRISA / INRIA - University of Rennes 1 (1994-2000), and then at LaBRI / INRIA - University of Bordeaux 1 (since 2000). This technical report puts together a cleaned-up and reformatted version of the various on-line manuals and other useful documents that have been written on Tempo for its distribution, but that used to exist only as separate and sometimes mobile HTML pages. Grouping them and giving them a technical report number make it easy to reference them in a publication. Although it is not developed and maintained anymore, Tempo is still distributed. It can be downloaded from the Phoenix project-team web pages (http://phoenix.inria.fr/). Publications concerning Tempo as well as tutorial slides are also available on this web site. Technical information in this report is (theoretically) up to date with respect to the last official release of Tempo, dated February 11th, 2003.Tempo est un spécialiseur de programmes C. Il a été développé à l'IRISA / INRIA - University of Rennes 1 (1994-2000), puis au LaBRI / INRIA - University of Bordeaux 1 (à partir de 2000). Ce rapport technique rassemble des versions « nettoyées » et remise en forme des divers manuels et autres documents pratiques qui ont été écrits pour la distribution de Tempo, mais qui n'existaient que sous forme de pages HTML séparées et parfois mobiles. Les regrouper et leur donner un numéro de rapport technique permet d'y faire proprement référence dans des publications. Bien qu'il ne soit désormais plus développé et maintenu, Tempo est toujours distribué. Il peut être téléchargé sur le site web de l'équipe-projet (http://phoenix.inria.fr/). Les publications de l'équipe sur Tempo ainsi que les transparents d'un tutoriel sont également disponibles sur ce site. Les informations techniques dans ce rapport sont (en théorie) à jour par rapport à la dernière version officielle de Tempo, qui date du 11 février 2003

Columbia Chronicle (03/11/2002)

Student newspaper from March 11, 2002 entitled Columbia Chronicle. This issue is 36 pages and is listed as Volume 35, Number 19. Cover story: L.A. presence on the rise Executive Editor: Ryan Adairhttps://digitalcommons.colum.edu/cadc_chronicle/1540/thumbnail.jp

<b>Message Journal, Issue 3</b>: What is the topography of the contemporary graphic design / communication landscape in relation to art practice? What occupies the space between disciplines?

In Message journal issue 3 the refereed submissions explore further the boundaries between contemporary graphic design/communication and art, as well as examining what is occupied within the space between the disciplines. Authors, through written and illustrated submissions, question and investigate the broad nature of graphic design and communication practice and its relationship to art, in relation to both historical and contemporary contexts. The edition debates and illustrates how graphic design/communication can be seen as imaginative, intuitive and creative self (or group) expression – a form of artistic composition – in the same way that we recognise much of art practice. The edition examines practice outside of the conventional boundaries of contemporary graphic design/communication and considers how this space is occupied. Graphic Affect – Spencer Roberts, University of Huddersfield. Indisciplinarity as Social Form: Challenging the Distribution of the Sensible in the Visual Arts – Richard Miles, Leeds College of Art. The Halsburgs: Alter Egos and Disciplinary Sidesteps - Andrew Spackman, Coventry University and Craig Barber, Norwich University of the Arts. Critical Design Practice: Mapping a New Territory for the Discipline (or Are We Nearly There Yet?) – Cathy Gale, Kingston University. Graphic Design as an Artistic Practice for the Unraveling of the Everyday – Zachary Kaiser, Michigan State University. Elements of Interrogative Style: The Applied Art of Critical Practice – Daniel Jasper, University of Minnesota. </ol

The Politics and Aesthetics of 1990s Punk Women's Writing: Reading Riot Grrrl after Kathy Acker and against the anti-feminist backlash

Riot Grrrl, a hardcore feminist punk movement that emerged in the early 1990s in America, is often contemplated through a subcultural studies lens. As a result, its status as a political movement and social phenomenon still overshadows its status as an artistic movement in its scholarship. This thesis applies a literary studies lens to Riot Grrrl, examining specific devices employed in the movement’s literature and tracing these back to an experimental literary avant-garde, to fortify its status as an artistic movement. I argue that Riot Grrrl practitioners appropriate much of their artistic investments from American punk-feminist writer and postmodernist, Kathy Acker, who is frequently cited as a precursor to Riot Grrrl. Building on recent studies that have begun to demystify Acker’s influence as manifest in Riot Grrrl zine writing, I ask: to what ends do Riot Grrrls incorporate devices from Acker’s literary critique of patriarchal culture in the 1980s into their later critique of patriarchal culture in the 1990s? Following the successes of second wave feminism in gaining women’s liberation, their art responds to the media-driven backlash against feminism that emerged in the 1980s, which resulted in the concept of ‘post-feminism’ gaining traction in the 1990s. Two key manifestations of this backlash were the discrediting of working women, as well as attempts to reassert control over female sexuality, which mutated into postfeminist trends in the 1990s that similarly hinged upon the themes of work and sex: ‘New Traditionalism’ and ‘Do-Me’ feminism. I focus on Acker’s 1980s novels that influenced Riot Grrrl writing, such as Great Expectations (1983), Blood and Guts in High School (1978; published in 1984), and Don Quixote, Which Was a Dream (1986), tracing her ideological and aesthetic influence into Grrrl zines sourced from The Riot Grrrl Collection archive at New York University’s Fales Library and Special Collections. This analysis reveals how the critical function of avant-garde literary devices, inherited from Acker by Riot Grrrl zinesters, shifts according to gender developments being made in the 1990s that posited a stratification of feminist definitions

Infinite pretty-printing in eXene

Abstract. We describe the design and implementation of a Standard ML of New Jersey library for the interactive pretty-printing of possibly infinite syntax trees. The library handles elision in a novel way, and is implemented using Concurrent ML and the eXene X Window System toolkit. 1 Pretty-printing with Elision In the modern approach to pretty-printing, as developed by Oppen [Opp80] and others [Mik81, MCC86, Hug95, Wad98], and featured in Paulson’s textbook [Pau96], prettyprinting of abstract syntax is a two-stage process: • First, an abstract syntax tree is converted into a pretty-printing tree that abstractly describes how the syntax tree should be formatted. Pretty-printing trees are made up of strings, potential line-break points, and various kinds of blocks [Opp80, Pau96] or boxes [Mik81, MCC86, Hug95, Wad98]. • Then, the pretty-printing tree is turned into a sequence of lines that will fit in a window (or file) with a specified width. When a block must be printed at a given indentation-level, the entire block is printed on the current line, if it fits. Otherwise, the block is printed on multiple lines, by converting some or all of the block’s potential line-breaks into actual line-breaks. For example, Figure 1 shows three ways in which the block corresponding to a list might be pretty-printed, depending upon the available line-width. Option (b), in which two block entries are combined on a single line, would be forbidden with some block styles. If a syntax tree can’t be pretty-printed in a window with a given width, then some parts of the tree must be elided, i.e., suppressed. One approach to elision is to elide all subtrees of the syntax tree that are deeper than some level, convert the abbreviated tree to a pretty-printing tree, and then print this tree in the normal way [MCC86]. Unfortunately, with this approach, it is difficult to figure out the best depth at which a given tree should be elided; and, uniform elision at a particular depth may make poor use of the window’s width

Iterative musical collaboration as palimpsest: Suite Inversée and The Headroom Project

Suite inversée is a musical work, co-composed by the two authors asynchronously online by means of file transfer alone and digitally presented using a self-made web app called The Headroom Project. The Headroom Project mediates the compositional project during creation as well as allowing the listener to browse a historical thread that weaves through the developmental process: through this app, each audio file that was shared between the two composers can be heard and considered both in and out of the context of its creation. The framework of the project provided the opportunity for the authors to reflect on issues of remote digital collaboration and the palimpsest nature of a work revealed in varying stages of evolution through a novel mode of presentation. This paper discusses the mode of creation by situating it within narratives of composition and technology