Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous
Computational semantics
Computational semantics is a subfield of computational linguistics. Its goal is to elucidate the cognitive mechanisms supporting the generation and interpretation of meaning in humans. It usually involves the creation of computational models that simulate particular semantic phenomena, and the evaluation of those models against data from human participants. While computational semantics is a scientific field, it has many applications in real-world settings and substantially overlaps with Artificial Intelligence. Broadly speaking, the discipline can be subdivided into areas that mirror the internal organization of linguistics. For example, lexical semantics and frame semantics have active research communities within computational linguistics. Some popular methodologies are also strongly inspired by traditional linguistics. Most prominently, the area of distributional semantics, which underpins investigations into embeddings and the internals of Large Language Models, has roots in the work of Zellig Harris. Some traditional topics of interest in computational semantics are: construction of meaning representations, semantic underspecification, anaphora resolution, presupposition projection, and quantifier scope resolution. Methods employed usually draw from formal semantics or statistical semantics. Computational semantics has points of contact with the areas of lexical semantics (word-sense disambiguation and semantic role labeling), discourse semantics, knowledge representation and automated reasoning (in particular, automated theorem proving). Since 1999 there has been an ACL special interest group on computational semantics, SIGSEM.
Emotion-sensitive software
Emotion-sensitive software (ESS) is software specifically designed to target and monitor emotional response in a human being. Some software measures anger by comparing the pitch of a voice to a regular, or calm, pitch. Another approach is the measurement of physical appearance. If a camera or similar recording device picks up a certain amount of red pigmentation in the skin the system can be alerted that this person is angered. The competitive landscape in the Electronic Surveillance Software (ESS) industry is marked by a high level of secrecy regarding the operational details of these software systems. Many producers deliberately withhold information about the inner workings of their ESS products, a strategy that serves dual purposes: firstly, it intensifies competition among companies in the sector, as each strives to maintain a unique edge without revealing trade secrets that could be leveraged by competitors; secondly, this secrecy acts as a deterrent against individuals or entities who might try to circumvent the surveillance mechanisms. One application of ESS was developed by University of Notre Dame Assistant Professor of Psychology Sidney D'Mello, Art Graesser from the University of Memphis and a colleague from Massachusetts Institute of Technology. They used the technology to create an electronic tutor that could assess a student's level of boredom and frustration based on facial expression and body language, and react accordingly.
AI: When a Robot Writes a Play
AI: When a Robot Writes a Play (in Czech: AI: Když robot píše hru) is a 2021 experimental theatre play, where 90% of its script was automatically generated by artificial intelligence (the GPT-2 language model). The play is in Czech language, but an English version of the script also exists. == Creation == The play is the first result of the THEaiTRE research project, aiming to commemorate the centenary of the R.U.R. play by Karel Čapek by investigating to what extent artificial intelligence could be used to create theatre play scripts. The script of the play was created using the THEaiTRobot tool, based on the GPT-2 language model. First, the play dramaturge, David Košťák, described the initial setting of each scene in a few sentences, and wrote the first line for each character. Next, THEaiTRobot suggested a continuation of the script, which the dramaturge could use, reject, or use part of it and let the tool generate a new continuation. Another option was to manually insert another line or a scenic remark. The script was generated in English and was automatically translated to Czech by the state-of-the-art CUBBITT machine translation tool. The resulting script was then further post-edited by the dramaturge. The resulting script was made freely available for non-commercial use both in English and in Czech, with marked manually inserted texts and manual edits. The analysis shows that 90% of the English script is automatically generated, with 10% manually written or manually post-edited. In the Czech script, a larger amount of edits were made, but the analysis claims that these additional edits are corrections of errors of the automated translation and stylistic corrections which do not change the meaning of the lines as represented by the English script, but rather bring the Czech script closer to the English one. == Characters == The play contains 9 characters. The Robot appears in all the scenes, while each of the other characters appears in only one scene. Robot – The lead character, a male humanoid robot. Master – An old man, the creator of the Robot. Boy – A schoolboy. Masseuse – A sex worker in a brothel. Stranger – An engineer. Man. Psychologist. Administrator – A female clerk at an employment agency. Actress – A film actress and a model in a robot-like costume. == Plot == The play is composed of 8 scenes. It tells the story of a humanoid robot, who encounters 8 other characters and engages into various typically human situations and activities, related to death, love, sex, violence, etc. The individual scenes are not tightly linked, but there are some linking points, such as the central character of the robot or some repeated and developing themes, such as the robot's search for love. The scenes often contain some absurd turns and it is often hard to find sense in them. It is therefore a very complicated piece interpretationally, requiring the director and the actors to invest a lot of effort and creativity in finding a meaningful interpretation which would not deviate from the script. In the interpretation by Švanda theatre, who premiered the play and who also participated on the creation of the script, the scenes typically contain non-verbally expressed content which can add a lot to the meaning of the scene compared to what is contained in the actual script (as the script only contains the lines said by the characters). === Scene 1: Death === The play opens by the Robot parting with his dying Master. The Master gives the Robot several last lessons and talks with him about death, soul, and love. === Scene 2: Sense of Humour === In the second scene, the Robot meets a sad and angry Boy, who complains that he wants to go to school, that his girlfriend is crazy, that he wants to buy a car, etc. The Robot tries to help the Boy by giving him advice, but the Boy's reactions are quite negative and irritated. The Boy then repeatedly asks the Robot to tell him a joke; the Robot keeps refusing, but ultimately tells the following joke: When you are dead. When your children are dead. When your grandchildren are dead, I will be still alive. === Scene 3: Nightclub === The Robot wants to feel pleasure, so he goes to a "night club" (a brothel), where he meets a "Masseuse" (a prostitute). The Robot is initially "a bit cold", but eventually manages to enjoy the experience and falls in love with the Masseuse. In the Švanda theatre performance, the Robot and the Masseuse seem to have a sort of virtual sex without touching each other, reminiscent of the sex scene in Demolition Man. === Scene 4: Fear of the Dark === It is the night. The Robot is standing under a lamp, unable to move away from the light as he finds that he is afraid of the dark. He meets a Stranger, an engineer who tells him that robots don't have feelings and that people cannot be trusted, and keeps hurting him. In the Švanda theatre performance, the Man repeatedly zaps the Robot with some kind of electric pulse. === Scene 5: Killer Robot === A Man approaches the Robot and repeatedly asks him to kill him. Instead, the Robot sticks a finger into the Man's anus, which leads to an argument between the Man and the Robot. === Scene 6: Burn Out === The Robot meets a Psychologist, who keeps asking him lots of questions regarding his life, burnout feeling, love, relationships, and emotions. They also talk about the Robot using a device called emotion machine which helps him to get rid of stress. === Scene 7: Search for Job === The Robot comes to an employment agency. He meets an Administrator and asks her to help him find a job. He expresses the wish to become an actor, and talks about his experience as a clown. He reveals his name to be Troy McClure, which is a character from The Simpsons who is an actor. In the Švanda theatre performance, the Administrator starts to seduce the Robot once his name is revealed, which he keeps ignoring; the Administrator then becomes irritated. === Scene 8: Love at First Sight === The Robot meets a human Actress in a robotic costume and falls in love with her immediately. The Actress is first reluctant, but the Robot manages to seduce her and she also falls in love with him. The Robot tells her about a binary world, in which he lives and where he will also take her. Ultimately, the Actress agrees, and the whole play concludes by the Robot and the Actress promising each to other to always be together. In the Švanda theatre performance, the Robot does not have a physical body in this scene, we can only hear his voice and see a pulsating light (based on the line in the script where the Robot says: "I have no body. So I don't need to wear clothes. You can't see me, you only hear me."), and the Actress eventually also agrees to lose her physical body so that she can be with the Robot forever. == Theatrical performances == The play premiered on 26 February 2021 in Švanda Theatre in Prague, Czech Republic, directed by Daniel Hrbek. Due to the COVID-19 pandemic, the play was not played in front of a live audience, but it was broadcast online, in Czech language with English subtitles. The play was followed by a panel discussion by the project members and experts on artificial intelligence. The premiere was viewed by 13,498 spectators worldwide. A short trailer of the premiere is available on YouTube. In 2021, after the opening of the theatres in the Czech Republic to spectators, the play can be viewed at Švanda Theatre. The performance takes approximately 60 minutes, and is followed by a discussion of the creators with the audience. The derniere is planned for 4 February 2023. == Reception == The play received a number of reviews, both in its country of origin as well as internationally. It is praised as first of its kind, although some reviewers note the similarity to previous works, such as the musical Beyond the Fence, the play Lifestyle of the Richard and Family, or the short movie Sunspring; however, these works used less advanced technology, and either were very short (Sunspring) or necessitated a larger amount of human interventions. The reviewers note that the script is far from perfect, with many inconsistencies and nonsensical parts, and conclude that the technology is definitely not yet ready to replace human authors; however, some find some parts of the script frighteningly human-like. The amount of human intervention is a somewhat controversial topic, with some reviewers finding the human influence too large (especially in interpreting the script and putting the play on scene), while others feel that a greater amount of human intervention would have been favorable as this could greatly improve the quality of the play. The reviews also frequently comment on the amount of sex, violence and strong language in the play; this can be attributed to the method used for creating the script, where the GPT-2 language model reflects topics and language common in the human-written articles on the internet that were used to train the model. Furthermore, some r
Information scientist
The term information scientist developed in the latter part of the twentieth century by Wm. Hovey Smith to describe an individual, usually with a relevant subject degree (such as one in Information and Computer Science - CIS) or high level of subject knowledge, providing focused information to scientific and technical research staff in industry. It is a role quite distinct from and complementary to that of a librarian. Developments in end-user searching, together with some convergence between the roles of librarian and information scientist, have led to a diminution in its use in this context, and the term information officer or information professional (information specialist) are also now used. The term was, and is, also used for an individual carrying out research in information science. Brian C. Vickery mentions that the Institute of Information Scientists (IIS) was established in London during 1958 and lists the criteria put forward by this institute "Criteria for Information Science" (appendix 1) as well as his own "Areas of study in information science" (appendix 2). The IIS merged with the Library Association in 2002 to form the Chartered Institute of Library and Information Professionals (CILIP). == Notable Information Scientists == See also Award of Merit - Association for Information Science and Technology Marcia Bates David Blair (information technologist) Samuel C. Bradford Michael Buckland John M. Carroll Blaise Cronin Emilia Currás Brenda Dervin Eugene Garfield Paul B. Kantor Frederick Wilfrid Lancaster Calvin Mooers Tefko Saracevic Linda C. Smith Robert Saxton Taylor Brian Campbell Vickery Thomas D. Wilson == Additional reading == Ellis, David and Merete Haugan. (1997) "Modelling the information seeking patterns of engineers and research scientists in an industrial environment" (Journal of Documentation, Volume 53(4): pp. 384–403) Poole, Alex H. (2024). "'There's a big difference between going through life with the wind at your back, and going through life leaning into the wind': Feminism in Post-World War II Information Science". Proceedings of the Association for Information Science and Technology. 61: 300–313. doi:10.1002/pra2.1029. Vickery, Brian Campbell (1988) "Essays presented to B. C. Vickery" (Journal of Documentation, Volume 44, pp. 199–283). Vickery, B. & Vickery, A. (1987) Information Science in theory and practice (London: Bowker-Saur, pp. 361–369)
Hardware for artificial intelligence
Specialized computer hardware is often used to execute artificial intelligence (AI) programs faster, and with less energy, such as Lisp machines, neuromorphic engineering, event cameras, and physical neural networks. Since 2017, several consumer grade CPUs and SoCs have on-die NPUs. As of 2023, the market for AI hardware is dominated by GPUs. As of the 2020s, AI computation is dominated by graphics processing units (GPUs) and newer domain-specific accelerators such as Google's Tensor Processing Units (TPUs), AMD's Instinct MI300 series, and various on-device neural-processing units (NPUs) found in consumer hardware. == Scope == For the purposes of this article, AI hardware refers to computing components and systems specifically designed or optimized to accelerate artificial-intelligence workloads such as machine-learning training or inference. This includes general-purpose accelerators used for AI (for example, GPUs) and domain-specific accelerators (for example, TPUs, NPUs, and other AI ASICs). Event-based cameras are sometimes discussed in the context of neuromorphic computing, but they are input sensors rather than AI compute devices. Conversely, components such as memristors are basic circuit elements rather than specialized AI hardware when considered alone. == Lisp machines == Lisp machines were developed in the late 1970s and early 1980s to make artificial intelligence programs written in the programming language Lisp run faster. == Dataflow architecture == Dataflow architecture processors used for AI serve various purposes with varied implementations like the polymorphic dataflow Convolution Engine by Kinara (formerly Deep Vision), structure-driven dataflow by Hailo, and dataflow scheduling by Cerebras. == Component hardware == === AI accelerators === Since the 2010s, advances in computer hardware have led to more efficient methods for training deep neural networks that contain many layers of non-linear hidden units and a very large output layer. By 2019, graphics processing units (GPUs), often with AI-specific enhancements, had displaced central processing units (CPUs) as the dominant means to train large-scale commercial cloud AI. OpenAI estimated the hardware compute used in the largest deep learning projects from Alex Net (2012) to Alpha Zero (2017), and found a 300,000-fold increase in the amount of compute needed, with a doubling-time trend of 3.4 months. === General-purpose GPUs for AI === Since the 2010s, graphics processing units (GPUs) have been widely used to train and deploy deep learning models because of their highly parallel architecture and high memory bandwidth. Modern data-center GPUs include dedicated tensor or matrix-math units that accelerate neural-network operations. In 2022, NVIDIA introduced the Hopper-generation H100 GPU, adding FP8 precision support and faster interconnects for large-scale model training. AMD and other vendors have also developed GPUs and accelerators aimed at AI and high-performance computing workloads. === Domain-specific accelerators (ASICs / NPUs) === Beyond general-purpose GPUs, several companies have developed application-specific integrated circuits (ASICs) and neural processing units (NPUs) tailored for AI workloads. Google introduced the Tensor Processing Unit (TPU) in 2016 for deep-learning inference, with later generations supporting large-scale training through dense systolic-array designs and optical interconnects. Other vendors have released similar devices—such as Apple's Neural Engine and various on-device NPUs—that emphasize energy-efficient inference in mobile or edge computing environments. === Memory and interconnects === AI accelerators rely on fast memory and inter-chip links to manage the large data volumes of training and inference. High-bandwidth memory (HBM) stacks, standardized as HBM3 in 2022, provide terabytes-per-second throughput on modern GPUs and ASICs. These accelerators are often connected through dedicated fabrics such as NVIDIA's NVLink and NVSwitch or optical interconnects used in TPU systems to scale performance across thousands of chips.
Two-phase commit protocol
In transaction processing, databases, and computer networking, the two-phase commit protocol (2PC, tupac) is a type of atomic commitment protocol (ACP). It is a distributed algorithm that coordinates all the processes that participate in a distributed atomic transaction on whether to commit or abort (roll back) the transaction. This protocol (a specialised type of consensus protocol) achieves its goal even in many cases of temporary system failure (involving either process, network node, communication, etc. failures), and is thus widely used. However, it is not resilient to all possible failure configurations, and in rare cases, manual intervention is needed to remedy an outcome. To accommodate recovery from failure (automatic in most cases) the protocol's participants use logging of the protocol's states. Log records, which are typically slow to generate but survive failures, are used by the protocol's recovery procedures. Many protocol variants exist that primarily differ in logging strategies and recovery mechanisms. Though usually intended to be used infrequently, recovery procedures compose a substantial portion of the protocol, due to many possible failure scenarios to be considered and supported by the protocol. In a "normal execution" of any single distributed transaction (i.e., when no failure occurs, which is typically the most frequent situation), the protocol consists of two phases: The commit-request phase (or voting phase), in which a coordinator process attempts to prepare all the transaction's participating processes (named participants, cohorts, or workers) to take the necessary steps for either committing or aborting the transaction and to vote, either "Yes": commit (if the transaction participant's local portion execution has ended properly), or "No": abort (if a problem has been detected with the local portion), and The commit phase, in which, based on voting of the participants, the coordinator decides whether to commit (only if all have voted "Yes") or abort the transaction (otherwise), and notifies the result to all the participants. The participants then follow with the needed actions (commit or abort) with their local transactional resources (also called recoverable resources; e.g., database data) and their respective portions in the transaction's other output (if applicable). The two-phase commit (2PC) protocol should not be confused with the two-phase locking (2PL) protocol, a concurrency control protocol. == Assumptions == The protocol works in the following manner: one node is a designated coordinator, which is the master site, and the rest of the nodes in the network are designated the participants. The protocol assumes that: there is stable storage at each node with a write-ahead log, no node crashes forever, the data in the write-ahead log is never lost or corrupted in a crash, and any two nodes can communicate with each other. The last assumption is not too restrictive, as network communication can typically be rerouted. The first two assumptions are much stronger; if a node is totally destroyed then data can be lost. The protocol is initiated by the coordinator after the last step of the transaction has been reached. The participants then respond with an agreement message or an abort message depending on whether the transaction has been processed successfully at the participant. == Basic algorithm == === Commit request (or voting) phase === The coordinator sends a query to commit message to all participants and waits until it has received a reply from all participants. The participants execute the transaction up to the point where they will be asked to commit. They each write an entry to their undo log and an entry to their redo log. Each participant replies with: either an agreement message (participant votes Yes to commit), if the participant's actions succeeded; or an abort message (participant votes No to commit), if the participant experiences a failure that will make it impossible to commit. === Commit (or completion) phase === ==== Success ==== If the coordinator received an agreement message from all participants during the commit-request phase: The coordinator sends a commit message to all the participants. Each participant completes the operation, and releases all the locks and resources held during the transaction. Each participant sends an acknowledgement to the coordinator. The coordinator completes the transaction when all acknowledgements have been received. ==== Failure ==== If any participant votes No during the commit-request phase (or the coordinator's timeout expires): The coordinator sends a rollback message to all the participants. Each participant undoes the transaction using the undo log, and releases the resources and locks held during the transaction. Each participant sends an acknowledgement to the coordinator. The coordinator undoes the transaction when all acknowledgements have been received. ==== Message flow ==== Coordinator Participant QUERY TO COMMIT --------------------------------> VOTE YES/NO prepare/abort <------------------------------- commit/abort COMMIT/ROLLBACK --------------------------------> ACKNOWLEDGEMENT commit/abort <-------------------------------- end An next to the record type means that the record is forced to stable storage. == Disadvantages == The greatest disadvantage of the two-phase commit protocol is that it is a blocking protocol. If the coordinator fails permanently, some participants will never resolve their transactions: After a participant has sent an agreement message as a response to the commit-request message from the coordinator, it will block until a commit or rollback is received. A two-phase commit protocol cannot dependably recover from a failure of both the coordinator and a cohort member during the commit phase. If only the coordinator had failed, and no cohort members had received a commit message, it could safely be inferred that no commit had happened. If, however, both the coordinator and a cohort member failed, it is possible that the failed cohort member was the first to be notified, and had actually done the commit. Even if a new coordinator is selected, it cannot confidently proceed with the operation until it has received an agreement from all cohort members, and hence must block until all cohort members respond. == Implementing the two-phase commit protocol == === Common architecture === In many cases the 2PC protocol is distributed in a computer network. It is easily distributed by implementing multiple dedicated 2PC components similar to each other, typically named transaction managers (TMs; also referred to as 2PC agents or Transaction Processing Monitors), that carry out the protocol's execution for each transaction (e.g., The Open Group's X/Open XA). The databases involved with a distributed transaction, the participants, both the coordinator and participants, register to close TMs (typically residing on respective same network nodes as the participants) for terminating that transaction using 2PC. Each distributed transaction has an ad hoc set of TMs, the TMs to which the transaction participants register. A leader, the coordinator TM, exists for each transaction to coordinate 2PC for it, typically the TM of the coordinator database. However, the coordinator role can be transferred to another TM for performance or reliability reasons. Rather than exchanging 2PC messages among themselves, the participants exchange the messages with their respective TMs. The relevant TMs communicate among themselves to execute the 2PC protocol schema above, "representing" the respective participants, for terminating that transaction. With this architecture the protocol is fully distributed (does not need any central processing component or data structure), and scales up with number of network nodes (network size) effectively. This common architecture is also effective for the distribution of other atomic commitment protocols besides 2PC, since all such protocols use the same voting mechanism and outcome propagation to protocol participants. === Protocol optimizations === Database research has been done on ways to get most of the benefits of the two-phase commit protocol while reducing costs by protocol optimizations and protocol operations saving under certain system's behavior assumptions. ==== Presumed abort and presumed commit ==== Presumed abort or Presumed commit are common such optimizations. An assumption about the outcome of transactions, either commit, or abort, can save both messages and logging operations by the participants during the 2PC protocol's execution. For example, when presumed abort, if during system recovery from failure no logged evidence for commit of some transaction is found by the recovery procedure, then it assumes that the transaction has been aborted, and acts accordingly. This means that it does not matter if aborts are logged at all, and such logging can be saved under this assumption. Typical