Academic literature on the topic 'Ion clouds; Jumps'

IntroductionOver three days in November 2017, 400 people gathered for a conference at the Sam’s Town Hotel and Gambling Hall in Las Vegas, Nevada. The majority of attendees were fiction authors but the conference program looked like no ordinary writer’s festival; there were no in-conversation interviews with celebrity authors, no panels on the politics of the book industry and no books launched or promoted. Instead, this was a gathering called 20Books2017, a self-publishing conference about the business of fiction ebooks and there was expertise in the room.Among those attending, 50 reportedly earned over $100,000 US per annum, with four said to be earning in excess of $1,000,000 US year. Yet none of these authors are household names. Their work is not adapted to film or television. Their books cannot be found on the shelves of brick-and-mortar bookstores. For the most part, these authors go unrepresented by the publishing industry and literary agencies, and further to which, only a fraction have ever actively pursued traditional publishing. Instead, they write for and sell into a commercial fiction market dominated by a single retailer and publisher: online retailer Amazon.While the online ebook market can be dynamic and lucrative, it can also be chaotic. Unlike the traditional publishing industry—an industry almost stoically adherent to various gatekeeping processes: an influential agent-class, formalized education pathways, geographic demarcations of curatorial power (see Thompson)—the nascent ebook market is unmapped and still somewhat ungoverned. As will be discussed below, even the markets directly engineered by Amazon are subject to rapid change and upheaval. It can be a space with shifting boundaries and thus, for many in the traditional industry both Amazon and self-publishing come to represent a type of encroaching northern dread.In the eyes of the traditional industry, digital self-publishing certainly conforms to the barbarous north of European literary metaphor: Orwell’s ‘real ugliness of industrialism’ (94) governed by the abject lawlessness of David Peace’s Yorkshire noir (Fowler). But for adherents within the day-to-day of self-publishing, this unruly space also provides the frontiers and gold-rushes of American West mythology.What remains uncertain is the future of both the traditional and the self-publishing sectors and the degree to which they will eventually merge, overlap and/or co-exist. So-called ‘hybrid-authors’ (those self-publishing and involved in traditional publication) are becoming increasingly common—especially in genre fiction—but the disruption brought about by self-publishing and ebooks appears far from complete.To the contrary, the Amazon-led ebook iteration of this market is relatively new. While self-publishing and independent publishing have long histories as modes of production, Amazon launched both its Kindle e-reader device and its marketplace Kindle Direct Publishing (KDP) a little over a decade ago. In the years subsequent, the integration of KDP within the Amazon retail environment dramatically altered the digital self-publishing landscape, effectively paving the way for competing platforms (Kobo, Nook, iBooks, GooglePlay) and today’s vibrant—and, at times, crassly commercial—self-published fiction communities.As a result, the self-publishing market has experienced rapid growth: self-publishers now collectively hold the largest share of fiction sales within Amazon’s ebook categories, as much as 35% of the total market (Howey). Contrary to popular belief they do not reside entirely at the bottom of Amazon’s expansive catalogue either: at the time of writing, 11 of Amazon’s Top 50 Bestsellers were self-published and the median estimated monthly revenue generated by these ‘indie’ books was $43,000 USD / month (per author) on the American site alone (KindleSpy).This international publishing market now proffers authors running the gamut of commercial uptake, from millionaire successes like romance writer H.M. Ward and thriller author Mark Dawson, through to the 19% of self-published authors who listed their annual royalty income as $0 per annum (Weinberg). Their overall market share remains small—as little as 1.8% of trade publishing in the US as a whole (McIlroy 4)—but the high end of this lucrative slice is particularly dynamic: science fiction author Michael Anderle (and 20Books2017 keynote) is on-track to become a seven-figure author in his second year of publishing (based on Amazon sales ranking data), thriller author Mark Dawson has sold over 300,000 copies of his self-published Milton series in 3 years (McGregor), and a slew of similar authors have recently attained New York Times and US Today bestseller status.To date, there is not a broad range of scholarship investigating the operational logics of self-published fiction. Timothy Laquintano’s recent Mass Authorship and the Rise of Self-Publishing (2016) is a notable exception, drawing self-publishing into historical debates surrounding intellectual property, the future of the book and digital abundance. The more empirical portions of Mass Authorship—taken from activity between 2011 to 2015—directly informs this research and his chapter on Amazon (Chapter 4) could be read as a more macro companion to my findings below; taken together and compared they illustrate just how fast-moving the market is. Nick Levey’s work on ‘post-press’ literature and its inherent risks (and discourses of cultural capitol) also informs my thesis here.In addition to which, there is scholarship centred on publishing more generally that also touches on self-published writers as a category of practitioner (see Baverstock and Steinitz, Haughland, Thomlinson and Bélanger). Most of this later work focuses almost entirely on the finished product, usually situating self-publishing as directly oppositional to traditional publishing, and thus subordinating it.In this paper, I hope to outline how the self-publishers I’ve observed have enacted various tactical approaches that specifically strive to tame their chaotic marketplace, and to indicate—through one case study (Amazon exclusivity)—a site of production and resistance where they have occasionally succeeded. Their approach is one that values information sharing and an open-source approach to book-selling and writing craft, ideologies drawn more from the tech / start-up world than commercial book industry described by Thompson (10). It is a space deeply informed by the virtual nature of its major platforms and as such, I argue its relation to the world of traditional publishing—and its representation within the traditional book industry—are tenuous, despite the central role of authorship and books.Making the Virtual Self-Publishing SceneWithin the study of popular music, the use of Barry Shank and Will Straw’s ‘scene’ concept has been an essential tool for uncovering and mapping independent/DIY creative practice. The term scene, defined by Straw as cultural space, is primarily interested in how cultural phenomena articulates or announces itself. A step beyond community, scene theorists are less concerned with examining an evolving history of practice (deemed essentialist) than they are concerned with focusing on the “making and remaking of alliances” as the crucial process whereby communal culture is formed, expressed and distributed (370).A scene’s spatial dimension—often categorized as local, translocal or virtual (see Bennett and Peterson)—demands attention be paid to hybridization, as a diversity of actors approach the same terrain from differing vantage points, with distinct motivations. As a research tool, scene can map action as the material existence of ideology. Thus, its particular usefulness is its ability to draw findings from diverse communities of practice.Drawing methodologies and approaches from Bourdieu’s field theory—a particularly resonant lens for examining cultural work—and de Certeau’s philosophies of space and circumstantial moves (“failed and successful attempts at redirection within a given terrain,” 375), scene focuses on articulation, the process whereby individual and communal activity becomes an observable or relatable or recordable phenomena.Within my previous work (see Bennett and Rogers, Rogers), I’ve used scene to map a variety of independent music-making practices and can see clear resemblances between independent music-making and the growing assemblage of writers within ebook self-publishing. The democratizing impulses espoused by self-publishers (the removal of gatekeepers as married to visions of a fiction/labour meritocracy) marry up quite neatly with the heady mix of separatism and entrepreneurialism inherent in Australian underground music.Self-publishers are typically older and typically more upfront about profit, but the communal interaction—the trade and gifting of support, resources and information—looks decidedly similar. Instead, the self-publishers appear different in one key regard: their scene-making is virtual in ways that far outstrip empirical examples drawn from popular music. 20Books2017 is only one of two conferences for this community thus far and represents one of the few occasions in which the community has met in any sort of organized way offline. For the most part, and in the day-to-day, self-publishing is a virtual scene.At present, the virtual space of self-published fiction is centralized around two digital platforms. Firstly, there is the online message board, of which two specific online destinations are key: the first is Kboards, a PHP-coded forum “devoted to all things Kindle” (Kboards) but including a huge author sub-board of self-published writers. The archive of this board amounts to almost two million posts spanning back to 2009. The second message board site is a collection of Facebook groups, of which the 10,000-strong membership of 20BooksTo50K is the most dominant; it is the originating home of 20Books2017.The other platform constituting the virtual scene of self-publishing is that of podcasting. While there are a number of high-profile static websites and blogs related to self-publishing (and an emerging community of vloggers), these pale in breadth and interaction when compared to podcasts such as The Creative Penn, The Self-Publishing Podcast, The Sell More Books Show, Rocking Self-Publishing (now defunct but archived) and The Self-Publishing Formula podcast. Statistical information on the distribution of these podcasts is unavailable but the circulation and online discussion of their content and the interrelation between the different shows and their hosts and guests all point to their currency within the scene.In short, if one is to learn about the business and craft production modes of self-publishing, one tends to discover and interact with one of these two platforms. The consensus best practice espoused on these boards and podcasts is the data set in which the remainder of this paper draws findings. I have spent the last two years embedded in these communities but for the purposes of this paper I will be drawing data exclusively from the public-facing Kboards, namely because it is the oldest, most established site, but also because all of the issues and discussion presented within this data have been cross-referenced across the different podcasts and boards. In fact, for a long period Kboards was so central to the scene that itself was often the topic of conversation elsewhere.Sticking in the Algorithm: The Best Practice of Fiction Self-PublishingSelf-publishing is a virtual scene because its “constellation of divergent interests and forces” (Shank, Preface, x) occur almost entirely online. This is not just a case of discussion, collaboration and discovery occurring online—as with the virtual layer of local and translocal music scenes—rather, the self-publishing community produces into the online space, almost exclusively. Its venues and distribution pathways are online and while its production mechanisms (writing) are still physical, there is an almost instantaneous and continuous interface with the online. These writers type and, increasingly dictate, their work into the virtual cloud, have it edited there (via in-text annotation) and from there the work is often designed, formatted, published, sold, marketed, reviewed and discussed online.In addition to which, a significant portion of these writers produce collaborative works, co-writing novels and co-editing them via cooperative apps. Teams of beta-readers (often fans) work on manuscripts pre-launch. Covers, blurbs, log lines, ad copy and novel openings are tested and reconfigured via crowd-sourced opinion. Seen here, the writing of the self-publishing scene is often explicitly commercial. But more to the fact, it never denies its direct co-relation with the mandates of online publishing. It is not traditional writing (it moves beyond authorship) and viewing these writers as emerging or unpublished or indeed, using the existing vernacular of literary writing practices, often fails to capture what it is they do.As the self-publishers write for the online space, Amazon forms a huge part of their thinking and working. The site sits at the heart of the practices under consideration here. Many of the authors drawn into this research are ‘wide’ in their online retail distribution, meaning they have books placed with Amazon’s online retail competitors. Yet the decision to go ‘wide’ or stay exclusive to Amazon — and the volume of discussion around this choice — is illustrative of how dominant the company remains in the scene. In fact, the example of Amazon exclusivity provides a valuable case-study.For self-publishers, Amazon exclusivity brings two stated and tangible benefits. The first relates to revenue diversification within Amazon, with exclusivity delivering an additional revenue stream in the form of Kindle Unlimited royalties. Kindle Unlimited (KU) is a subscription service for ebooks. Consumers pay a flat monthly fee ($13.99 AUD) for unlimited access to over a million Kindle titles. For a 300-page book, a full read-through of a novel under KU pays roughly the same royalty to authors as the sale of a $2.99 ebook, but only to Amazon-exclusive authors. If an exclusive book is particularly well suited to the KU audience, this can present authors with a very serious return.The second benefit of Amazon exclusivity is access to internal site merchandising; namely ‘Free Days’ where the book is given away (and can chart on the various ‘Top 100 Free’ leaderboards) and ‘Countdown Deals’ where a decreasing discount is staggered across a period (thus creating a type of scarcity).These two perks can prove particularly lucrative to individual authors. On Kboards, user Annie Jocoby (also writing as Rachel Sinclair) details her experiences with exclusivity:I have a legal thriller series that is all-in with KU [Kindle Unlimited], and I can honestly say that KU has been fantastic for visibility for that particular series. I put the books into KU in the first part of August, and I watched my rankings rise like crazy after I did that. They've stuck, too. If I weren't in KU, I doubt that they would still be sticking as well as they have. (anniejocoby)This is fairly typical of the positive responses to exclusivity, yet it incorporates a number of the more opaque benefits entangled with going exclusive to Amazon.First, there is ‘visibility.’ In self-publishing terms, ‘visibility’ refers almost exclusively to chart positions within Amazon. The myriad of charts — and how they function — is beyond the scope of this paper but they absolutely indicate — often dictate — the discoverability of a book online. These charts are the ‘front windows’ of Amazon, to use an analogy to brick-and-mortar bookstores. Books that chart well are actively being bought by customers and they are very often those benefiting from Amazon’s powerful recommendation algorithm, something that expands beyond the site into the company’s expansive customer email list. This brings us to the second point Jocoby mentions, the ‘sticking’ within the charts.There is a widely held belief that once a good book (read: free of errors, broadly entertaining, on genre) finds its way into the Amazon recommendation algorithm, it can remain there for long periods of time leading to a building success as sales beget sales, further boosting the book’s chart performance and reviews. There is also the belief among some authors that Kindle Unlimited books are actively favoured by this algorithm. The high-selling Amanda M. Lee noted a direct correlation:Rank is affected when people borrow your book [under KU]. Page reads don't play into it all. (Amanda M. Lee)Within the same thread, USA Today bestseller Annie Bellet elaborated:We tested this a bunch when KU 2.0 hit. A page read does zip for rank. A borrow, even with no pages read, is what prompts the rank change. Borrows are weighted exactly like sales from what we could tell, it doesn't matter if nobody opens the book ever. All borrows now are ghost borrows, of course, since we can't see them anymore, so it might look like pages are coming in and your rank is changing, but what is probably happening is someone borrowed your book around the same time, causing the rank jump. (Annie B)Whether this advantage is built into the algorithm in a (likely) attempt to favour exclusive authors, or by nature of KU books presenting at a lower price point, is unknown but there is anecdotal evidence that once a KU book gains traction, it can ‘stick’ within the charts for longer periods of time compared to non-exclusive titles.At the entrepreneurial end of the fiction self-publishing scene, Amazon is positioned at the very centre. To go wide—to follow vectors through the scene adjacent to Amazon — is to go around the commercial centre and its profits. Yet no one in this community remains unaffected by the strategic position of this site and the market it has either created or captured. Amazon’s institutional practices can be adopted by competitors (Kobo Plus is a version of KU) and the multitude of tactics authors use to promote their work all, in one shape or another, lead back to ‘circumstantial moves’ learned from Amazon or services that are aimed at promoting work sold there. Further to which, the sense of instability and risk engendered by such a dominant market player is felt everywhere.Some Closing Ideas on the Ideology of Self-PublishingSelf-publishing fiction remains tactical in the de Certeau sense of the term. It is responsive and ever-shifting, with a touch of communal complicity and what he calls la perruque (‘the wig’), a shorthand for resistance that presents itself as submission (25). The entrepreneurialism of self-published fiction trades off this sense of the tactical.Within the scene, Amazon bestseller charts aren’t as much markers of prestige as systems to be hacked. The choice between ‘wide’ and exclusive is only ever short-term; it is carefully scrutinised and the trade-offs and opportunities are monitored week-to-week and debated constantly online. Over time, the self-publishing scene has become expert at decoding Amazon’s monolithic Terms of Service, ever eager to find both advantage and risk as they attempt to lever the affordances of digital publishing against their own desire for profit and expression.This sense of mischief and slippage forms a big part of what self-publishing is. In contrast to traditional publishing—with its long lead times and physical real estate—self-publishing can’t help but appear fragile, wild and coarse. There is no other comparison possible.To survive in self-publishing is to survive outside the established book industry and to thrive within a new and far more uncertain market/space, one almost entirely without a mapped topology. Unlike the traditional publishing industry—very much a legacy, a “relatively stable” population group (Straw 373)—self-publishing cannot escape its otherness, not in the short term. Both its spatial coordinates and its pathways remain too fast-evolving in comparison to the referent of traditional publishing. In the short-to-medium term, I imagine it will remain at some cultural remove from traditional publishing, be it perceived as a threatening northern force or a speculative west.To see self-publishing in the present, I encourage scholars to step away from traditional publishing industry protocols and frameworks, to strive to see this new arena as the self-published authors themselves understand it (what Muggleton has referred to a “indigenous meaning” 13).Straw and Shank’s scene concept provides one possible conceptual framework for this shift in understanding as scene’s reliance on spatial considerations harbours an often underemphazised asset: it is a theory of orientation. At heart, it draws as much from de Certeau as Bourdieu and as such, the scene presented in this work is never complete or fixed. It is de Certeau’s city “shaped out of fragments of trajectories and alterations of spaces” (93). These scenes—be they musicians or authors—are only ever glimpsed and from a vantage point of close proximity. In short, it is one way out of the essentialisms that currently shroud self-published fiction as a craft, business and community of authors. The cultural space of self-publishing, to return Straw’s scene definition, is one that mirrors its own porous, online infrastructure, its own predominance in virtuality. Its pathways are coded together inside fast-moving media companies and these pathways are increasingly entwined within algorithmic processes of curation that promise meritocratization and disintermediation yet delivery systems that can be learned and manipulated.The agility to publish within these systems is the true skill-set required to self-publish fiction online. It traverses specific platforms and short-term eras. It is the core attribute of success in the scene. Everything else is secondary, including the content of the books produced. It is not the case that these books are of lesser literary quality or that their ever-growing abundance is threatening—this is the counter-argument so often presented by the traditional book industry—but more so that without entrepreneurial agility, the quality of the ebook goes undetermined as it sinks lower and lower into a distribution system that is so open it appears endless.ReferencesAmanda M. Lee. “Re: KU Page Reads and Rank.” Kboards: Writer’s Cafe. 1 Oct. 2007 <https://www.kboards.com/index.php/topic,232945.msg3245005.html#msg3245005>.Annie B [Annie Bellet]. “Re: KU Page Reads and Rank.” Kboards: Writer’s Cafe. 1 Oct. 2007 <https://www.kboards.com/index.php/topic,232945.msg3245068.html#msg3245068>.Anniejocoby [Annie Jocoby]. “Re: Tell Me Why You're WIDE or KU ONLY.” Kboards: Writer’s Cafe. 1 Oct. 2007 <https://www.kboards.com/index.php/topic,242514.msg3558176.html#msg3558176>.Baverstock, Alison, and Jackie Steinitz. “Why Are the Self-Publishers?” Learned Publishing 26 (2013): 211-223.Bennett, Andy, and Richard A. Peterson, eds. Music Scenes: Local, Translocal and Virtual. Vanderbilt University Press, 2004.———, and Ian Rogers. Popular Music Scenes and Cultural Memory. Palgrave Macmillan, 2016.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Routledge, 1984.De Certeau, Michel. The Practice of Everyday Life. University of California Press, 1984.Haugland, Ann. “Opening the Gates: Print On-Demand Publishing as Cultural Production” Publishing Research Quarterly 22.3 (2006): 3-16.Howey, Hugh. “October 2016 Author Earnings Report: A Turning of the Tide.” Author Earnings. 12 Oct. 2016 <http://authorearnings.com/report/october-2016/>.Kboards. About Kboards.com. 2017. 4 Oct. 2017 <https://www.kboards.com/index.php/topic,242026.0.html>.KindleSpy. 2017. Chrome plug-in.Laquintano, Timothy. Mass Authorship and the Rise of Self-Publishing. University of Iowa Press, 2016.Levey, Nick. “Post-Press Literature: Self-Published Authors in the Literary Field.” Post 45. 1 Oct. 2017 <http://post45.research.yale.edu/2016/02/post-press-literature-self-published-authors-in-the-literary-field-3/>.McGregor, Jay. “Amazon Pays $450,000 a Year to This Self-Published Writer.” Forbes. 17 Apr. 2017 <http://www.forbes.com/sites/jaymcgregor/2015/04/17/mark-dawson-made-750000-from-self-published-amazon-books/#bcce23a35e38>.McIlroy, Thad. “Startups within the U.S. Book Publishing Industry.” Publishing Research Quarterly 33 (2017): 1-9.Muggleton, David. Inside Subculture: The Post-Modern Meaning of Style. Berg, 2000.Orwell, George. Selected Essays. Penguin Books, 1960.Fowler, Dawn. ‘‘This Is the North – We Do What We Want’: The Red Riding Trilogy as ‘Yorkshire Noir.” Cops on the Box. University of Glamorgan, 2013.Rogers, Ian. “The Hobbyist Majority and the Mainstream Fringe: The Pathways of Independent Music Making in Brisbane, Australia.” Redefining Mainstream Popular Music, eds. Andy Bennett, Sarah Baker, and Jodie Taylor. Routlegde, 2013. 162-173.Shank, Barry. Dissonant Identities: The Rock’n’Roll Scene in Austin Texas. Wesleyan University Press, 1994.Straw, Will. “Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music.” Cultural Studies 5.3 (1991): 368–88.Thomlinson, Adam, and Pierre C. Bélanger. “Authors’ Views of e-Book Self-Publishing: The Role of Symbolic Capital Risk.” Publishing Research Quarterly 31 (2015): 306-316.Thompson, John B. Merchants of Culture: The Publishing Business in the Twenty-First Century. Penguin, 2012.Weinberg, Dana Beth. “The Self-Publishing Debate: A Social Scientist Separates Fact from Fiction.” Digital Book World. 3 Oct. 2017 <http://www.digitalbookworld.com/2013/self-publishing-debate-part3/>.

A new technique is presented for measuring the spatial and momentum distributions of a buffer-gas cooled ion cloud in a Paul trap by extracting it from the trap and fitting the time profile of the extracted ion signal. A thermodynamic model based on the Gibbs distribution has been developed which describes the initial ion cloud phase space volume and fits the measured time distributions of the extracted cloud using only one parameter: temperature. A time-of-flight system has been built to systematically vary the ion extraction conditions and compare predictions of the model to various measurements of the ion cloud time profile. A new numerical method using a multipole expansion was developed to compute the extraction fields. Agreement between the ion simulations and the time-of-flight data is better than 2% of the total flight time.
Ion cloud temperatures were measured for seven different trap loadings of potassium ions and four loadings of sodium ions, in both cases down to clouds of about 1000 ions. This is the first time that temperature measurements have been made for such small numbers of buffer-gas cooled ions. The results show that the temperature of the ions above the buffer gas temperature appears to be proportional to the two-thirds power of the number of ions in the cloud.
Dynamic manipulation of the extracted ion cloud phase space volume was also accomplished using a time-varying acceleration voltage to change the ion cloud energy spread in flight.
A concept is also outlined to measure the detailed phase space area of the extracted cloud using the projection-slice theorem of tomographic imaging.
These measurements have applications for the use of ion traps as beam collectors for nuclear physics experiments at isotope separator facilities and possibly for nano-circuit fabrication.

Cloud Computing (CC) services have made substantive advances in the past few years. It is rapidly changing the landscape of technology, and energizing the long-held promise of utility computing. Successful jump into CC is a considerable task, since the surroundings are not yet mature and the accompanied risk and governance frameworks are still evolving. This effort aims to portray an identity for CC services by employing risk and governance directions among other elements and techniques. Cloud Service Footprint (CSF) is considering practical aspects surrounding the CC paradigm and prescribing the associated directions. CSF will help Cloud Service Providers (CSPs) to characterize their service and benchmark themselves. The Client Enterprises (CEs) can utilize CSF dimensions to find a better way to navigate through CC service arena and to understand its parameters. Along with cost and functional capabilities, the Cloud Service Footprint (CSF) can provide enough information for business executives to evaluate CC services and make informed decisions.

Cloud Computing (CC) services have made substantive advances in the past few years. It is rapidly changing the landscape of technology, and energizing the long-held promise of utility computing. Successful jump into CC is a considerable task, since the surroundings are not yet mature and the accompanied risk and governance frameworks are still evolving. This effort aims to portray an identity for CC services by employing risk and governance directions among other elements and techniques. Cloud Service Footprint (CSF) is considering practical aspects surrounding the CC paradigm and prescribing the associated directions. CSF will help Cloud Service Providers (CSPs) to characterize their service and benchmark themselves. The Client Enterprises (CEs) can utilize CSF dimensions to find a better way to navigate through CC service arena and to understand its parameters. Along with cost and functional capabilities, the Cloud Service Footprint (CSF) can provide enough information for business executives to evaluate CC services and make informed decisions.

Software development based on the Open Source Software (OSS) model is being increasingly accepted to stand up servers and applications. In particular, Cloud OSS is now attracting attention as the next generation of software products due to cost efficiencies and quick delivery. This chapter focuses on the software reliability modeling and assessment for Cloud computing infrastructure software, especially open source software, such as OpenStack and Eucalyptus. In this chapter, the authors introduce a new approach to the Jump diffusion process based on stochastic differential equations in order to consider the interesting aspect of the numbers of components and users in the reliability model. In addition, the authors consider the network traffic of the Cloud in the reliability modeling and integrate the reliability model with a threshold-based neural network approach that estimates network traffic. Actual software fault-count data are analyzed in order to show numerical examples of software reliability assessment. This chapter also illustrates how the proposed method of reliability analysis can assist in quality improvement in Cloud computing software.

Cloud Computing (CC) has recently emerged as a compelling paradigm for managing and delivering computing services over the internet. It is rapidly changing the landscape of technology and ultimately turning the long-held promise of utility computing into a reality. Nevertheless, jumping into the cloud is never a trivial task. A special approach is required to discover and mitigate risks, also to apply controls related to the cloud jump. The main objective of this chapter is to specify some of the phenomena associated with the CC paradigm and associated business transformation. It looks at the motivations, contracting, obstacles and the agile project rollout methodologies. It then provides an in-depth analysis for the allied risks and governance directions. CC governance is being more crucial as the CC paradigm is still evolving. In this context, this chapter build few bricks toward a full Cloud Computing Risk and Governance Framework (CCRGF).

Software development based on the Open Source Software (OSS) model is being increasingly accepted to stand up servers and applications. In particular, Cloud OSS is now attracting attention as the next generation of software products due to cost efficiencies and quick delivery. This chapter focuses on the software reliability modeling and assessment for Cloud computing infrastructure software, especially open source software, such as OpenStack and Eucalyptus. In this chapter, the authors introduce a new approach to the Jump diffusion process based on stochastic differential equations in order to consider the interesting aspect of the numbers of components and users in the reliability model. In addition, the authors consider the network traffic of the Cloud in the reliability modeling and integrate the reliability model with a threshold-based neural network approach that estimates network traffic. Actual software fault-count data are analyzed in order to show numerical examples of software reliability assessment. This chapter also illustrates how the proposed method of reliability analysis can assist in quality improvement in Cloud computing software.

Sarangkhot village is perched on top of a hill overlooking the Phewa Lake and Nepal’s second city of Pokhara. The views from here are some of the most wonderful in all the Himalaya. To the north-west, the huge snowy ramparts of Dhaulagiri rise above the Kali Gandaki Gorge, one of the world’s deepest canyons. East of the Kali Gandaki the whole Annapurna Range forms an icy rampart that blocks the entire northern horizon, with the majestic spire of Machapuchare, the ‘Fish Tail’, rearing up in the foreground. Hanging glaciers clinging to the side of Machapuchare glisten in the sunlight and cascade down to the green bamboo jungles of the Seti khola. The Annapurnas extend east into the Lamjung Himal, and then across another deep canyon, the Burhi Gandaki, the 8,000-metre-high massif Manaslu appears on the far eastern horizon. Winds funnel down the Pokhara Valley and rise up to the ridge at Saranghot, making this the perfect take-off place for hang-gliders. To jump off the ridge at Saranghot and see the whole Nepalese Himalaya unfurl to the north, ride the thermals with the black kites, eagles, and vultures cruising alongside, and land back at the lakeside is one of the new wave of extreme sports to have recently caught on in Nepal. It is difficult not to like Pokhara. The monsoonal rains in Nepal can be dramatic. Clouds gradually form in the late morning, welling up the valley to hug the high peaks, with just the tips of the mountains standing clear and proud above a sea of cloud. Suddenly the skies darken, streaks of lightning appear out of nowhere, and thunderclaps ricochet around the mountain walls. One or two large raindrops herald a torrential monsoonal downpour, rain falling out of black clouds in sheets. Trickles of water in rivulets become raging torrents in minutes, and very soon waterfalls gush over every cliff. The rains finally ease as suddenly as they started, the skies gradually clearing as mists linger in the deep forested valleys.

October 1, 2007 and London is in the grip of another terrorism alert. Shoppers in Soho are sparked into panic by a strange noxious-smelling cloud. Suspecting the capital is under chemical attack, the emergency services cordon off roads and evacuate the area. Meanwhile, firefighters wearing breathing apparatus begin a three-hour search for the source of the stench. This eventually turns out to be the Thai Cottage restaurant where, until he’d been asked to leave his kitchen, chef Chalemchai Tangjariyapoon had been midway through preparing a batch of nam prik pao. ‘We only cook it once a year—it’s a spicy dip with extra hot chillies that are deliberately burned’, he said later. ‘To us it smells like burned chilli and it is slightly unusual. I can understand why people who weren’t Thai would not know what it was but it doesn’t smell like chemicals. I’m a bit confused. ...When we came back at 7.30 p.m. we saw the door had been smashed and there were fire brigade and police waiting outside. I was a bit scared but they were very nice about it.’ Should you wish to have a go at making the abovementioned Thai dip, you will need charred chillies, garlic flakes, dried shrimps, palm sugar, shrimp paste, tamarind, and vegetable oil. But then again, given Mr Tangjariyapoon’s experience, you might prefer to let the experts handle it. Provided they still dare. Because, as the staff of the Thai Cottage know only too well, right now we’re more than a little jumpy. Threats seem to loom at us from all quarters. And of course sometimes it’s right to be cautious. Lurking within the kitchen of the Thai Cottage was nothing more sinister than a superspicy savoury dip, but Londoners are well aware of the havoc terrorists can wreak. Muggers, vandals, delinquent teenagers, paedophiles, rapists, corrupt officials, malicious colleagues, gossips, spies, and blackmailers—none of these are entirely the figment of our fevered imaginations. The trick, of course, is to keep a sense of perspective, recognizing that these kinds of dangers are rare and taking that on into a calm and measured assessment of risk.

In this paper, we report both experimental and computational studies of hydrodynamic cavitation generated by accelerating liquid through a series of constrictions. The detailed process of cavitation generation is visualized using a high-speed photography. The cavitation is initiated when a gas bubble moves towards the constrictions. The gas bubble initially accelerates, expands and then splits into smaller bubbles when it moves along the constriction. As these bubbles migrate into a large liquid compartment, they collapse violently to form a bubble cloud, owing to a sudden jump in liquid pressure in the compartment. The experimental observation is further confirmed using computational fluid dynamics (CFD) simulations. We also present experimental evidence showing a significant reduction in gram-negative Escherichia coli concentration after it passes through the constrictions.

Abstract The size and power limitations in small electronic systems such as wearable devices limit their potential. Significant energy is lost utilizing current computational schemes in processes such as analog-to-digital conversion and wireless communication for cloud computing. Edge computing, where information is processed near the data sources, was shown to significantly enhance the performance of computational systems and reduce their power consumption. In this work, we push computation directly into the sensory node by presenting the use of an array of electrostatic Microelectromechanical systems (MEMS) sensors to perform colocalized sensing-and-computing. The MEMS network is operated around the pull-in regime to access the instability jump and the hysteresis available in this regime. Within this regime, the MEMS network is capable of emulating the response of the continuous-time recurrent neural network (CTRNN) computational scheme. The network is shown to be successful at classifying a quasi-static input acceleration waveform into square or triangle signals in the absence of digital processors. Our results show that the MEMS may be a viable solution for edge computing implementation without the need for digital electronics or micro-processors. Moreover, our results can be used as a basis for the development of new types of specialized MEMS sensors (ex: gesture recognition sensors).