Abstract

Deep learning assisted diagnosis for assessing the severity of various respiratory infections using chest Computed Tomography (CT) scan images has gained much attention after the COVID-19 pandemic. Major tasks while building such models require an understanding of the characteristic features associated with the disease, patient-to-patient variations and changes associated with disease severity. In this work, an attention-based Convolutional Neural Network (CNN) model with customized bottleneck residual module (Attn-CNN) is proposed for classifying CT images into three classes: COVID-19, Normal, and other Pneumonia. The efficacy of the model is evaluated by carrying out various experiments, such as effect of class imbalance, impact of attention module, generalizability of the model and providing visualization of model’s prediction for the interpretability of results. Comparative performance evaluation with five state-of-the-art deep architectures such as MobileNet, EfficientNet-B7, Inceptionv3, ResNet-50 and VGG-16, and with published models such as COVIDNet-CT, COVNet, COVID-Net CT2, etc. is discussed.

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Abstract

Monuments were built for thousands of years as the most enduring and well-known representations of past civilizations. It is crucial to preserve these because they are national symbols with unique cultural and historical significance. The deterioration of the structures happens as a result of weathering, fire, natural disasters like earthquakes, construction flaws, and numerous other factors. In general, the issue with repairing and reinforcing regular buildings is very different from the issue with restoring monument buildings. The goal of keeping a monumental structure in use may be viewed as secondary in importance and any event as a result of the effort made to fulfil the main task. In the case of monumental buildings, emphasis is placed on the preservation of their aesthetic and historical aspects. Therefore, the restoration strives to protect and highlight the monument’s or building’s aesthetic and historical aspects. Choosing the appropriate material for the restoration depends on how the original structure looks. New materials must be compatible with those already used in the building. The goal of the present study is to provide an overview of the materials used to restore the structural integrity of historic structures and monuments that have been damaged by seismic activity. All of these buildings need extra attention because of their specific historical or architectural value, or because they are significant because they are still standing examples of a former way of life.

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Masonry structures cover a very wide range of monumental works in space and time, covering almost 6,000 years. The structural assessment of the load-carrying capacity of such old structures depends on several parameters such as: (a) material strength; (b) texture of the structure; (c) geometrical form and dimensions; (d) existing loading and constraints; and (e) expected loadings at failure. Detailed calculations are also required for the structural evaluation using most of the above parameters firstly by considering the gravity loads and secondly by the combination of gravity load and lateral action in areas of high seismicity. However, at the same time, it is equally significant for the structural engineer, who is involved in structural restoration design, to know in depth qualitatively the basic forms and their structural behaviour of monumental buildings. The structural engineer in charge must understand from the beginning, qualitatively, the structural behaviour of a building under consideration to various basic actions so that one can make a preliminary diagnosis of the causes that are responsible for the existing damages (cracks, drifts, settlements, splitting etc.). In this way, one will be in a position to focus on the detailed research, in situ and laboratory, to the critical points of the building, and can conduct the analysis and design using suitable models for a credible safety evaluation. Therefore, an effort is made in the present study to give a qualitative approach to the structural behaviour of the basic structural forms of masonry monumental and historical buildings, where the consequences of the seismic action are traumatic now and then. This article gives an outline and creates background information for further structural evaluation of the monuments.

Abstract

Wireless body area network (WBAN) communica- tions in 400 MHz Medical Device Radio-communication (MedRa- dio) band seek wearable and implantable sensor nodes with extremely small antennas for reduced form factor. However, it is very challenging to shrink the 400 MHz antenna dimensions to sub-cm region for the conventional 50 Ω transmitters (TX) due to large wavelength. Thus there is a strong need to investigate extremely small, unconventional radiating elements with alternate TX topologies. In this work, we utilize extremely small surface mount inductors (SML) as a radiating element in non-50 Ω MedRadio band TX and present detailed fundamental analysis and models for its radiating-zone boundaries and corresponding path losses. To validate the proposed theory, simulation and measurement results of path loss of a cylindrical SML (1.2mm × 8.5mm) have been also presented, which show congruence with analytical models within ≤ 3 dB.

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The majority of the materials that survive from ancient Egyptian material culture are made of stones that were utilized for construction, jewellery, ornamentation, and practical purposes. These primarily originated from the Eastern and Nile Valley Deserts (some from the Western Desert as well), where more than 200 quarries dating from the Late Predynastic to the Late Roman periods have been found. These span around 3500 years. Up until the Late Period, when iron tools took the place of stone tools, the harder stones (almost all volcanic and metamorphic rocks, silicified sandstone, and chert) were mined using stone tools with the help of fire settings and wood levers. During the Dynastic Period, the softer stones (mostly limestone, sandstone, and quartzite) were removed using copper and then bronze picks and chisels; by the end of the Late Period, iron tools had once more taken the place of the earlier ones. The bigger blocks of quarried stone were hauled on sledges, typically over built roads, and possibly pushed by teams of men to the building sites or the Nile River for shipping until the Greco-Roman Period, when appropriate roads and wagons tough enough to carry them appeared. In addition to serving as supplies of stone, old quarries are also important archaeological sites that contain ruins and other cultural artifacts. Their unique viewpoint on life in ancient Egypt makes them worthy of study and preservation. The current study provides a thorough overview of the quarrying techniques used by the ancient Egyptians to differentiate between “soft-stones” (limestone, sandstone, travertine, anhydrite, gypsum, and soapstone) and “hardstones”, which are essentially igneous and metamorphic rocks plus silicified sandstone and chert.

Abstract

Ṣuġhrā Humāyūñ Mirzā (1884–1958) was a reformer, journalist, writer and traveller from the erstwhile princely state of Haidarābād, Dakkan. She wrote prolifically and used her fiction and non-fiction as a vehicle for her reformist ideas and objectives. However, scholarly focus on Ṣuġhrā Begum’s reformist work alone risks dismissal of her literary creativity and innovation. This paper aims to address this gap through an analysis of the narrative and stylistic features of Ṣuġhrā Begum’s Urdū novel, Mohinī (1929). I suggest a reading of this text on its own terms, i.e. one that emerges from the text and the motivations of its author, rather than through measurements with standard—usually Western—yardsticks or other assumptions about Ṣuġhrā Begum’s ostensibly singular priorities. Instead, I argue that Mohinī should be read in the context of the development of the Urdū novel, which was taking shape through the encounter between Western modes of representation made prominent through colonialism and existing Indian storytelling traditions, such as the qiṣṣāh. In the process, this paper expands the scholarship on this writer by offering a study of the creative features of her fiction and calls for the imagination of South Asian and wider Persianate print realisms that are not bound by rationalist epistemologies and encapsulate broader systems of knowledge.

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The recently proposed Transaction Fee Mechanism (TFM) literature studies the strategic interaction between the miner of a block and the transaction creators (or users) in a blockchain. In a TFM, the miner includes transactions that maximize its utility while users submit fees for a slot in the block. The existing TFM literature focuses on satisfying standard incentive properties - which may limit widespread adoption. We argue that a TFM is "fair" to the transaction creators if it satisfies specific notions, namely Zero-fee Transaction Inclusion and Monotonicity. First, we prove that one generally cannot ensure both these properties and prevent a miner's strategic manipulation. We also show that existing TFMs either do not satisfy these notions or do so at a high cost to the miners' utility. As such, we introduce a novel TFM using on-chain randomness - rTFM. We prove that rTFM guarantees incentive compatibility for miners and users while satisfying our novel fairness notions.

Abstract

Francesco Casetti recalling Andre Bazin, suggests in “The Relocation of Cinema” that the important question now, after a convergence of media systems is where, not necessarily what, is cinema. To fine tune this question, what is cinema now that it is everywhere? How and why do we recognise it such? The relocation of cinema away from public screenings to the viewership afforded by digital technologies of proliferation has reterritorialized a new form of spectatorship, allowing filmmakers to tell stories otherwise deemed too risky/risqué and attempt to re/claim a language of social and political critique. All productions circulate in and acknowledge new globalities, changed sexual and power relations of image cultures and the traction afforded to a deterritorialized screening space. However, they are bound by the exigencies of protecting and nurturing a particularly middle-class urban diasporic spectator from the vicissitudes of “too much critique.” This paper shall look at three texts from three different modes of recalling and “doing” Indian cinema in the digital age – short film Juice (Neeraj Ghaywan, 2017), limited release Is Love Enough? Sir (Rohena Gera, 2018) and top-grosser Laapataa Ladies (Lost Ladies, Kiran Rao, 2024). The three films engage with a particularly Indian iteration of class and gendered labour. This paper shall read these films to understand the new freedoms and limits made possible in these films that are located in distinctly different ambits of production and circulation. It shall interrogate the ways in which these productions are recalled as cinema. Using Walter Benjamin’s distinction between Apparat (the material basis of a medium) and Medium (the way in which this material basis organizes our experiences) I shall think through how the new cultural form that is the digital medium of cinema hold old forms social organization in relations of power.

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LSD and Anukul: An account of what it feels like to live in the early 21st century Keywords: Cinema, Digital technology, Affect Vivian Sobchack suggests in talking about post-cinema, “Insofar as the photographic, the cinematic, and the electronic have each been objectively constituted as a new and discrete techno-logic, each also has been subjectively incorporated, enabling a new and discrete perceptual mode of existential and embodied presence.” That is to say, as they have mediated and represented our engagement with the world, with others, and with ourselves, photographic, cinematic, and electronic technologies have transformed us so that we presently see, sense, and make sense of ourselves as quite other than we were before each of them existed. This paper shall look at the particular articulation of this formation of a self in a digital culture of cinema and cinema-like technologies. It shall consider two films – short Anukul (Sujoy Ghosh, 2017) and Love, Sex aur Dhokha (Dibakar Banerjee, 2010) to suggest that digital technologies of cultural production create affective maps. These film and video works are expressive: in the ways that they give voice (give sounds and images) to a kind of ambient, free-floating sensibility that permeates our society today, although it cannot be attributed to any subject in particular. The digital then in these instances, lies at the very heart of social production, circulation, and distribution. It generates subjectivity, and plays a crucial role in the valorization of capital.