Creating a Metric to Measure Software Flexibility in Object-Oriented Programming

Business requirements inevitably change over time due to market shifts, law changes, new product launches or any number of other factors. The software being used by these businesses therefore also has to be adapted to meet the new requirements. How software is built has an impact on how easily and quickly the software can be changed to meet these new requirements. This thesis firstly identifies programming practices which make software difficult to adapt. To establish that these practices are genuinely considered "bad practice" a metric was created for grading the academic rigour of articles discussing a programming practice and this metric was used to perform meta-analyses of each practice identified, this meta-analysis methodology is based loosely on the methodology used for performing meta-analyses of clinical trials. The results of these meta-analyses demonstrated that the identified practices were widely considered bad practice by developers. Another metric was created to grade source code based on the frequency these bad practices appear in the code and give an overview of how flexible the code is. The aim of this metric is to facilitate learning for junior programmers while allowing more experienced programmers to evaluate the flexibility of software. A software tool was launched to enable users to evaluate and test the metric which was created. The metric was evaluated by comparison to alternative metrics and through user feedback

Managing the bazaar: commercialization and peripheral participation in mature, community-led free/open source software projects

The thesis investigates two fundamental dynamics of participation and collaboration in mature, community-led Free/Open Source (F/OS) software projects - commercialization and peripheral participation. The aim of the thesis is to examine whether the power relations that underlie the F/OS model of development are indicative of a new form of power relations supported by ICTs. Theoretically, the thesis is located within the Communities of Practice (CoP) literature and it draws upon Michel Foucault's ideas about the historical and relational character of power. It also mobilizes, to a lesser extent, Erving Goffman's notion of `face-work'. This framework supports a methodology that questions the rationality of how F/OS is organized and examines the relations between employed coders and volunteers, experienced and inexperienced coders, and programmers and nonprogrammers. The thesis examines discursive and structural dimensions of collaboration and employs quantitative and qualitative methods. Structural characteristics are considered in the light of arguments about embeddedness. The thesis contributes insights into how the gift economy is embedded in the exchange economy and the role of peripheral contributors. The analysis indicates that community-integrated paid developers have a key role in project development, maintaining the infrastructure aspects of the code base. The analysis suggests that programming and non-programming contributors are distinct in their make-up, priorities and rhythms of participation, and that learning plays an important role in controlling access. The results show that volunteers are important drivers of peripheral activities, such as translation and documentation. The term `autonomous peripherality' is used to capture the unique characteristics of these activities. These findings support the argument that centrality and peripherality are associated with the division of labour, which, in turn, is associated with employment relations and frameworks of institutional support. The thesis shows how the tensions produced by commercialization and peripheral participation are interwoven with values of meritocracy, ritual and strategic enactment of the idea of community as well as with tools and techniques developed to address the emergence of a set of problems specific to management and governance. These are characterized as `technologies of communities'. It is argued that the emerging topology of F/OS participation, seen as a `relational meshwork', is indicative of a redefinition of the relationship between sociality and economic production within mature, community-led F/OS projects

Continuous delivery

Treballs Finals de Grau d'Enginyeria Informàtica, Facultat de Matemàtiques, Universitat de Barcelona, Any: 2018, Director: Josep Vañó Chic[en] The project consists in researching, analyzing and implementing a deployment pipeline from scratch. During the implementation, a web-application called Funny Stories is created to demonstrate the way this kind of system works. To develop this system, a series of technologies were used. For the implementation of the application the tools used were Java 8 with the framework Spring Boot for the server side; HTML, jQuery, Bootstrap and CSS for the client side, and MySQL for managing the database. The web-site allows users to visualize stories posted by other people which are sorted by categories. They are also able to use a voting system to give their feedback for each post. The web-site is public and these features can be accessed by anyone. When integrating new features into an application and the process is manual, a lot of unforeseen error can happen which can end up delaying the delivery of the software by hours or days. This result in the developer not being able to show his work and delaying the release process which can affect the end users since they cannot use the product. A lot of pressure is put on the responsible for the integration and can end up in a lot of frustration. These problems are very common inside organizations and have inevitable outcome in the development process. These are indications that something is not right because the delivery should be fast and repeatable. This project looks at the delivery from another perspective and will present a series of practices which will improve the code integration. This will allow the developers to release their work several times a day while reducing the risks of the process. The release management of this application is done by using an automated deployment pipeline. This implies that whenever there is a change to the system, the deployment pipeline automatically rebuilds the entire application, tests it for errors and deploys it to the production environment

University of San Diego News Print Media Coverage 2002.04

Printed clippings housed in folders with a table of contents arranged by topic.https://digital.sandiego.edu/print-media/1207/thumbnail.jp

Standardized development of computer software. Part 2: Standards

This monograph contains standards for software development and engineering. The book sets forth rules for design, specification, coding, testing, documentation, and quality assurance audits of software; it also contains detailed outlines for the documentation to be produced

Beyond e-learning : an intelligent pedagogical agent to guide students in problem-based learning

archiv

New technologies and the idea of citizenship: patterns of public participation in two cases

Many kinds of social, participatory and citizen oriented platforms make up today's media landscape. Many claim that open source and collaborative media change the ways we think about citizenship (Jenkins). Tim O'Reilly claims that Web 2.0 applications "have a natural architecture of participation" (2005). Yet social constructionists, feminists and sceptics caution against attributing new technologies with these kinds of natural characteristics. Drawing from the cultural history of early internet and mobile technologies, this research asks what, is meaningful about technologically specific ideas of citizenship. In order to answer this question, I draw from theories of standard and cultural citizenship; analyze a sample of technologically specific ideas of citizenship (e.g. netizenship, e-citizenship, technological citizenship, cyber citizenship); and conduct in depth empirical analysis of two case studies. Theoretically, this research synthesizes and builds upon citizenship theories beginning with T. H. Marshall and followed by cultural citizenship (e.g. Pakulski 1997; Isin and Wood 1999; Stevenson 2001; 2003). From this conceptual frame, the empirical patterns of connection are analyzed along three primary axes: membership systems; rights and obligations; and participatory strategies. Technologically specific ideas of citizenship fit well with theories of cultural citizenship and cultural rights closely resemble most of those rights that are also technologically specific such as rights to: participate, ideational and symbolic spheres, voice, to representation and to innovate. The cases are of two citizenship initiatives using internet or mobile platforms: the BBC's iCan project and Proboscis' Urban Tapestries project. While these projects emerged on the cusp of social media, both cases are early iterations of participatory media. Both cases provide insights into articulations of changing ideas of citizenship and participatory practices. Technologically specific ideas of citizenship are conditional. Project users engage different kinds of membership than producers and there is an uneven distribution of cultural rights which favours producers. As a result, users engage different and mostly shallow patterns of public participation. In contrast, producers have broader membership networks, stronger protection of rights and show more variation in deeper more collectively oriented participatory strategies. In the case of limited or partial forms of participation, findings suggest that citizenship language is used as an active manipulative strategy to centralize media organizations as dominant public sites. I argue that the characteristics of technologically specific ideas of citizenship mark a distinct moment in the history of media and citizenship; a moment characterized by the emergence of "public citizenship." The idea of public citizenship attempts to capture the ways in which technologically specific ideas of citizenship, at least in practice, involve making space for ordinary people in cultural institutions

From post-industrial city to postmetropolis: The representation of urban change in non-fiction film (1977-2010)

· INTRODUCCIÓN O MOTIVACIÓN DE LA TESIS Esta tesis pretende explicar, a través del análisis formal de veintidós casos de estudio procedentes de nueve países diferentes (Alemania, Bélgica, Canadá, China, España, Estados Unidos, Portugal, Reino Unido y Suíza), la forma en la que el cine de no-ficción ha representado el cambio urbano desde finales de los años setenta. Para abordar esta cuestión, el cine se entiende como una prática espacial capaz, a su vez, de registrar y preservar las prácticas espaciales de los ciudadanos filmados, de modo que además de representar lugares reales también puede crear nuevos espacios imaginarios o culturales que resulten complementarios y alternativos a los primeros. · DESARROLLO TEÓRICO La subjetividad y autoconciencia propias de los modos participativo, reflexivo y performativo han sustituido en todas las películas analizadas a la tradicional objetividad y omnisciencia de los documentales expositivos y observacionales. Este cambio de paradigma ha llevado al desarrollo de una mirada hacia el espacio urbano que está más cerca de los ciudadanos que de las instituciones y empresas responsables de las principales transformaciones urbanas en las últimas décadas. El análisis comparativo de las estrategias de representación y los discursos culturales asociados con las cuatro tendencias estéticas abordadas en esta tesis ¿el paisajismo observacional, los autorretratos urbanos, el giro digital de los documentales observacionales y participativos, y por último el auge reciente de las estrategias metacinematográficas¿ ayudará a comprender la percepción social del cambio urbano durante la lenta transición de la ciudad post-industrial a la postmetrópolis. Algunos de los conceptos clave procedentes de la geografía, la historia y el urbanismo que se utilizan como herramientas para interpretar las películas analizadas son (por orden cronológica de aparición del término) la psicogeografía (Guy Debord), los espacios representacionales (Henri Lefebvre), las miradas del voyeur y del caminante (Michel de Certeau), los lugares de memoria (Pierre Nora), la ciudad genérica (Rem Koolhaas y Bruce Mau), la ciudad cinemática (David B. Clarke), la postmetropolis (Edward Soja) y la urbanalización (Francesc Muñoz). · CONCLUSIÓN Las películas pertenecientes a estos cuatro dispositivos deben considerarse, en última instancia, como agentes del cambio urbano, puesto que suelen revelar las consecuencias negativas de este proceso ¿la pérdida de identidad de la ciudad, la privatización de sus espacios públicos, la expulsión de los antiguos habitantes de sus barrios renovados y la destrucción de sus lugares de memoria¿ para así desafiar, cuestionar o incluso detener las políticas urbanas más controvertidas del capitalismo tardío. Los espacios cinemáticos complementarios a los lugares reales que crean estas películas permiten establecer un discurso sobre el cambio urbano que funciona de manera retrospectiva (explicando como era antes un lugar), alternativa (describiendo como podría haber sido) así como prospectiva (estableciendo un modelo de como deberían ser estos lugares en el futuro). · BIBLIOGRAFÍA CONSULTADA · Andrew, Dudley. 2006. ¿An Atlas of World Cinema¿. In Dennison, S. and Lim, S. H. (eds.) Remapping World Cinema: Identity, Culture and Politics in Film. London, UK, and New York, NY: Walflower Press: 19-29. · Clarke, David B. (ed.). 1997. The Cinematic City. London, UK, and New York, NY: Routledge. · Coverley, Merlin. 2010. Psychogeography, Harpenden: Pocket Essentials. · De Certeau, Michel. (1980) 1984. The Practice of Everyday Life, Berkeley, CA: University of California Press. · Debord, Guy. (1955) 1981a. ¿Introduction to a Critique of Urban Geography¿. In Knabb, K. (ed.) Situationist International Anthology. Berkeley, CA: Bureau of Public Secrets: 5-7. · García Vázquez, Carlos. 2004. Ciudad Hojaldre. Visiones urbanas del siglo XXI. Barcelona: Editorial Gustavo Gili. · Jousse, Thierry and Thierry Paquot (dir.) 2005. La ville au cinéma. Encyclopédie. Paris: Cahiers du Cinéma. · Koeck, Richard and Les Roberts (eds.) 2010. The City and the Moving Image. Urban Projections. New York, NY: Palgrave Macmillan · Koolhaas, Rem and Bruce Mau. 1995. S, M, L, XL. New York, NY, and Rotterdam: Monacelli Press and 010 Publishers. · Lebow, Alisa. (ed.) 2012. The Cinema of Me. The Self and Subjectivity in First Person Documentary. New York, NY: Columbia University Press. · Lefebvre, Henri. (1974) 1991. The Production of Space. Oxford, UK, and Cambridge, MA: Basil Blackwell Publishers. · Lynch, Kevin, 1960. The Image of the City. Cambridge, MA: MIT Press. · Muñoz, Francesc. 2010. Urbanalización, Paisajes comunes, lugares globales. Barcelona: Editorial Gustavo Gili. · Nichols, Bill. 2001. Introduction to Documentary. Bloomington, IN: Indiana Univerity Press. · Nora, Pierre. (ed.) 1996. Realms of Memory: Rethinking the French Past. New York, NY: Columbia University Press. · Penz, François and Andong Lu (eds.) 2011. Urban Cinematics: Understanding Urban Phenomena Through the Moving Image. Bristol, UK, and Chicago, IL: Intellect. · Rascaroli, Laura. 2009. The Personal Camera: Subjective Cinema and Essay Film. London, UK: Wallflower Press. · Renov, Michael. (ed). 1993. Theorizing Documentary. New York, NY: Routledge. · Rosenstone, Robert A. 1995. Visions of the Past. The Challenge of Film to Our Idea of History. Cambridge, MA, and London, UK: Harvard University Press. · Russell, Catherine. 1999. Experimental Ethnography. The Work of Film in the Age of Video. Durham, NC, and London, UK: Duke University Press. · Shiel, Mark and Tony Fitzmaurice (eds.) 2001. Cinema and the City: Film and Urban Societies in Global Context. Oxford, UK: Basil Blackwell Publishers. · Soja, Edward. 2000. Postmetropolis: Critical Studies of Cities and Regions. Oxford, UK: Basil Blackwell Publishers. · Traquino, Marta. 2010. A Construção do Lugar pela Arte Contemporânea. Ribeirão, Portugal: Editorial Humus. · Tuan, Yi-Fu. 1974. Space and Place: The Perspective of Experience. Minneapolis, MN: University of Minnesota Press. · Weinrichter, Antonio (ed.) 2010. .Doc. Documentarism in the 21st Century. Donostia-San Sebastián: Festival Internacional de Cine de Donostia-San Sebastián / Filmoteca Vasca

The Write moves: An autoethnographic examination of the media industry

This thesis examines the current media environment through the use of adaptation theory, political economy theory, and media ecology theory. More specifically, this thesis is an autoethnography of this author‟s attempts to release content into the mass-media. This thesis expects to find that in the current conglomerate controlled media environment content that has multi-media potential is preferred. Vertical integration is the standard in these massive media corporations. Consequently, the adaptation of content into multiple media is no longer an afterthought to creation, it is forethought

Dot Com Mantra: Social computing in the Central Himalayas

Billions of dollars are being spent nationally and globally on providing computing access to digitally disadvantaged groups and cultures with an expectation that computers and the Internet can lead to higher socio-economic mobility. This ethnographic study of social computing in the Central Himalayas, India, investigates alternative social practices with new technologies and media amongst a population that is for the most part undocumented. In doing so, this book offers fresh and critical perspectives on issues of contemporary debate: free learning with computers, relevant and global information, the range and role of actors as intermediaries of digital information, impact of direct versus indirect access on social computing, gender and technology and transnational consumption and production of knowledge