Developing parallel procedures for line simplification

Abstract

This paper explores parallel programming issues that are relevant to the efficient implementation of spatial data handling procedures on current parallel computers through sample implementations of the Douglas line simplification procedure. Using source code-equivalent implementations of the Douglas procedure, this paper analyses the performance characteristics of two parallel implementations, compares their performance characteristics to those of a sequential implementation, and identifies critical components of the parallel implementations that enhance or inhibit their overall performance values. The results of this work show that the selection of appropriate interprocessor communication and load balancing strategies are crucial to obtaining large speedup values over comparable sequential implementations.     

开拓创新 解决问题——评戴伟华先生《文化生态与中国古代文学论丛》

戴伟华先生的《文化生态与中国古代文学论丛》在文化生态与文学关系的视野下探讨中国古代文学的生成、发展和表现形态,创新研究方法,再析经典名篇,归纳诗学现象,观点独到鲜明,取材精当,论证严密,是中国古代文学研究的又一创获。     

农业文化遗产地文化关键种的概念、内涵和意义

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文化创意产业的地理学研究进展

从20世纪90年代开始,西方人文地理学与社会学、新闻传播学、城市规划、经济学等学科一道对文化创意产业进行了一系列的研究。这些研究涉及了很多议题。其中与地理学关系较为密切的包括：文化创意产业的概念和特征;产业的空间集聚;城市环境与文化创意产业发展的关系;以及文化创意产业研究的方法等。由于文化创意产业作为一种经济现象是新生事物,上述每一个议题都充满争议。西方地理学在这一领域取得了引人瞩目的成就,并且对城市政策、文化政策领域产生了实质性的影响,十分值得我国地理学界加以借鉴。针对我国国情,笔者指出文化创意产业集聚区的发展政策,地方社会文化环境对文化创意产业发展的影响,文化、经济与地理理论的结合应当是我国地理学界当前主要关注的议题。     

我国海洋产业结构分析及产业优化对策

利用海洋统计数据分析我国海洋产业结构的现状与变化趋势,采用相关分析、灰色相关分析等计量经济学方法,确定影响海洋产业发展的相关因素,根据《海洋经济发展规划纲要》的要求,应用产业经济理论、产业关联理论、区域经济和海陆经济一体化理论系统分析目前我国海洋产业结构中存在的问题并提出海洋产业的优化对策。     

城市文化产业集聚体:深圳大芬油画

大芬作为深圳油画产业集聚体所在地,目前其商品油画在全球市场上占据了绝对的份额.从大芬油画发行的网络演变来看,地处深圳、毗邻香港和广州这种独特的地缘优势,是其形成和发展的重要条件.从其集聚模式来看,内部的诸多生产协作使其生产趋于高质、高效,而技法和题材的创新则在网络中得以形成和推广.针对大芬油画发展中现存的问题,提出以下发展对策:积极实现商品油画产业升级;继续开拓市场,加强配套和相关产业的建设;扶持外部支撑体系的建设;建立自己的直销网络.     

The view from out West: embeddedness, inter-personal relations and the development of an indigenous film industry in Vancouver

This paper considers the development of a particular cultural industry, the indigenous film and television production sector, in a specific locality, Vancouver (British Columbia, Canada). Vancouver’s film and television industry exhibits a high level of dependency on the location shooting of US funded productions, a relatively mobile form of foreign investment capital. As such, the development of locally developed and funded projects is crucial to the long-term sustainability of the industry. The key facilitators of growth in the indigenous sector are a small group of independent producers that are attempting to develop their own projects within a whole series of constraints apparently operating at the local, national and international levels. At the international level, they are situated within a North American cultural industry where the funding, production, distribution and exhibition of projects is dominated by US multinationals. At the national level, both government funding schemes and broadcaster purchasing patterns favour the larger production companies of central Canada. At the local level, producers have to compete with the demands of US productions for crew, locations and equipment. I frame my analysis within notions of the embeddedness or embodiment of social and economic relations, and suggest that the material realities of processes operating at the three inter-linked scales, are effectively embodied in a small group of individual producers and their inter-personal networks.     

Cultural policy in Singapore: negotiating economic and socio-cultural agendas

In this paper, I examine the role of cultural policy in a newly industrialised economy, which is at the same time a state with a short history and only nascent beginnings in nation-building and efforts to construct a distinctive cultural identity. Using Singapore as the site of analyses, develop an understanding of the intersection between the economic and socio-cultural agendas behind cultural development policies. I illustrate the hegemony of the economic, supported by the ideology and language of pragmatism and globalisation. At the same time, I explore the reception of and attempts to negotiate (and at times, contest) state policies by “cultural practitioners” – artists, dancers, playwrights, actors, directors and so forth, illustrating the disjuncture between state policies and practitioners' ideals. This may be cast as a conflict between social and cultural development priorities as envisaged by the practitioners as opposed to economic development priorities as embodied in the state’s cultural economic policies.     

文物建筑保护与旅游开发协调发展及其对策

以广州市为例从文物建筑的基本特征、文物建筑保护面临的问题、面对庞大的都市旅游市场的需求压力出发,提出基于文物保护法规前提之下符合两者不同利益需求的合作协调发展对策.