Ontology specific visual canvas generation to facilitate sense-making-an algorithmic approach

Ontologies are domain-specific conceptualizations that are both human and machine-readable. Due to this remarkable attribute of ontologies, its applications are not limited to computing domains. Banking, medicine, agriculture, and law are a few of the non-computing domains, where ontologies are being used very effectively. When creating ontologies for non-computing domains, involvement of the non-computing domain specialists like bankers, lawyers, farmers become very vital. Hence, they are not semantic specialists, particularly designed visualization assistance is required for the ontology schema verifications and sense-making. Existing visualization methods are not fine-tuned for non-technical domain specialists and there are lots of complexities. In this research, a novel algorithm capable of generating domain specialists’ friendlier visualization canvas has been explored. This proposed algorithm and the visualization canvas has been tested for three different domains and overall success of 85% has been yielded.

An algorithmic approach to entanglement-assisted quantum error-correcting codes from the Hermitian curve

<p style='text-indent:20px;'>We study entanglement-assisted quantum error-correcting codes (EAQECCs) arising from classical one-point algebraic geometry codes from the Hermitian curve with respect to the Hermitian inner product. Their only unknown parameter is <inline-formula><tex-math id="M1">\begin{document}$ c $\end{document}</tex-math></inline-formula>, the number of required maximally entangled quantum states since the Hermitian dual of an AG code is unknown. In this article, we present an efficient algorithmic approach for computing <inline-formula><tex-math id="M2">\begin{document}$ c $\end{document}</tex-math></inline-formula> for this family of EAQECCs. As a result, this algorithm allows us to provide EAQECCs with excellent parameters over any field size.</p>

Overview and Algorithmic Approach to Management of Male and Female Pattern Hair Loss

Male and female pattern hair loss (PHL) is an innocuous condition, but it has a major psychological impact on the sufferer. This paper aims to provide a simple algorithmic approach toward diagnosis, staging, and treatment of PHL in males and females. It also aims at simplifying the decision-making process for the surgeon with regard to timing and extent of procedure for hair transplant surgeries. Various treatment options, their merits and demerits, along with scientific evidence supporting or not supporting the treatment options are discussed in detail.

Feeding Problems and Long-Term Outcomes in Preterm Infants—A Systematic Approach to Evaluation and Management

Preterm infants are known to have long-term healthcare needs. With advances in neonatal medical care, younger and more preterm infants are surviving, placing a subset of the general population at risk of long-term healthcare needs. Oral feeding problems in this population often play a substantial yet under-appreciated role. Oral feeding competency in preterm infants is deemed an essential requirement for hospital discharge. Despite achieving discharge readiness, feeding problems persist into childhood and can have a residual impact into adulthood. The early diagnosis and management of feeding problems are essential requisites to mitigate any potential long-term challenges in preterm-born adults. This review provides an overview of the physiology of swallowing and oral feeding skills, disruptions to oral feeding in preterm infants, the outcomes of preterm infants with feeding problems, and an algorithmic approach to the evaluation and management of neonatal feeding problems.

Enter the Matrix: An Examination of Patrick Pound's The Great Exhibition

<p>This thesis considers the practice of New Zealand-born artist, Patrick Pound (b. 1962) through an analysis of his survey show, Patrick Pound: The Great Exhibition, which was staged at the National Gallery of Victoria in Melbourne between 31 March and 30 July 2017. The Great Exhibition demonstrates the complexity and multiplicity of Pound’s practice, exemplifying the interconnectedness of his thinking and his use of an algorithmic approach to collecting, curating and categorisation. His depth of art-historical knowledge plays out as an intricate puzzle. The scope of The Great Exhibition is vast and, while it might appear to mostly involve the arrangement of more than 4,000 vernacular photographs and found objects, alongside 300 items from the NGV’s collection, the methodologies of collecting and curation employed by Pound are multifaceted. I consider the constancy of Pound’s interrogation of authorship and meaning throughout his practice, which is integrally related to his use of vernacular photographs and found objects within The Great Exhibition. I examine our relationship with vernacular photography and how this is exposed in The Great Exhibition. The practices of artists such as Erik Kessels, Joachim Schmid and Marcel Duchamp provide context here. Chapter Three asks how The Great Exhibition fits within a wider context of exhibitions by artist-as-curators such as Fred Wilson’s Mining the Museum and Edward Steichen’s The Family of Man. This chapter also examines how computer algorithms can be applied as a framework for understanding The Great Exhibition’s curatorial logic. Pound’s complex system of sorting and categorising into matrices and intersections is considered in relation to writer Georges Perec and his understanding of Alan Turing’s conceptualisation of the ‘Automatic’ and ‘Oracle’ machines. My conclusion reflects on what can and cannot be learned from Patrick Pound’s The Great Exhibition.</p>

Enter the Matrix: An Examination of Patrick Pound's The Great Exhibition

<p>This thesis considers the practice of New Zealand-born artist, Patrick Pound (b. 1962) through an analysis of his survey show, Patrick Pound: The Great Exhibition, which was staged at the National Gallery of Victoria in Melbourne between 31 March and 30 July 2017. The Great Exhibition demonstrates the complexity and multiplicity of Pound’s practice, exemplifying the interconnectedness of his thinking and his use of an algorithmic approach to collecting, curating and categorisation. His depth of art-historical knowledge plays out as an intricate puzzle. The scope of The Great Exhibition is vast and, while it might appear to mostly involve the arrangement of more than 4,000 vernacular photographs and found objects, alongside 300 items from the NGV’s collection, the methodologies of collecting and curation employed by Pound are multifaceted. I consider the constancy of Pound’s interrogation of authorship and meaning throughout his practice, which is integrally related to his use of vernacular photographs and found objects within The Great Exhibition. I examine our relationship with vernacular photography and how this is exposed in The Great Exhibition. The practices of artists such as Erik Kessels, Joachim Schmid and Marcel Duchamp provide context here. Chapter Three asks how The Great Exhibition fits within a wider context of exhibitions by artist-as-curators such as Fred Wilson’s Mining the Museum and Edward Steichen’s The Family of Man. This chapter also examines how computer algorithms can be applied as a framework for understanding The Great Exhibition’s curatorial logic. Pound’s complex system of sorting and categorising into matrices and intersections is considered in relation to writer Georges Perec and his understanding of Alan Turing’s conceptualisation of the ‘Automatic’ and ‘Oracle’ machines. My conclusion reflects on what can and cannot be learned from Patrick Pound’s The Great Exhibition.</p>