UNDEAD: Detecting and preventing deadlocks in production software

Author(s):  
Jinpeng Zhou ◽  
Sam Silvestro ◽  
Hongyu Liu ◽  
Yan Cai ◽  
Tongping Liu
Keyword(s):  
Electronics ◽  
2021 ◽  
Vol 10 (18) ◽  
pp. 2276
Author(s):  
Jia-Lien Hsu ◽  
Shuh-Jiun Chang

With the prevalence of online video-sharing platforms increasing in recent years, many people have started to create their own videos and upload them onto the Internet. In filmmaking, background music is also one of the major elements besides the footage. With matching background music, a video can not only convey information, but also immerse the viewers in the setting of a story. There is often not only one piece of background music, but several, which is why audio editing and music production software are required. However, music editing is a professional expertise, and it can be hard for amateur creators to compose ideal pieces for the video. At the same time, there are some online audio libraries and music archives for sharing audio/music samples. For beginners, one possible way to compose background music for a video is “arranging and integrating samples”, rather than making music from scratch. As a result, this leads to a problem. There might be some gaps between samples, in which we have to generate transitions to fill the gaps. In our research, we build a transformer-based model for generating a music transition to bridge two prepared music clips. We design and perform experiments to demonstrate that our results are promising. The results are also analysed by using a questionnaire to reveal a positive response from listeners, supporting that our generated transitions conform to background music.


Author(s):  
C. V. KIFOR ◽  
N. TUDOR ◽  
LAL MOHAN BARAL

A quality system for production software should be part of the quality management system of an organization and can be expressed as objectives in the form of processes, procedures, tools and responsibilities, designed and developed to fulfil the quality requirements. These usually are addressing the customers (external or internal), compliance with standards (effectiveness) waste reduction and better use of resources (efficiency) for continual improvement. Such systems are designed according to the requirements of the standards for quality management, software engineering and information security. Quality systems themselves could not provide all necessary means for driving the organization to the quality and excellence of a product. Still there are some gaps in the processes which are not covered by too generic standards and it is the organizational ability to cover the gaps in an appropriate way. The aim of this paper is to examine the effectiveness of our proposed conceptual QSPS model to reduce the gaps in the processes of an organization by enhancing the quality of production software. In order to achieve that goal, a mathematical representation of QSPS has been derived and an evaluation has been realized among different software quality methods. The reliability and validity of the QSPS has been examined through the practical application to the automotive industry considering the elements like: (i) Planning, time and cost evaluation (ii) Software requirements (management, risk, quality and security) (iii) Validation and verification of the implemented software before release (iv) Internal release of the software (v) Client release of the software (vi) Functional monitoring after release in the production and continuous improvement process (vii) Customer satisfaction. The results of mathematical simulation and practical application revealed that the proposed QSPS model showed superior phenomena compared with other known software quality methods and also expressed significant advantages, while using it on the production software. So, an effective application of QSPS would result in the smooth running of the production software to get a high quality product according to customer and standard requirements.


2016 ◽  
Vol 24 (3) ◽  
pp. 193-193
Author(s):  
Bertrand Pourroy ◽  
Frederic Benizri ◽  
Sophie Roubaud ◽  
Sandra Ruitort
Keyword(s):  

Author(s):  
Ali Colleen Neff

Hip hop’s big takeover, four decades deep, has gone hand-in-hand with the age of digital globalization. Charts and numbers, playlists and soundscan tallies cannot fully measure the influence and mobility of hip hop’s emerging digitalities, which move swiftly across the global media landscape and bring global fans and practitioners into their collaborative folds. After decades of concern with the elusive question of what hip hop is across its historical trajectory, critical media studies is turning to the question of what hip hop does for its practitioners in the context of digital globalization. As this study shows, the long-standing field of Black aesthetic studies can nourish new approaches to understanding a transnational digital landscape in which popular music has become a premium site for emergent digital creativity, even as many of these communities fall across the digital divide that makes professional production software, hardware, and training difficult to access. Today, hip hop is as much a global field of digital design as it is a body of musical production.


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