Declarative Ajax Web Applications through SQL++ on a Unified Application State

Implementing even a conceptually simple web application requires an inordinate amount of time. FORWARD addresses three problems that reduce developer productivity: (a) Impedance mismatch across the multiple languages used at different tiers of the application architecture. (b) Distributed data access across the multiple data sources of the application (SQL database, user input of the browser page, session data in the application server, etc). (c) Asynchronous, incremental modification of the pages, as performed by Ajax actions. FORWARD belongs to a novel family of web application frameworks that attack impedance mismatch by offering a single unifying language. FORWARD's language is SQL++, a minimally extended SQL. FORWARD's architecture is based on two novel cornerstones: (a) A Unified Application State (UAS), which is a virtual database over the multiple data sources. The UAS is accessed via distributed SQL++ queries, therefore resolving the distributed data access problem. (b) Declarative page specifications, which treat the data displayed by pages as rendered SQL++ page queries. The resulting pages are automatically incrementally modified by FORWARD. User input on the page becomes part of the UAS. We show that SQL++ captures the semi-structured nature of web pages and subsumes the data models of two important data sources of the UAS: SQL databases and JavaScript components. We show that simple markup is sufficient for creating Ajax displays and for modeling user input on the page as UAS data sources. Finally, we discuss the page specification syntax and semantics that are needed in order to avoid race conditions and conflicts between the user input and the automated Ajax page modifications. FORWARD has been used in the development of eight commercial and academic applications. An alpha-release web-based IDE (itself built in FORWARD) enables development in the cloud.Comment: Proceedings of the 14th International Symposium on Database Programming Languages (DBPL 2013), August 30, 2013, Riva del Garda, Trento, Ital

Scalable Interactive Volume Rendering Using Off-the-shelf Components

This paper describes an application of a second generation implementation of the Sepia architecture (Sepia-2) to interactive volu-metric visualization of large rectilinear scalar fields. By employingpipelined associative blending operators in a sort-last configuration a demonstration system with 8 rendering computers sustains 24 to 28 frames per second while interactively rendering large data volumes (1024x256x256 voxels, and 512x512x512 voxels). We believe interactive performance at these frame rates and data sizes is unprecedented. We also believe these results can be extended to other types of structured and unstructured grids and a variety of GL rendering techniques including surface rendering and shadow map-ping. We show how to extend our single-stage crossbar demonstration system to multi-stage networks in order to support much larger data sizes and higher image resolutions. This requires solving a dynamic mapping problem for a class of blending operators that includes Porter-Duff compositing operators

Dance in the British South Asian diaspora: redefining classicism

This paper discusses South Asian dance forms and genres in Britain, one of the major locations of the South Asian diaspora. It addresses issues of "classicism," "neoclassicism" and "contemporaneity" in South Asian dancing, particularly important as in the British context availability of public funding depends on the artists demonstrating an innovative engagement with their own practice. The author focuses, as a specific case study, on the work, Moham, choreographed and danced as a solo by bharatanatyam artist Chitra Sundaram in 2002 and argues for the need to address issues of difference and cultural specificity, questioning the underlying assumptions of western notions of classicism, as these impinge on South Asian dance praxes in the British context

Constructing sonified haptic line graphs for the blind student: first steps

Line graphs stand as an established information visualisation and analysis technique taught at various levels of difficulty according to standard Mathematics curricula. It has been argued that blind individuals cannot use line graphs as a visualisation and analytic tool because they currently primarily exist in the visual medium. The research described in this paper aims at making line graphs accessible to blind students through auditory and haptic media. We describe (1) our design space for representing line graphs, (2) the technology we use to develop our prototypes and (3) the insights from our preliminary work

Effective and Efficient Data Access in the Versatile Web Query Language Xcerpt

Access to Web data has become an integral part of many applications and services. In the past, such data has usually been accessed through human-tailoredHTMLinterfaces.Nowadays, rich client interfaces in desktop applications or, increasingly, in browser-based clients ease data access and allow more complex client processing based on XML or RDF data retrieved throughWeb service interfaces. Convenient specifications of the data processing on the client and flexible, expressive service interfaces for data access become essential in this context.Web query languages such as XQuery, XSLT, SPARQL, or Xcerpt have been tailored specifically for such a setting: declarative and efficient access and processing ofWeb data. Xcerpt stands apart among these languages by its versatility, i.e., its ability to access not just oneWeb format but many. In this demonstration, two aspects of Xcerpt are illustrated in detail: The first part of the demonstration focuses on Xcerpt’s pattern matching constructs and rules to enable effective and versatile data access. It uses a concrete practical use case from bibliography management to illustrate these language features. Xcerpt’s visual companion language visXcerpt is used to provide an intuitive interface to both data and queries. The second part of the demonstration shows recent advancements in Xcerpt’s implementation focusing on experimental evaluation of recent complexity results and optimization techniques, as well as scalability over a number of usage scenarios and input sizes

Re-telling, Re-cognition, Re-stitution: Sikh Heritagization in Canada

In Canada, the language and techniques of museums and heritage sites have been adopted and adapted by some immigrant communities to make sense of their place within their new country. For some groups, “heritagization” is a new value, mobilized for diverse purposes. New museums and heritage sites serve as a form of ethnic media, becoming community gathering points, taking on pedagogical roles, enacting citizenship, and enabling strategic assertion of identity in the public sphere. This article explores this enactment of heritage and citizen-membership through a case study, the Sikh Heritage Museum, developed in Abbotsford by Indo-Canadians. Established in 2011 in an historic and still-functioning gurdwara, the museum is an example of a community’s desire to balance inward-looking historical consciousness and community belonging, with outward-looking voice, recognition and acceptance by mainstream Canadian society. The museum has also become a site of tension between top-down and bottom-up initiatives, where amateur and local expressions butt up against professionalized government activities such as the Canadian Historical Recognition Program that seek to insert formal recognition and social inclusion policies. The article considers the effects of this resource and power differential on the museum’s development, and on the sensibilities and practices of immigrant “heritage” and “citizenship” in Canada

Videogame art: remixing, reworking and other interventions

This chapter explores some of the areas of intersection between videogames and both digital and non-digital art practice. By looking at examples of art practice drawn from videogames, it outlines some of the categories and so provides an overview of this area, placing it within the wider context of contemporary and historical art practice. The chapter explores the tendency for mucyh of this work to have elements of subversion or "détournement" whilst also identifying areas of tension in the appropriation of videogames as material for art practice