title: Insights into WebAssembly: Compilation performance and shared code caching in node.js

authors: Nießen, Tobias

subjects: computer science

abstract: Alongside JavaScript, V8 and Node.js have become essential components of contemporary web and cloud applications. With the addition of WebAssembly to the web, developers finally have a fast platform for performance-critical code. However, this addition also introduces new challenges to client and server applications. New application architectures, such as serverless computing, require instantaneous performance without long startup times. In this paper, we investigate the performance of WebAssembly compilation in V8 and Node.js, and present the design and implementation of a multi-process shared code cache for Node.js applications. We demonstrate how such a cache can significantly increase application performance, and reduce application startup time, CPU usage, and memory footprint.

text: Insights into WebAssembly: Compilation performance and shared code caching in node.js Alongside JavaScript, V8 and Node.js have become essential components of contemporary web and cloud applications. With the addition of WebAssembly to the web, developers finally have a fast platform for performance-critical code. However, this addition also introduces new challenges to client and server applications. New application architectures, such as serverless computing, require instantaneous performance without long startup times. In this paper, we investigate the performance of WebAssembly compilation in V8 and Node.js, and present the design and implementation of a multi-process shared code cache for Node.js applications. We demonstrate how such a cache can significantly increase application performance, and reduce application startup time, CPU usage, and memory footprint.

year: 2020

title: The everyday Bogans: Identity and community amongst Heavy Metal fans

authors: Snell, Dave

subjects: Social Psychology

abstract: Since the mid-twentieth century some social psychologists have demarcated communities as static entities; conceptual and physical boundaries were placed around communities to facilitate scholarly analysis. This theoretical and methodological bias is contrasted against the consideration of the dynamic flow of communities and, by association, identity formation. The application of social interactionism provides one method through which to remedy the partiality of preferred approaches to community as practised in contemporary social psychology. Opening up analysis to the consideration of processes of communing exposes the interconnection of identity and community, symbiosis that develops through social interactions across places via the creative use of music and material objects. Evidence collected through auto-ethnographic engagement with New Zealand Heavy Metal fans clarifies the complex associations that shape and maintain individual identity and community associations. Social ties are negotiated and maintained across online and offline spaces, through personal interactions and shared experiences, via object recognition, and threshold maintenance. Social psychological research needs to return to early works of psychology and symbolic interactionism to account more fully for the complex and emplaced nature of identity and community.

text: The everyday Bogans: Identity and community amongst Heavy Metal fans Since the mid-twentieth century some social psychologists have demarcated communities as static entities; conceptual and physical boundaries were placed around communities to facilitate scholarly analysis. This theoretical and methodological bias is contrasted against the consideration of the dynamic flow of communities and, by association, identity formation. The application of social interactionism provides one method through which to remedy the partiality of preferred approaches to community as practised in contemporary social psychology. Opening up analysis to the consideration of processes of communing exposes the interconnection of identity and community, symbiosis that develops through social interactions across places via the creative use of music and material objects. Evidence collected through auto-ethnographic engagement with New Zealand Heavy Metal fans clarifies the complex associations that shape and maintain individual identity and community associations. Social ties are negotiated and maintained across online and offline spaces, through personal interactions and shared experiences, via object recognition, and threshold maintenance. Social psychological research needs to return to early works of psychology and symbolic interactionism to account more fully for the complex and emplaced nature of identity and community.

year: 2012

title: Toi Tuku Iho: An exploration of oranga and mana motuhake through toi

authors: Waititi, Kahurangi Rora

subjects: Toi tuku iho

abstract: This research examines how mahi toi as process, theory, and output can contribute to oranga and mana motuhake for whānau, hapū, and iwi which is explored through the tribal storytelling practices of Te Whānau a Apanui. In this thesis, I argue that kōrero tuku iho is the umbilical link to our ancestors that sustains us with teachings; cultivating a richness and depth of self and connection through story. I demonstrate that the vehicles of sharing are as varied as the stories themselves and are known as “toi” or our creative expressions of kōrero tuku iho. 
The key focus of this thesis is to reveal how toi can be used to decolonise and re-indigenise research methodologies and facilitate transformation through praxis. Iwi storytellers were interviewed, sharing that within our toi practices lie a myriad of ways to challenge colonial structures and ideologies, ground us in tīpuna knowledge systems, and provide a space to innovate solutions to the challenges of te ao hurihuri (a changing world). The kaikōrero provided a collective and relational lens that fostered the development of a Toi Tuku Iho methodology. This was processed through a creative output that I created of a digital story that was filmed to reveal how knowledge through stories can become taonga tuku iho. A Toi Tuku Iho methodology is proffered to understand the complex processes of iwi storytelling and reveal the relationality between innovation and what this thesis refers to as the tipuna continuum.
Themes explored in the thesis are an ecosystem of learning through people, place, story, whakapapa and time; how iwi oranga is viewed and contributed to by toi; and how mana motuhake is embraced and enacted through kōrero tuku iho. Furthermore, the application of kaupapa Māori creative practices to this research expands the academic confines of knowledge production to include Indigenous stories and toi. The thesis demonstrates that the research process, potential products, and outcomes, are transformed by using these practices.  Storyscapes, timescapes, landscapes and generations past and future merge together, in this research, to facilitate dreams and aspirations for future generations. The collapsing of timescapes is explored through audio-visual digital storytelling, a medium known to manoeuvre time to enhance a story. I seek to amplify the power of tribal storytelling through toi to transform the spaces we occupy both within and outside of our iwi. Mahi toi ignites our creative selves to dream and can activate a belief to explore beyond what we know. I argue that Toi Tuku Iho has the potential to engage communities, on their own terms, in their own ways and for their own means.

text: Toi Tuku Iho: An exploration of oranga and mana motuhake through toi This research examines how mahi toi as process, theory, and output can contribute to oranga and mana motuhake for whānau, hapū, and iwi which is explored through the tribal storytelling practices of Te Whānau a Apanui. In this thesis, I argue that kōrero tuku iho is the umbilical link to our ancestors that sustains us with teachings; cultivating a richness and depth of self and connection through story. I demonstrate that the vehicles of sharing are as varied as the stories themselves and are known as “toi” or our creative expressions of kōrero tuku iho. 
The key focus of this thesis is to reveal how toi can be used to decolonise and re-indigenise research methodologies and facilitate transformation through praxis. Iwi storytellers were interviewed, sharing that within our toi practices lie a myriad of ways to challenge colonial structures and ideologies, ground us in tīpuna knowledge systems, and provide a space to innovate solutions to the challenges of te ao hurihuri (a changing world). The kaikōrero provided a collective and relational lens that fostered the development of a Toi Tuku Iho methodology. This was processed through a creative output that I created of a digital story that was filmed to reveal how knowledge through stories can become taonga tuku iho. A Toi Tuku Iho methodology is proffered to understand the complex processes of iwi storytelling and reveal the relationality between innovation and what this thesis refers to as the tipuna continuum.
Themes explored in the thesis are an ecosystem of learning through people, place, story, whakapapa and time; how iwi oranga is viewed and contributed to by toi; and how mana motuhake is embraced and enacted through kōrero tuku iho. Furthermore, the application of kaupapa Māori creative practices to this research expands the academic confines of knowledge production to include Indigenous stories and toi. The thesis demonstrates that the research process, potential products, and outcomes, are transformed by using these practices.  Storyscapes, timescapes, landscapes and generations past and future merge together, in this research, to facilitate dreams and aspirations for future generations. The collapsing of timescapes is explored through audio-visual digital storytelling, a medium known to manoeuvre time to enhance a story. I seek to amplify the power of tribal storytelling through toi to transform the spaces we occupy both within and outside of our iwi. Mahi toi ignites our creative selves to dream and can activate a belief to explore beyond what we know. I argue that Toi Tuku Iho has the potential to engage communities, on their own terms, in their own ways and for their own means.

year: 2023