Towards an approximate graph entropy measure for identifying incidents in network event data

A key objective of monitoring networks is to identify potential service threatening outages from events within the network before service is interrupted. Identifying causal events, Root Cause Analysis (RCA), is an active area of research, but current approaches are vulnerable to scaling issues with high event rates. Elimination of noisy events that are not causal is key to ensuring the scalability of RCA. In this paper, we introduce vertex-level measures inspired by Graph Entropy and propose their suitability as a categorization metric to identify nodes that are a priori of more interest as a source of events. We consider a class of measures based on Structural, Chromatic and Von Neumann Entropy. These measures require NP-Hard calculations over the whole graph, an approach which obviously does not scale for large dynamic graphs that characterise modern networks. In this work we identify and justify a local measure of vertex graph entropy, which behaves in a similar fashion to global measures of entropy when summed across the whole graph. We show that such measures are correlated with nodes that generate incidents across a network from a real data set

Short vs. long flows: a battle that both can win

In this paper, we introduce MMPTCP, a hybrid transport protocol which aims at unifying the way data is transported in data centres. MMPTCP runs in two phases; initially, it randomly scatters packets in the network under a single congestion window exploiting all available paths. This is beneficial to latency-sensitive flows. During the second phase, MMPTCP runs in Multi-Path TCP mode, which has been shown to be very efficient for long flows. Initial evaluation shows that our approach significantly improves short flow completion times while providing high throughput for long flows and high overall network utilisation

MDOCS Flyer-2016-04-10, Spring 2016 LI113 Workshops

April 2016 Workshops Video Editing Support Session- Sunday Apr 10 @ 4pm Conducting a Video Interview- Wednesday April 13 @ 7pm Final Cut ProX- Thursday April 14 @ 8pm Poster Design 101- Wednesday April 20 @ 7p

MDOCS Poster-2018-03-27, Jason Houston

Tuesday, March 27, 2018 5:30 PM - 7:30 PM (ET) Palamountain Hall Davis Auditorium Exploring how we live on the planet” Photographer Jason Houston has spent over 20 years photographing community, culture, and how we live on the planet for editorial and NGO clients and personal projects. His engaged, long-term approach to complex issues captures informed, authentic narratives that help educate the public and guide social and environmental change. Recent projects include a global survey of conservation enterprises and a campaign for the protection of 10 million hectares in the Amazon for indigenous people in isolation and initial contact. He has lectured and led workshops on cause-driven photography at Anderson Ranch, Telluride Photo Festival, Harvard, Yale, Duke, Nevada Musuem of Art, San Francisco Art Institute, Mountainfilm, and many more. Jason is a Senior Fellow in the International League of Conservation Photographers, a Senior Fellow at Wake Forest University’s Center for Energy, Environment, and Sustainability, and for 8 years also worked as photography editor for Orion magazine. Co-hosted by Art and MDOCS. Introduction by Bob ParkeHarrison (Art). www.jasonhouston.co

MDOCS Postcard-2016-06-01, Storytellers\u27 Institute 2016

THEME This June, the MDOCS\u27 Storytellers\u27 Institute explores the theme of fact and fiction. Documentary works are evidence-based stories, working with facts to render, reveal, and represent truth(s) to inform and, at times, inspire action. Despite relying on real people, depicting real places, and presenting real events, documentaries engage by interpreting and representing reality (Lamarre 2009). In the words of John Grierson (1926) (considered the father of the term documentary ), a documentary film is a creative treatment of actuality. Tools in a documentarian\u27s kit are many -- and many that shape reaction and response are not that different than those deployed for fictional works based on a true story (Zero Dark Thirty): reenactment, sound and visual effects, editing, reordering, narration. Increasingly hybrid documentary works approach and may even cross the boundaries of fact and fiction, mixing evidence and challenging the public to think about the line between documentary and so-called creative work. At the other end of the spectrum are the narrative works based on a true story -- Walk the Line and Our Brand is Crisis -- adapting existing documentary features into dramatic work. In 2010, NY Times film critic AO Scott asked How real is a documentary: observing that reality is everywhere you look, taking dizzyingly protean forms. Participants and attendees in this summer\u27s Institute will discuss, \u27What is the line?\u27 -- Does it start at reenactments of crime scenes (Thin Blue Line, 1988 or 18 c Parisian Sound networks... what director Allie Light calls emotional equivalents ), archival videos and images used symbolically, or sound creation? Reenactment presented as unscripted activity (Nanook of the North, 1922) or as archival footage (Stories We Tell, 2012)? A story found in the editing room by reorganizing order or selectively revealing a character among many? Documentarians of all kinds regularly break the \u27rules\u27 but at what point is re-representation a step too far? All documentary works are, in the end, stories shaped by their authors to sway an audience. The Summer 2016 Storytellers\u27 Institute Fellows are working in the borderlands of fact and fiction, grappling with the question of truth in storytelling, to join us for five weeks of creative work and interrogation. PARTICIPANTS This year\u27s 4 Institute Fellows and 10 Skidmore Scholars span a wide range of documentary practices, experimenting with video, audio, exhibition, archiving, and multimedia. The Institute Fellows come to Skidmore from 3 US states (Pennsylvania, New York, and North Carolina) and 1 Canadian province (New Brunswick) bringing skills and tools from their work at collegiate institutions, art centers, and independent radio stations. Their projects span from revealing a family\u27s untold oral history and discovery of long-hidden secrets in an African diaspora\u27s lost past to a film exploring parallels between two seemingly disparate cultural struggles for survival to a multimedia book, exhibit and interactive recreation that searches for the unmarred facts of the events leading up to the night Treyvon Martin was killed and to a project exploring the end of Canadian short-wave radio as told by mysteriously talking household appliances in a series of films and multimedia exhibits. These documentary artists will all challenge the moral questions behind telling a research-based, fact-driven story when removing ones\u27 past experience, perspective and individual lens is seemingly impossible. Can a story\u27s truth be more deeply understood when the line between fact and fiction is blurred? May we be left forever skeptical of the source from which we gain our information and determine what we believe to be true? In addition, 10 Skidmore Scholars (8 students, 2 faculty) will work on independent documentary projects spanning diverse topics from the deeper understanding gained through intersectional study of the Civil Rights Movement and addressing racial tension in an Intergroup Relations class to intimate stories of loss of virginity and a film that aims to bring to life the voice of a lost mother, to developing an environmental podcast into educational tool, to name a few

MDOCS Program-2016-06-01, Storytellers\u27 Institute 2016

THEME This June, the MDOCS\u27 Storytellers\u27 Institute explores the theme of fact and fiction. Documentary works are evidence-based stories, working with facts to render, reveal, and represent truth(s) to inform and, at times, inspire action. Despite relying on real people, depicting real places, and presenting real events, documentaries engage by interpreting and representing reality (Lamarre 2009). In the words of John Grierson (1926) (considered the father of the term documentary ), a documentary film is a creative treatment of actuality. Tools in a documentarian\u27s kit are many -- and many that shape reaction and response are not that different than those deployed for fictional works based on a true story (Zero Dark Thirty): reenactment, sound and visual effects, editing, reordering, narration. Increasingly hybrid documentary works approach and may even cross the boundaries of fact and fiction, mixing evidence and challenging the public to think about the line between documentary and so-called creative work. At the other end of the spectrum are the narrative works based on a true story -- Walk the Line and Our Brand is Crisis -- adapting existing documentary features into dramatic work. In 2010, NY Times film critic AO Scott asked How real is a documentary: observing that reality is everywhere you look, taking dizzyingly protean forms. Participants and attendees in this summer\u27s Institute will discuss, \u27What is the line?\u27 -- Does it start at reenactments of crime scenes (Thin Blue Line, 1988 or 18 c Parisian Sound networks... what director Allie Light calls emotional equivalents ), archival videos and images used symbolically, or sound creation? Reenactment presented as unscripted activity (Nanook of the North, 1922) or as archival footage (Stories We Tell, 2012)? A story found in the editing room by reorganizing order or selectively revealing a character among many? Documentarians of all kinds regularly break the \u27rules\u27 but at what point is re-representation a step too far? All documentary works are, in the end, stories shaped by their authors to sway an audience. The Summer 2016 Storytellers\u27 Institute Fellows are working in the borderlands of fact and fiction, grappling with the question of truth in storytelling, to join us for five weeks of creative work and interrogation. PARTICIPANTS This year\u27s 4 Institute Fellows and 10 Skidmore Scholars span a wide range of documentary practices, experimenting with video, audio, exhibition, archiving, and multimedia. The Institute Fellows come to Skidmore from 3 US states (Pennsylvania, New York, and North Carolina) and 1 Canadian province (New Brunswick) bringing skills and tools from their work at collegiate institutions, art centers, and independent radio stations. Their projects span from revealing a family\u27s untold oral history and discovery of long-hidden secrets in an African diaspora\u27s lost past to a film exploring parallels between two seemingly disparate cultural struggles for survival to a multimedia book, exhibit and interactive recreation that searches for the unmarred facts of the events leading up to the night Treyvon Martin was killed and to a project exploring the end of Canadian short-wave radio as told by mysteriously talking household appliances in a series of films and multimedia exhibits. These documentary artists will all challenge the moral questions behind telling a research-based, fact-driven story when removing ones\u27 past experience, perspective and individual lens is seemingly impossible. Can a story\u27s truth be more deeply understood when the line between fact and fiction is blurred? May we be left forever skeptical of the source from which we gain our information and determine what we believe to be true? In addition, 10 Skidmore Scholars (8 students, 2 faculty) will work on independent documentary projects spanning diverse topics from the deeper understanding gained through intersectional study of the Civil Rights Movement and addressing racial tension in an Intergroup Relations class to intimate stories of loss of virginity and a film that aims to bring to life the voice of a lost mother, to developing an environmental podcast into educational tool, to name a few

MDOCS Poster-2018-03-21, Free To Rock

Wednesday, March 21, 2018 7:00 PM - 9:00 PM (ET) PALMTN Davis Auditorium FREE TO ROCK is a documentary film directed by 4-time Emmy winning filmmaker Jim Brown and narrated by Kiefer Sutherland. Rock & Roll spread like an uncontrollable virus across Eastern Europe despite Communist attempts to outlaw it. Thousands of underground bands and millions of young fans who yearned for Western freedoms and embraced this music as the Sound of Freedom, helped fuel the nonviolent implosion of the Soviet regime. Free to Rock features Presidents, diplomats, spies and rock stars from the West and the Soviet Union who reveal how Rock & Roll music was a contributing factor in ending the Cold War. Q&A with executive producers Nick Binkley and Doug Yeager (author of the companion book) after the film

MDOCS Flyer-2016-06-01, Summer 2016 Courses

2016 Summer Courses Both courses are Session 1 (May 31-July 1) The Essay Film DS-251C, Joanna McKone, MTWR 1:15-3:30pm 3 cr An Essay Film looks for answers, truths or moments of reflection in all sorts of places: memory, personal experience, travel and more. This course will consist of small projects leading up to a final project of an essay film. Intro to Audio Doc, DS-251D, Eileen McAdam, MTWR 9-11am 4cr This class will focus on the art of storytelling through sound. With an emphasis on the production process, you\u27ll learn how to turn an idea into a compelling audio story suitable for broadcasting and podcasting