SLAs and Complexity

In the Grid and Service-Oriented Architectures (SOA) community, there seems to be significant discussion about developing charging models for the provisioning of electronic resources (compute and data servers) and services -- examples include European projects such as SORMA and GridEcon -- and various Cloud computing vendors, for instance. Many of these projects utilize the concept of Service Level Agreements (SLAs) as a means to specify electronic contract between single/multiple providers and users. A question that continues to arise at workshops and conferences in this area appears to be identifying the types of SLAs that are really necessary, as many users currently are just happy to accept `Best Effort' services. For instance, although significant research exists about SLAs, those being used by commercial providers, such as Amazon.com for their Simple Storage Service (S3) seem to be very simple (in the case of Amazon.com, the SLA primarily uses Monthly Uptime Percentage based on an Error Rate, as the SLA metric). Similarly, in the SLA research community, there is significant discussion about aspects of negotiation (some of which are quite complex) -- however, when SLAs are being used by data center providers and compute centers (traditional Supercomputing centers), these appear to be mainly paper-based documents that only take account of "customer classes" (in the case of data center providers). One question one needs to ask is the level of complexity that could be (usefully) tolerated by an end user/provider in an SLA. Perhaps, the formula that seems to be recurring in other Internet-based systems also needs to be applied here -- i.e. to keep the technology simple (so that many people can use it), but keep the complexity under the hood (so that there are a suitably rich set of features, and a diverse range of applications can benefit from it). Perhaps, too much complexity is being exposed to the end user -- when, in fact, simple SLAs are what people really want (and need)?

image from http://www.freedigitalphotos.net/

The Tech Pill

The Fraunhofer Institute for Biomedical Engineering (St. Ingbert, Germany) has developed a control system for a camera pill. About the size of a vitamin pill, the "Camera Pill" is a non-invasive diagnostic alternative to traditional endoscopy, the most common procedure used to examine the esophagus -- first produced by Given Imaging Limited -- called "PillCam", and approved by the US Federal Drug Administration in 2001. The pill can be taken with water, and in about 3 minutes reaches the esophagus, where it can take digital images (approx: 14 per second -- in total about 2,600 images), transmitted to a device around the patient's waist worn in a belt. The image count is however restricted due to the size of the device -- causing it to move through the stomach (for instance) at a fast speed (due to it's weight). The control system from Fraunhofer and partners allows a doctor to steer the disposable camera inside the body using a magnet. An interesting new approach to utilize sensors inside a human body for diagnostic purposes. Reminds me of the 1960s movie Fantastic Voyage, where a submarine is reduced to microscopic size, injected into the bloodstream and able to travel through the body to provide medical treatment. Although the PillCam is not small enough to travel through a blood vessel, it seems that emerging interest in nanobots could eventually lead to the creation of such machines -- and according to the Jersulaem Post, they are already here.

image from http://www.biotech-weblog.com/

Distributed Programming Abstractions @ e-Science 2008

The 4th IEEE International Conference on e-Science takes place in December 2008 at University Place Conference Center (University of Indiana) in the US. The conference has a special theme on "Cloud Computing" this year, and is a unique event that brings together computational scientists with computational infrastructure developers. The conference features an excellent list of workshops and tutorials -- covering areas such as workflow, Problem Solving Environments and a focus on "community engagement" to get better uptake of computational infrastructure within the day to day practices of researchers. Along with colleagues, I am also involved in organizing a workshop at this event on Abstractions for Distributed Applications and Systems. The overarching aim of this workshop is to highlight and understand the gap between: (i) the increasing complexity and availability of distributed computational infrastructure; (ii) the lack of takeup and effective use of such infrastructure within computational science applications. It may be argued that applications have not been able to make effective use of distributed infrastructure and tools because of the gap of suitable abstractions/patterns to utilize infrastructure efficiently -- the effort required has been too high for many scientists. Interestingly, the design and implementation of the most ambitious distributed infrastructure are not consistent with a clear theoretical understanding of distributed applications -- the different classes of application, specific application level requirements and common usage modes. Additionally, this workshop aims to determine where programming abstractions are important and where non-programmatic abstractions are likely to make greater impact in enabling applications to effectively utilize distributed infrastructure. In addition to covering traditional applications and systems, this workshop will also address emerging infrastructure and application areas, such as programming and system abstractions for Clouds and data-intensive applications. Paper submission deadline is September 1, 2008.

Creative China

As China prepares for the next olympics -- it is remarkable to see how this country has changed over the last few years. BBC's Culture Show had a special report on China, and the growth of creative industries in this country. The design industry seems to be booming in China -- with a range of emerging design houses -- such as Grifted, Design Republic, and Shirtflag -- all representatives of contemporary China reinterpreting identity and individuality. According to the FooZoo Design Blog, "...
now more than ever, China is redefining its place in the world. Vast, technologically-advanced cities are popping up next to some of the most rural places in the world; design, art, music, and culture are evolving quicker than ever before. For the first time in centuries, China is on center stage with a new image, a new feel, and a wealth of innovation." Some of these musicians -- such as "B6" -- represent the emergence of the new electronic music scene in China. According to a report on US National Public Radio, "...B6 is that rare creature in China, an independent musician who is making a living from his work. Until recently, the Chinese government limited the number of CDs that could be sold — and music piracy is rampant. But the Internet and the burgeoning capitalist economy have opened up other options for independent musicians like B6." For me, London in the UK represents one of the most culturally (and design) rich cities in the world. A recent talk at the Department of Trade and Industry's Technology Strategy Board by Sir Terrence Conran highlighted the importance of design in facilitaing innovation, and sustaining a creative environment (leading to new ideas and technology innovation). Subsequently, the UK TSB launched a special programme in Creative Industries -- recognizing the importance of this area within UK economy. Similarly, in China perhaps this growth in creative industries, which in the past were suppressed by Chinese government, spells a new era for Chinese innovation and creativity? Perhaps, the recent emphasis on the negative sides of China (human rights etc etc.) need to be balanced with the rapid growth of this nation, not just as a country with 1.3B people and vast swathes of concrete, but also as a nation that is emerging as the culture capital of the future. Where artists combine thousands of years of Chinese culture with a range of different Western and Asian influences.

image from http://www.daylife.com/ -- originally from Getty Images

Music for nothing and your kicks for fee

In the UK, listening to the radio (the "wireless") will always have a special place in people's heart. The Internet is bringing it's own radio revolution. With the thousands of streamed audio stations that one can find through Shoutcast Radio and Live365, it is often difficult not to find something of interest. However, one on-line radio site seems to stand out amongst these offerings -- this is LastFM -- a streamed radio that combines listening to music with social networking. It boasts 20 million users globally with over 1 million tracks to chose from. It allows users to custom-build their own radio station based on common tracks being listened to by other users. So, if you like song X and I like song X, then LastFM will recommend other music that you have in your playlist to me. This enables sharing of common music recommedations between individuals, thereby allowing one to extend their playlist. A concept that was started by Martin Stiksel in London (in 2002). LastFM was bought by CBS radio last year for US $280 million, "... the largest ever UK Web 2.0 acquisition", according to a BBC report. It is also possible to listen to LastFM through a Facebook application. An interesting issue that LastFM also raises is one of streaming audio vs. providing the ability for individuals to download music files. According to Becky Hodge, the music industry "... says that online piracy costs it profits ... Where other sectors that have been challenged by the internet - the news media, for example - have adapted their business models to suit the digital age, the record industry has, instead, gone cap in hand to the government, asking for the clock to be turned back, and for the nasty digital world to somehow be magicked away." According to her, ISP's in the UK have been asked by the government to send "nasty letters" to the alleged six million illicit file-sharers this summer. Becky Hodge points out the need for new business models that take into account the existence of illicit downloads. Interestingly, a topic extensively addressed in Professor Yochai Benkler's The Wealth of Networks -- "... as computers became more music-capable and digital networks became a ubiquitously available distribution medium, we saw the emergence of the present conflict over the regulation of cultural production--the law of copyright--between the twentieth-century, industrial model recording industry and the emerging amateur distribution systems coupled, at least according to its supporters, to a reemergence of decentralized, relation-based markets for professional performance artists." Benkler discusses the different business models that would enable sharing of digitally accessible content using "Creative Commons" licensing models. For instance, a music artist could give their music away for free, but make money through concerts. A wonderful discussion about new business models that could be propagated through a Web 2.0, social network oriented radio stations like LastFM.

image from http://www.tv13.net/