Elastic control could balance the distributed control plane in Software-Defined Networking(SDN). Dynamic switch migration has been proposed to achieve it. However, existing schemes mainly focus on how to execute migra...Elastic control could balance the distributed control plane in Software-Defined Networking(SDN). Dynamic switch migration has been proposed to achieve it. However, existing schemes mainly focus on how to execute migration operation, but not why. This paper designs a decision-making mechanism based on zero-sum game theory to reelect a new controller as the master for migrated switches. It first chooses a switch for migration in the heavy controller which invites its neighbors as the game players to compete for the master role of this switch in the game-playing field(GPF) which is an occasional and loose domain for game-playing. Second, based on the concept of GPF, we design a decentralized strategy to play the game and determine which player as the final master. We implement it by extending the Open Flow protocol. Finally, numerical results demonstrate that our distributed strategy can approach elastic control plane with better performance.展开更多
Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents...Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂展开更多
基金supported by the Foundation for Innovative Research Groups of the National Natural Science Foundation of China(Grant No.61521003)the National Basic Research Program of China(2012CB315901,2013CB329104)+2 种基金the National Natural Science Foundation of China(Grant No.61372121,61309020,61309019)the National High-Tech Research&Development Program of China(Grant No.2013AA013505)the National Science and Technology Support Program Project(Grant No.2014BAH30B01)
文摘Elastic control could balance the distributed control plane in Software-Defined Networking(SDN). Dynamic switch migration has been proposed to achieve it. However, existing schemes mainly focus on how to execute migration operation, but not why. This paper designs a decision-making mechanism based on zero-sum game theory to reelect a new controller as the master for migrated switches. It first chooses a switch for migration in the heavy controller which invites its neighbors as the game players to compete for the master role of this switch in the game-playing field(GPF) which is an occasional and loose domain for game-playing. Second, based on the concept of GPF, we design a decentralized strategy to play the game and determine which player as the final master. We implement it by extending the Open Flow protocol. Finally, numerical results demonstrate that our distributed strategy can approach elastic control plane with better performance.
文摘Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂
