Power ISA™ Version 3.1 has introduced a new family of matrix math instructions, collectively known as the Matrix-Multiply Assist (MMA) facility. The instructions in this facility implement numerical linear algebra operations on small matrices and are meant to accelerate computation-intensive kernels, such as matrix multiplication, convolution and discrete Fourier transform. These instructions have led to a power-and area-efficient implementation of a high throughput math engine in the future POWER10 processor. Performance per core is 4 times better, at constant frequency, than the previous generation POWER9 processor. We also advocate the use of compiler builtins as the preferred way of leveraging these instructions, which we illustrate through case studies covering matrix multiplication and convolution.
Detecting whether computer program code is a student's original work or has been copied from another student or some other source is a major problem for many universities. Detection methods based on the information retrieval concepts of indexing and similarity matching scale well to large collections of files, but require appropriate similarity functions for good performance. We have used particle swarm optimization and genetic programming to evolve similarity functions that are suited to computer program code. Using a training set of plagiarised and non-plagiarised programs we have evolved better parameter values for the previously published Okapi BM25 similarity function. We have then used genetic programming to evolve completely new similarity functions that do not conform to any predetermined structure. We found that the evolved similarity functions outperformed the human developed Okapi BM25 function. We also found that a detection system using the evolved functions was more accurate than the the best code plagiarism detection system in use today, and scales much better to large collections of files. The evolutionary computing techniques have been extremely useful in finding similarity functions that advance the state of the art in code plagiarism detection.
Angiopoietin-2 (Ang-2) is associated with vascular endothelial injury and permeability in the acute respiratory distress syndrome (ARDS) and sepsis. Elevated circulating Ang-2 levels may identify critically ill patients with distinct pathobiology amenable to targeted therapy. We hypothesized that plasma Ang-2 measured shortly after hospitalization among patients with sepsis would be associated with the development of ARDS and poor clinical outcomes. To test this hypothesis, we measured plasma Ang-2 in a cohort of 757 patients with sepsis, including 267 with ARDS, enrolled in the emergency department or early in their ICU course before the COVID-19 pandemic. Multivariable models were used to test the association of Ang-2 with the development of ARDS and 30-day morality. We found that early plasma Ang-2 in sepsis was associated with higher baseline severity of illness, the development of ARDS, and mortality risk. The association between Ang-2 and mortality was strongest among patients with ARDS and sepsis as compared to those with sepsis alone (OR 1.81 vs. 1.52 per log Ang-2 increase). These findings might inform models testing patient risk prediction and strengthen the evidence for Ang-2 as an appealing biomarker for patient selection for novel therapeutic agents to target vascular injury in sepsis and ARDS.
nelson wuCoda with a Final Twist: the Vivace Codetta in the First Movement of Brahms's Cello sonata in F major In his article on Johannes Brahms's sonata-form codas, Mark Delaere (1999) assigned the concluding sections to one of three affective types: climax (intensification), ralentissement (dissolution) and juste milieu (the same). His method of categorisation is primarily based on whether or not there is a change of tempo, expressive marking or texture at the beginning of a coda. 1 While one can cite examples such as the coda of the first movement of the String Quartet in A minor, Op. 51 No. 2, for intensification (più animato sempre), the majority of Brahms's endings are of the ralentissement type. In his dissertation on Brahms's codas, Matthias Rohn (1986) pointed out that it is unlikely that the composer orientated himself to Beethoven, because the elaboration of compositional details in Brahms's endings serves largely to reduce tension; increases in tension at this point are rare. Indeed, he frequently used expressions such as tranquillo, calando, meno allegro, sostenuto, largamente, espressivo, dolce and sotto voce to mark the beginning of a coda. 2 Of course there are also other possibilities -for example, codas that begin with one affect but end with another. In the opening movement of the String Quartet in C minor, Op. 51 No. 1, the coda commences with a change from 3/2 to duple metre alla breve and a modulation to the subdominant minor, and is further marked by the performance direction p crescendo ed agitato. Although listeners are led to believe that the persistent intensification will draw the Allegro to a climactic end, this coda, in fact, concludes with diminuendo, rhythmic deceleration and a dynamic swell on the final tonic major chord, which is played piano and with a fermata. Thus, rather than restoring the opening affect, one might infer that this discharge anticipates the ensuing Romanze -poco adagio. 3 A reversal of the intensification-dissolution model can be found in the coda of the opening movement of the Piano Trio in B major, Op. 8, in its revised form. It begins tranquillo, and the dissolution process involves not only attenuation in dynamic intensity (diminuendo and pp perdendo), but kinetic deceleration (poco ritardando) as well. Yet this discharge is followed by a determined intensification halfway through the coda. Starting from in tempo ma sempre sostenuto, there is a gradual but persistent build-up in dynamic intensity and surface rhythm. It is, therefore, not surprising that the Allegro con brio ends with a spirited perfect cadence. 4 Although it may be true that Brahms's penchant is to conclude a sonata-form movement with an introspective ending, there are a number of instances in which he provides a final twist at the very end. The coda in the first movement of the
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