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Description
Stream processing has emerged as an important model of computation especially in the context of multimedia and communication sub-systems of embedded System-on-Chip (SoC) architectures. The dataflow nature of streaming applications allows them to be most naturally expressed as a set of kernels iteratively operating on continuous streams of data. The

Stream processing has emerged as an important model of computation especially in the context of multimedia and communication sub-systems of embedded System-on-Chip (SoC) architectures. The dataflow nature of streaming applications allows them to be most naturally expressed as a set of kernels iteratively operating on continuous streams of data. The kernels are computationally intensive and are mainly characterized by real-time constraints that demand high throughput and data bandwidth with limited global data reuse. Conventional architectures fail to meet these demands due to their poorly matched execution models and the overheads associated with instruction and data movements.

This work presents StreamWorks, a multi-core embedded architecture for energy-efficient stream computing. The basic processing element in the StreamWorks architecture is the StreamEngine (SE) which is responsible for iteratively executing a stream kernel. SE introduces an instruction locking mechanism that exploits the iterative nature of the kernels and enables fine-grain instruction reuse. Each instruction in a SE is locked to a Reservation Station (RS) and revitalizes itself after execution; thus never retiring from the RS. The entire kernel is hosted in RS Banks (RSBs) close to functional units for energy-efficient instruction delivery. The dataflow semantics of stream kernels are captured by a context-aware dataflow execution mode that efficiently exploits the Instruction Level Parallelism (ILP) and Data-level parallelism (DLP) within stream kernels.

Multiple SEs are grouped together to form a StreamCluster (SC) that communicate via a local interconnect. A novel software FIFO virtualization technique with split-join functionality is proposed for efficient and scalable stream communication across SEs. The proposed communication mechanism exploits the Task-level parallelism (TLP) of the stream application. The performance and scalability of the communication mechanism is evaluated against the existing data movement schemes for scratchpad based multi-core architectures. Further, overlay schemes and architectural support are proposed that allow hosting any number of kernels on the StreamWorks architecture. The proposed oevrlay schemes for code management supports kernel(context) switching for the most common use cases and can be adapted for any multi-core architecture that use software managed local memories.

The performance and energy-efficiency of the StreamWorks architecture is evaluated for stream kernel and application benchmarks by implementing the architecture in 45nm TSMC and comparison with a low power RISC core and a contemporary accelerator.
ContributorsPanda, Amrit (Author) / Chatha, Karam S. (Thesis advisor) / Wu, Carole-Jean (Thesis advisor) / Chakrabarti, Chaitali (Committee member) / Shrivastava, Aviral (Committee member) / Arizona State University (Publisher)
Created2014
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Description
Television is currently in a changing state. There is no longer a singular broadcast format for series to follow. Streaming websites such as Netflix, Hulu, and Amazon Prime now release series in their entirety; this is known as a full-season release (FSR). Viewers are now able to act independently and

Television is currently in a changing state. There is no longer a singular broadcast format for series to follow. Streaming websites such as Netflix, Hulu, and Amazon Prime now release series in their entirety; this is known as a full-season release (FSR). Viewers are now able to act independently and determine the pace they wish to watch a new FSR series. This not only affects how fans engage in social television discussions on social media, but also changes the previously proposed viewer engagement model. Whereas previous research suggests that fans follow a static linear engagement model consisting of pre-communication, parallel communication, and post communication phases, fans are now able to move freely through viewer engagement phases. This creates a new type of engagement model: The Atomized Engagement Model. As fans move freely through the atomized engagement phases, they choose social media platforms to engage in fandom discussion. Research suggests that although there are distinct types of posts that occur in relation to social television discussions, the platforms used have a direct effect on the content and length of the post.
Created2018-05
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Description
The business models of the music industry are currently experiencing rapid changes. Services such as Spotify, SoundCloud, and Pandora offer methods of consuming music unlike any the industry has seen before. Consumers have shifted from wanting products (digital music and CDs) to using streaming services (Spotify, Pandora, etc.). This study

The business models of the music industry are currently experiencing rapid changes. Services such as Spotify, SoundCloud, and Pandora offer methods of consuming music unlike any the industry has seen before. Consumers have shifted from wanting products (digital music and CDs) to using streaming services (Spotify, Pandora, etc.). This study analyzes the motivation for these changes and considers why people choose the avenues by which they experience music.
ContributorsDugan, Emma (Co-author) / Foley, Meghan (Co-author) / Bhattacharjya, Nilanjana (Thesis director) / Ingram-Waters, Mary (Committee member) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor) / WPC Graduate Programs (Contributor) / Department of Economics (Contributor) / Department of Supply Chain Management (Contributor) / W. P. Carey School of Business (Contributor)
Created2015-05
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Description

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income

Music streaming services have affected the music industry from both a financial and legal standpoint. Their current business model affects stakeholders such as artists, users, and investors. These services have been scrutinized recently for their imperfect royalty distribution model. Covid-19 has made these discussions even more relevant as touring income has come to a halt for musicians and the live entertainment industry. <br/>Under the current per-stream model, it is becoming exceedingly hard for artists to make a living off of streams. This forces artists to tour heavily as well as cut corners to create what is essentially “disposable art”. Rapidly releasing multiple projects a year has become the norm for many modern artists. This paper will examine the licensing framework, royalty payout issues, and propose a solution.

ContributorsKoudssi, Zakaria Corley (Author) / Sadusky, Brian (Thesis director) / Koretz, Lora (Committee member) / Dean, W.P. Carey School of Business (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
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Description
The genre of world music and its market’s reliance on musical exoticism, othering, and the audience’s insatiable quest for musical authenticity have influenced and shaped the way artists construct and negotiate their musical representation. With the popularization of democratized music platforms such as Bandcamp, artists have greater autonomy in terms

The genre of world music and its market’s reliance on musical exoticism, othering, and the audience’s insatiable quest for musical authenticity have influenced and shaped the way artists construct and negotiate their musical representation. With the popularization of democratized music platforms such as Bandcamp, artists have greater autonomy in terms of artistic representation and musical distribution in the online world. Although the internet has in some ways disrupted the old power structures of the music industry, the old forms of world music marketing have been reinscribed into a new context. Old stereotypes and narratives of authenticity in world music have permeated the digital representation of artists and their music. Music recommendation algorithms also shape the way artists are represented in digital environments. Semantic descriptors such as social tags play a vital role in musical identification and recommendation systems implemented by streaming platforms. The use of social tags such as #worldmusic homogenizes diverse cultural sounds into a single umbrella genre. #World music also creates avenues for old stereotypes and narratives of authenticity to re-emerge. This re-emergence of the old tropes of world music creates less equitable recommendation and representational outcomes for musicians operating within the genre. In the age of streaming, where does world music belong? How do artists negotiate representation online? This thesis explores the dynamics of representation and the projections of “authenticity” between world music artists and record labels inside of Bandcamp’s digital ecosystem. By juxtaposing the traditional framework of “world music” marketing with new and evolving methods of distribution and artistic representation, it is possible to see how digital media are reshaping but also reproducing some of the old paradigms of world music. I also propose that a new framework needs to be established to study the impact digital streaming has on the genre of world music. This new framework, which I call “World Music 3.0,” will encompass how algorithms, tech companies, and the democratization of musical practices interact within a globalized community.
ContributorsCureno, Eric Leonel (Author) / Fossum, Dave (Thesis advisor) / Hayes, Lauren (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2021
Description
Esports streaming has become an entertainment giant and promises to continue to grow in the coming years. Streaming platforms, such as Twitch and Youtube, have become a haven for community and competition, blending the two into a novel form of interaction that fuels business. This study will analyze how the

Esports streaming has become an entertainment giant and promises to continue to grow in the coming years. Streaming platforms, such as Twitch and Youtube, have become a haven for community and competition, blending the two into a novel form of interaction that fuels business. This study will analyze how the streaming of esports has influenced business in the technological realm of electronic games and contributed to the field’s longevity. It questions how we, as a society, view community in the online world which itself has become a site for the expansion of how people interact. The study also incorporates the idea of business into the market of technological electronic game-based communities and how competition through esports has also been a fuel for both. Through literature analysis and data collection, the goal of this research would be to increase knowledge on the understanding of streaming esports and help predict what foundation it might take as a whole later on.
ContributorsLatimer, Travis D (Author) / Ingram-Waters, Mary (Thesis director) / Pierce, John (Committee member) / Computer Science and Engineering Program (Contributor) / WPC Graduate Programs (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description

The esports scene has been constantly evolving ever since its inception in the early 1970s, growing from small arcade based tournaments to the multibillion dollar industry that can be observed today (Bountie Gaming, 2018). In fact, the term esports was not widely used until the early 2000s, decades after the

The esports scene has been constantly evolving ever since its inception in the early 1970s, growing from small arcade based tournaments to the multibillion dollar industry that can be observed today (Bountie Gaming, 2018). In fact, the term esports was not widely used until the early 2000s, decades after the first gaming tournaments had taken place. Decades prior, the earliest large-scale gaming tournament was hosted by Atari in 1980 for the game ​Space Invaders ​ . While still primitive by today’s standards, games such as ​Space Invaders ​ inspired fierce competition and effectively laid the foundation for what would grow into the booming industry that we see today (Edwards, 2013).

ContributorsCollins, Neil Andrew (Author) / Mendez, Jose (Thesis director) / Foster, William (Thesis director) / Pierce, John (Committee member) / Department of Economics (Contributor) / WPC Graduate Programs (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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Description

With the recent focus of attention towards remote work and mobile computing, the possibility of taking a powerful workstation wherever needed is enticing. However, even emerging laptops today struggle to compete with desktops in terms of cost, maintenance, and future upgrades. The price point of a powerful laptop is considerably

With the recent focus of attention towards remote work and mobile computing, the possibility of taking a powerful workstation wherever needed is enticing. However, even emerging laptops today struggle to compete with desktops in terms of cost, maintenance, and future upgrades. The price point of a powerful laptop is considerably higher compared to an equally powerful desktop computer, and most laptops are manufactured in a way that makes upgrading parts of the machine difficult or impossible, forcing a complete purchase in the event of failure or a component needing an upgrade. In the case where someone already owns a desktop computer and must be mobile, instead of needing to purchase a second device at full price, it may be possible to develop a low-cost computer that has just enough power to connect to the existing desktop and run all processing there, using the mobile device only as a user interface. This thesis will explore the development of a custom PCB that utilizes a Raspberry Pi Computer Module 4, as well as the development of a fork of the Open Source project Moonlight to stream a host machine's screen to a remote client. This implementation will be compared against other existing remote desktop solutions to analyze it's performance and quality.

ContributorsLathrum, Dylan (Author) / Heinrichs, Robert (Thesis director) / Acuna, Ruben (Committee member) / Jordan, Shawn (Committee member) / Barrett, The Honors College (Contributor) / Software Engineering (Contributor)
Created2022-05
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Description
Proton beam therapy has been proven to be effective for cancer treatment. Protons allow for complete energy deposition to occur inside patients, rendering this a superior treatment compared to other types of radiotherapy based on photons or electrons. This same characteristic makes quality assurance critical driving the need for detectors

Proton beam therapy has been proven to be effective for cancer treatment. Protons allow for complete energy deposition to occur inside patients, rendering this a superior treatment compared to other types of radiotherapy based on photons or electrons. This same characteristic makes quality assurance critical driving the need for detectors capable of direct beam positioning and fluence measurement. This work showcases a flexible and scalable data acquisition system for a multi-channel and segmented readout parallel plate ionization chamber instrument for proton beam fluence and positioning detection. Utilizing readily available, modern, off-the-shelf hardware components, including an FPGA with an embedded CPU in the same package, a data acquisition system for the detector was designed. The undemanding detector signal bandwidth allows the absence of ASICs and their associated costs and lead times in the system. The data acquisition system is showcased experimentally for a 96-readout channel detector demonstrating sub millisecond beam characteristics and beam reconstruction. The system demonstrated scalability up to 1064-readout channels, the limiting factor being FPGA I/O availability as well as amplification and sampling power consumption.
ContributorsAcuna Briceno, Rafael Andres (Author) / Barnaby, Hugh (Thesis advisor) / Brunhaver, John (Committee member) / Blyth, David (Committee member) / Arizona State University (Publisher)
Created2021