Network representation learning method embedding linear and nonlinear network structures

With the rapid development of neural networks, much attention has been focused on network embedding for complex network data, which aims to learn low-dimensional embedding of nodes in the network and how to effectively apply learned network representations to various graph-based analytical tasks. Two typical models exist namely the shallow random walk network representation method and deep learning models such as graph convolution networks (GCNs). The former one can be used to capture the linear structure of the network using depth-first search (DFS) and width-first search (BFS), whereas Hierarchical GCN (HGCN) is an unsupervised graph embedding that can be used to describe the global nonlinear structure of the network via aggregating node information. However, the two existing kinds of models cannot simultaneously capture the nonlinear and linear structure information of nodes. Thus, the nodal characteristics of nonlinear and linear structures are explored in this paper, and an unsupervised representation method based on HGCN that joins learning of shallow and deep models is proposed. Experiments on node classification and dimension reduction visualization are carried out on citation, language, and traffic networks. The results show that, compared with the existing shallow network representation model and deep network model, the proposed model achieves better performances in terms of micro-F1, macro-F1 and accuracy scores.

Macromolecular Insights into the Altered Mechanical Deformation Mechanisms of Non-Polyolefin Contaminated Polyolefins

Current recycling technologies rarely achieve 100% pure plastic fractions from a single polymer type. Often, sorted bales marked as containing a single polymer type in fact contain small amounts of other polymers as contaminants. Inevitably, this will affect the properties of the recycled plastic. This work focuses on understanding the changes in tensile deformation mechanism and the related mechanical properties of the four dominant types of polyolefin (PO) (linear low-density polyethylene (LLDPE), low-density polyethylene (LDPE), high-density polyethylene (HDPE), and polypropylene (PP)), contaminated with three different non-polyolefin (NPO) polymers (polyamide-6 (PA-6), polyethylene terephthalate (PET), and polystyrene (PS)). Under the locally elevated stress state induced by the NPO phase, the weak interfacial adhesion typically provokes decohesion. The resulting microvoids, in turn, initiate shear yielding of the PO matrix. LLDPE, due to the linear structure and intercrystalline links, is well able to maintain high ductility when contaminated. LDPE shows deformation similar to the pure material, but with decreasing ductility as the amount of NPO increases. Addition of 20 wt% PA-6, PET, and PS causes a drop in strain at break of 79%, 63%, and 84%, respectively. The typical ductile necking of the high-crystalline HDPE and PP is strongly disturbed by the NPO phase, with a transition even to full brittle failure at high NPO concentration.

THE CONTROVERSY OF ROOTING AND CONTRASTING ONE-‎LETTER FORMATIONS

The concept of rooting and renewal in Arabic calligraphy is linked to the ‎calligrapher’s need to show new aesthetic methods, through formations and calligraphic ‎structures based on a single letter. The perceptual vision of the calligrapher, so this ‎research was concerned with studying the rooting and renewal of the rule of the single ‎letter in the formations of Arabic calligraphy in particular, which included four chapters, ‎the first chapter included the research problem, its importance, objectives, limits and ‎definition of its terms. ‎ As for the second chapter, it deals with tracing the concept of rooting and ‎renewal and its connection with the artist and the possession of the idea and the ability ‎to technical aesthetic expression, through the one-letter linear formations made by ‎calligraphers, relying on the spatial organization and choosing the appropriate letter for ‎the composition. The analysis concluded with a number of results that were devoted to the fourth ‎chapter, which showed rooting, renewal, acceptance of decorative and different ‎aesthetic formations in structural structures, and investing some characteristics of letters ‎to arrange and divide the linear structure into creative forms and structures.

Asymmetric Design Sensitivity and Isogeometric Shape Optimization Subject to Deformation-Dependent Loads

We present a design sensitivity analysis and isogeometric shape optimization with path-dependent loads belonging to non-conservative loads under the assumption of elastic bodies. Path-dependent loads are sometimes expressed as the follower forces, and these loads have characteristics that depend not only on the design area of the structure but also on the deformation. When such a deformation-dependent load is considered, an asymmetric load stiffness matrix (tangential operator) in the response region appears. In this paper, the load stiffness matrix is derived by linearizing the non-linear non-conservative load, and the geometrical non-linear structure is optimally designed in the total Lagrangian formulation using the isogeometric framework. In particular, since the deformation-dependent load changes according to the change and displacement of the design area, the isogeometric analysis has a significant influence on the accuracy of the sensitivity analysis and optimization results. Through several numerical examples, the applicability and superiority of the isogeometric analysis method were verified in optimizing the shape of the problem subject to deformation-dependent loads.

I am undone by these women: Identity and change in a feminist domestic violence organisation

<p>The six words of the title, ‘I am undone by these women’, embody the interconnected dimensions of this thesis. Simultaneously, this thesis is a personal transformational project (the ‘I am’); a series of theorisations of the relationship between identity and change in the context of the community sector (the ‘undoing’); and a textual space through which I share the working lives of my participants and victims of violence (the ‘these women’). My experiences as a volunteer ethnographer sit at the heart of this thesis. The ethnographic project was undertaken in the community sector, with a feminist domestic violence organisation in Aotearoa New Zealand. Through this project, I became committed to the social justice cause of my colleagues and participants: ending violence against women. My thesis aims to (re)create the textures of the working lives of my colleagues and participants. To represent these textures, I suffuse emotions and contradictions into this thesis through writing personally and subjectively and through adopting a rhizomatic (non-linear) structure in order to foster affective connections between the reader, the writer, my colleagues, and victims of violence. The ‘undoing’ in this thesis relates to how my theorisations developed over this project through a mixture of my own emerging understandings of identity, reflections on my ethnographic experience, and on issues salient to the working lives of my colleagues. My thesis traces the lines of my thinking about the relationships between identity and change in the context of the community sector, showing how they shifted before, during, and after my ethnographic experience. My thesis is structured into five parts. Each part acts as a semi-independent node of thought; following similar lines about identity and change but flourishing in different intellectual territory. This rhizomatic structure emphasises how feeling identity during my fieldwork changed how I thought about identity for my thesis. Or in other words this structure maps how my thinking became ‘undone’ and the relevance of this undoing for understanding identity and change. Initially, I map my thinking about the concept of identity as situated in the Critical Management Studies literature, particularly in relation to the work of Judith Butler and narrative theory. In the further parts of the thesis, I follow some of these initial lines of thought, but circle away from others. One part contributes to the literature about alternative organisations. In this part, I argue that strong emotions are important for fostering collective responsibility in alternative organising – here for victims of violence. Another part contributes to the literature on the gendered body. Here, I argue that gender identity becomes unsettled through the body in domestic violence work because of repetitive exposure to gender violence. Accordingly, both celebrating and reconsidering gender identity in domestic violence work can help to achieve change for all women subjected to violence. In a further part, I contribute to literature on the micro-politics of identity. I argue that storytelling about feminist identity can help to foster solidarity in the context of the community sector. Ultimately, this thesis puts the emphasis on the different ways identity and change are interlinked; there is no centre point to the argument. In the vein of autoethnography, the ‘undoing’ and ‘these women’ are also understood through an exploration of who ‘I am’ as a scholar. I understand the thesis to be a formative process through which the doctoral student learns what it means to be a researcher in their field. I map how my identity as a researcher was unsettled as I came into contact with domestic violence work and workers. In this way, I also explore what is learnt about identity and change on a personal level.</p>

I am undone by these women: Identity and change in a feminist domestic violence organisation

<p>The six words of the title, ‘I am undone by these women’, embody the interconnected dimensions of this thesis. Simultaneously, this thesis is a personal transformational project (the ‘I am’); a series of theorisations of the relationship between identity and change in the context of the community sector (the ‘undoing’); and a textual space through which I share the working lives of my participants and victims of violence (the ‘these women’). My experiences as a volunteer ethnographer sit at the heart of this thesis. The ethnographic project was undertaken in the community sector, with a feminist domestic violence organisation in Aotearoa New Zealand. Through this project, I became committed to the social justice cause of my colleagues and participants: ending violence against women. My thesis aims to (re)create the textures of the working lives of my colleagues and participants. To represent these textures, I suffuse emotions and contradictions into this thesis through writing personally and subjectively and through adopting a rhizomatic (non-linear) structure in order to foster affective connections between the reader, the writer, my colleagues, and victims of violence. The ‘undoing’ in this thesis relates to how my theorisations developed over this project through a mixture of my own emerging understandings of identity, reflections on my ethnographic experience, and on issues salient to the working lives of my colleagues. My thesis traces the lines of my thinking about the relationships between identity and change in the context of the community sector, showing how they shifted before, during, and after my ethnographic experience. My thesis is structured into five parts. Each part acts as a semi-independent node of thought; following similar lines about identity and change but flourishing in different intellectual territory. This rhizomatic structure emphasises how feeling identity during my fieldwork changed how I thought about identity for my thesis. Or in other words this structure maps how my thinking became ‘undone’ and the relevance of this undoing for understanding identity and change. Initially, I map my thinking about the concept of identity as situated in the Critical Management Studies literature, particularly in relation to the work of Judith Butler and narrative theory. In the further parts of the thesis, I follow some of these initial lines of thought, but circle away from others. One part contributes to the literature about alternative organisations. In this part, I argue that strong emotions are important for fostering collective responsibility in alternative organising – here for victims of violence. Another part contributes to the literature on the gendered body. Here, I argue that gender identity becomes unsettled through the body in domestic violence work because of repetitive exposure to gender violence. Accordingly, both celebrating and reconsidering gender identity in domestic violence work can help to achieve change for all women subjected to violence. In a further part, I contribute to literature on the micro-politics of identity. I argue that storytelling about feminist identity can help to foster solidarity in the context of the community sector. Ultimately, this thesis puts the emphasis on the different ways identity and change are interlinked; there is no centre point to the argument. In the vein of autoethnography, the ‘undoing’ and ‘these women’ are also understood through an exploration of who ‘I am’ as a scholar. I understand the thesis to be a formative process through which the doctoral student learns what it means to be a researcher in their field. I map how my identity as a researcher was unsettled as I came into contact with domestic violence work and workers. In this way, I also explore what is learnt about identity and change on a personal level.</p>

Detecting Malicious Switches for a Secure Software-defined Tactile Internet

The rapid development of the Internet of Things has led to demand for high-speed data transformation. Serving this purpose is the Tactile Internet, which facilitates data transfer in extra-low latency. In particular, a Tactile Internet based on software-defined networking (SDN) has been broadly deployed because of the proven benefits of SDN in flexible and programmable network management. However, the vulnerabilities of SDN also threaten the security of the Tactile Internet. Specifically, an SDN controller relies on the network status (provided by the underlying switches) to make network decisions, e.g., calculating a routing path to deliver data in the Tactile Internet. Hence, the attackers can compromise the switches to jeopardize the SDN and further attack Tactile Internet systems. For example, an attacker can compromise switches to launch distributed denial-of-service attacks to overwhelm the SDN controller, which will disrupt all the applications in the Tactile Internet. In pursuit of a more secure Tactile Internet, the problem of abnormal SDN switches in the Tactile Internet is analyzed in this article, including the cause of abnormal switches and their influences on different network layers. Then we propose an approach that leverages the messages sent by all switches to identify abnormal switches, which adopts a linear structure to store historical messages at a relatively low cost. By mapping each flow message to the flow establishment model, our method can effectively identify malicious SDN switches in the Tactile Internet and thus enhance its security.

Truth in Fiction: Storytelling and Architecture

<p>Current discourse on architectural narrative suggests that a series of events or impressions of space can be ‘read’ through a sequencing of spaces and views within a building. It is presumed that a building is read in the same way as a sequence of shots in a film. In this model, architects set up a narrative which is played out through a careful construction of viewpoints and events. In practice this can lead to the manipulation of spatial experience at the sacrifice of individual interpretation, as maintaining the narrative compromises spatial experience. This stems from the fundamental difference between how we experience architecture as opposed to more traditional narratives in printed or pictorial media. The experience of space is not a linear one, nor is it bound by a strict timeline which follows from cause to effect. Unlike a novel, where the author has complete control over the pacing and focus of each scene, the architect cannot rely on others to interpret his exact intentions, or on his architecture remaining true to a single narrative over time. This research is about storytelling in architecture. Specifically, how we might better use narratives to play to the strengths of our medium. From examining current practices in publicly establishing narratives, to investigating the work of John Hejduk, this work examines how architectural narratives have been constructed in the past, and whether this has been successful. Using an analysis of three works of fiction: The Library of Babel by Jorge Luis Borges, The Castle by Franz Kafka and The House of Leaves by Mark Z Danielewski; I analyse the various uses of the architectural metaphor in fiction and how these fictional spaces have been used as characters within their individual narratives. I use design to develop a process which takes a basic house plan and applies a non-linear narrative to it. This narrative is not concerned with a single interpretation. This process creates spaces imbued with the stories of the novels studied, and of my role as designer. Yet they may also be reinterpreted again by a new viewer to give a kind of immortality to the story. The architecture continually adapts itself to new experiences and understandings. Finally, I argue that we do have the ability to use storytelling within architecture to enrich our spaces without resorting to the manipulation of the user. If we return to the cyclic and layered model of storytelling, as opposed to the linear structure of narrative, then our buildings will not only tell our stories more clearly, but also for longer as they appeal to the changing fashions, experiences and applied narratives of the people who use them, remaining relevant to the world of experience.</p>

Truth in Fiction: Storytelling and Architecture

<p>Current discourse on architectural narrative suggests that a series of events or impressions of space can be ‘read’ through a sequencing of spaces and views within a building. It is presumed that a building is read in the same way as a sequence of shots in a film. In this model, architects set up a narrative which is played out through a careful construction of viewpoints and events. In practice this can lead to the manipulation of spatial experience at the sacrifice of individual interpretation, as maintaining the narrative compromises spatial experience. This stems from the fundamental difference between how we experience architecture as opposed to more traditional narratives in printed or pictorial media. The experience of space is not a linear one, nor is it bound by a strict timeline which follows from cause to effect. Unlike a novel, where the author has complete control over the pacing and focus of each scene, the architect cannot rely on others to interpret his exact intentions, or on his architecture remaining true to a single narrative over time. This research is about storytelling in architecture. Specifically, how we might better use narratives to play to the strengths of our medium. From examining current practices in publicly establishing narratives, to investigating the work of John Hejduk, this work examines how architectural narratives have been constructed in the past, and whether this has been successful. Using an analysis of three works of fiction: The Library of Babel by Jorge Luis Borges, The Castle by Franz Kafka and The House of Leaves by Mark Z Danielewski; I analyse the various uses of the architectural metaphor in fiction and how these fictional spaces have been used as characters within their individual narratives. I use design to develop a process which takes a basic house plan and applies a non-linear narrative to it. This narrative is not concerned with a single interpretation. This process creates spaces imbued with the stories of the novels studied, and of my role as designer. Yet they may also be reinterpreted again by a new viewer to give a kind of immortality to the story. The architecture continually adapts itself to new experiences and understandings. Finally, I argue that we do have the ability to use storytelling within architecture to enrich our spaces without resorting to the manipulation of the user. If we return to the cyclic and layered model of storytelling, as opposed to the linear structure of narrative, then our buildings will not only tell our stories more clearly, but also for longer as they appeal to the changing fashions, experiences and applied narratives of the people who use them, remaining relevant to the world of experience.</p>