Abstraction-carrying code: a model for mobile code safety

Proof-Carrying Code (PCC) is a general approach to mobile code safety in which programs are augmented with a certificate (or proof). The intended benefit is that the program consumer can locally validate the certificate w.r.t. the "untrustcd" program by means of a certificate checker a process which should be much simpler, efficient, and automatic than generating the original proof. The practical uptake of PCC greatly depends on the existence of a variety of enabling technologies which allow both proving programs correct and replacing a costly verification process by an efficient checking proceduri on th( consumer side. In this work we propose Abstraction- Carrying Code (ACC), a novel approach which uses abstract interpretation as enabling technology. We argue that the large body of applications of abstract interpretation to program verification is amenable to the overall PCC scheme. In particular, we rely on an expressive class of safely policies which can be defined over different abstract domains. We use an abstraction (or abstract model) of the program computed by standard static analyzers as a certificate. The validity of the abstraction on ihe consumer side is checked in a single pass by a very efficient and specialized abstract-interpreter. We believe that ACC brings the expressiveness, flexibility and automation which is inherent in abstract interpretation techniques to the area of mobile code safety.

Reduced certificates for abstraction-carrying code

Abstraction-Carrying Code (ACC) has recently been proposed as a framework for mobile code safety in which the code supplier provides a program together with an abstraction whose validity entails compliance with a predefined safety policy. The abstraction plays thus the role of safety certifícate and its generation is carried out automatically by a fixed-point analyzer. The advantage of providing a (fixedpoint) abstraction to the code consumer is that its validity is checked in a single pass of an abstract interpretation-based checker. A main challenge is to reduce the size of certificates as much as possible while at the same time not increasing checking time. We introduce the notion of reduced certifícate which characterizes the subset of the abstraction which a checker needs in order to validate (and re-construct) the full certifícate in a single pass. Based on this notion, we instrument a generic analysis algorithm with the necessary extensions in order to identify the information relevant to the checker. We also provide a correct checking algorithm together with sufficient conditions for ensuring its completeness. The experimental results within the CiaoPP system show that our proposal is able to greatly reduce the size of certificates in practice.

Abstraction-carrying code

Proof-Carrying Code (PCC) is a general approach to mobile code safety in which programs are augmented with a certifícate (or proof). The practical uptake of PCC greatly depends on the existence of a variety of enabling technologies which allow both to prove programs correct and to replace a costly verification process by an efñcient checking procedure on the consumer side. In this work we propose Abstraction-Carrying Code (ACC), a novel approach which uses abstract interpretation as enabling technology. We argüe that the large body of applications of abstract interpretation to program verification is amenable to the overall PCC scheme. In particular, we rely on an expressive class of safety policies which can be defined over different abstract domains. We use an abstraction (or abstract model) of the program computed by standard static analyzers as a certifícate. The validity of the abstraction on the consumer side is checked in a single-pass by a very efficient and specialized abstract-interpreter. We believe that ACC brings the expressiveness, flexibility and automation which is inherent in abstract interpretation techniques to the área of mobile code safety. We have implemented and benchmarked ACC within the Ciao system preprocessor. The experimental results show that the checking phase is indeed faster than the proof generation phase, and that the sizes of certificates are reasonable.

Hiord: A type-free higher-order logic programming language with predicate abstraction

A new formalism, called Hiord, for defining type-free higherorder logic programming languages with predicate abstraction is introduced. A model theory, based on partial combinatory algebras, is presented, with respect to which the formalism is shown sound. A programming language built on a subset of Hiord, and its implementation are discussed. A new proposal for defining modules in this framework is considered, along with several examples.

On abstraction-carrying code and certificate-size reduction

Abstraction-Carrying Code (ACC) is a framework for mobile code safety in which the code supplier provides a program together with an abstraction (or abstract model of the program) whose validity entails compliance with a predefined safety policy. The abstraction plays thus the role of safety certificate and its generation is carried out automatically by a fixed-point analyzer. The advantage of providing a (fixed-point) abstraction to the code consumer is that its validity is checked in a single pass (i.e., one iteration) of an abstract interpretation-based checker. A main challenge to make ACC useful in practice is to reduce the size of certificates as much as possible, while at the same time not increasing checking time. Intuitively, we only include in the certificate the information which the checker is unable to reproduce without iterating. We introduce the notion of reduced certifícate which characterizes the subset of the abstraction which a checker needs in order to validate (and re-construct) the full certificate in a single pass. Based on this notion, we show how to instrument a generic analysis algorithm with the necessary extensions in order to identify the information relevant to the checker.

Abstraction carrying code and resource-awareness

Proof-Carrying Code (PCC) is a general approach to mobile code safety in which the code supplier augments the program with a certifícate (or proof). The intended benefit is that the program consumer can locally validate the certifícate w.r.t. the "untrusted" program by means of a certifícate checker—a process which should be much simpler, eíñcient, and automatic than generating the original proof. Abstraction Carrying Code (ACC) is an enabling technology for PCC in which an abstract model of the program plays the role of certifícate. The generation of the certifícate, Le., the abstraction, is automatically carried out by an abstract interpretation-based analysis engine, which is parametric w.r.t. different abstract domains. While the analyzer on the producer side typically has to compute a semantic fixpoint in a complex, iterative process, on the receiver it is only necessary to check that the certifícate is indeed a fixpoint of the abstract semantics equations representing the program. This is done in a single pass in a much more efficient process. ACC addresses the fundamental issues in PCC and opens the door to the applicability of the large body of frameworks and domains based on abstract interpretation as enabling technology for PCC. We present an overview of ACC and we describe in a tutorial fashion an application to the problem of resource-aware security in mobile code. Essentially the information computed by a cost analyzer is used to genérate cost certificates which attest a safe and efficient use of a mobile code. A receiving side can then reject code which brings cost certificates (which it cannot validate or) which have too large cost requirements in terms of computing resources (in time and/or space) and accept mobile code which meets the established requirements.

Generation of reduced certificates in abstraction-carrying code

Abstraction-Carrying Code (ACC) has recently been proposed as a framework for mobile code safety in which the code supplier provides a program together with an abstraction whose validity entails compliance with a predefined safety policy. The abstraction plays thus the role of safety certifícate and its generation is carried out automatically by a fixed-point analyzer. The advantage of providing a (fixedpoint) abstraction to the code consumer is that its validity is checked in a single pass of an abstract interpretation-based checker. A main challenge is to reduce the size of certificates as much as possible while at the same time not increasing checking time. In this paper, we first introduce the notion of reduced certifícate which characterizes the subset of the abstraction which a checker needs in order to validate (and re-construct) the full certifícate in a single pass. Based on this notion, we then instrument a generic analysis algorithm with the necessary extensions in order to identify the information relevant to the checker.

Reduced certificates for abstraction-carrying code

Abstraction-Carrying Code (ACC) has recently been proposed as a framework for mobile code safety in which the code supplier provides a program together with an abstraction (or abstract model of the program) whose validity entails compliance with a predefined safety policy. The abstraction plays thus the role of safety certifícate and its generation is carried out automatically by a fixed-point analyzer. The advantage of providing a (fixed-point) abstraction to the code consumer is that its validity is checked in a single pass (i.e., one iteration) of an abstract interpretation-based checker. A main challenge to make ACC useful in practice is to reduce the size of certificates as much as possible while at the same time not increasing checking time. The intuitive idea is to only include in the certifícate information that the checker is unable to reproduce without iterating. We introduce the notion of reduced certifícate which characterizes the subset of the abstraction which a checker needs in order to validate (and re-construct) the full certifícate in a single pass. Based on this notion, we instrument a generic analysis algorithm with the necessary extensions in order to identify information which can be reconstructed by the single-pass checker. Finally, we study what the effects of reduced certificates are on the correctness and completeness of the checking process. We provide a correct checking algorithm together with sufficient conditions for ensuring its completeness. Our ideas are illustrated through a running example, implemented in the context of constraint logic programs, which shows that our approach improves state-of-the-art techniques for reducing the size of certificates.

Certificate size reduction in abstraction-carrying code

Abstraction-Carrying Code (ACC) has recently been proposed as a framework for mobile code safety in which the code supplier provides a program together with an abstraction (or abstract model of the program) whose validity entails compliance with a predefined safety policy. The abstraction plays thus the role of safety certificate and its generation is carried out automatically by a fixpoint analyzer. The advantage of providing a (fixpoint) abstraction to the code consumer is that its validity is checked in a single pass (i.e., one iteration) of an abstract interpretation-based checker. A main challenge to make ACC useful in practice is to reduce the size of certificates as much as possible while at the same time not increasing checking time. The intuitive idea is to only include in the certificate information that the checker is unable to reproduce without iterating. We introduce the notion of reduced certificate which characterizes the subset of the abstraction which a checker needs in order to validate (and re-construct) the fall certificate in a single pass. Based on this notion, we instrument a generic analysis algorithm with the necessary extensions in order to identify the information relevant to the checker. Interestingly, the fact that the reduced certificate omits (parts of) the abstraction has implications in the design of the checker. We provide the sufficient conditions which allow us to ensure that 1) if the checker succeeds in validating the certificate, then the certificate is valid for the program (correctness) and 2) the checker will succeed for any reduced certificate which is valid (completeness). Our approach has been implemented and benchmarked within the CiaoPP system. The experimental results show t h a t our proposal is able to greatly reduce the size of certificates in practice. To appear in Theory and Practice of Logic Programming (TPLP).

Comparing the effectiveness of equivalence partitioning, branch testing and code reading by stepwise abstraction applied by subjects

Some verification and validation techniques have been evaluated both theoretically and empirically. Most empirical studies have been conducted without subjects, passing over any effect testers have when they apply the techniques. We have run an experiment with students to evaluate the effectiveness of three verification and validation techniques (equivalence partitioning, branch testing and code reading by stepwise abstraction). We have studied how well able the techniques are to reveal defects in three programs. We have replicated the experiment eight times at different sites. Our results show that equivalence partitioning and branch testing are equally effective and better than code reading by stepwise abstraction. The effectiveness of code reading by stepwise abstraction varies significantly from program to program. Finally, we have identified project contextual variables that should be considered when applying any verification and validation technique or to choose one particular technique.

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.

Concurrent library abstraction without information hiding

The commonly accepted approach to specifying libraries of concurrent algorithms is a library abstraction. Its idea is to relate a library to another one that abstracts away from details of its implementation and is simpler to reason about. A library abstraction relation has to validate the Abstraction Theorem: while proving a property of the client of the concurrent library, the library can be soundly replaced with its abstract implementation. Typically a library abstraction relation, such as linearizability, assumes a complete information hiding between a library and its client, which disallows them to communicate by means of shared memory. However, such way of communication may be used in a program, and correctness of interactions on a shared memory depends on the implicit contract between the library and the client. In this work we approach library abstraction without any assumptions about information hiding. To be able to formulate the contract between components of the program, we augment machine states of the program with two abstract states, views, of the client and the library. It enables formalising the contract with the internal safety, which requires components to preserve each other's views whenever their command is executed. We define the library a a correspondence between possible uses of a concrete and an abstract library. For our library abstraction relation and traces of a program, components of which follow their contract, we prove an Abstraction Theorem. RESUMEN. La técnica más aceptada actualmente para la especificación de librerías de algoritmos concurrentes es la abstracción de librerías (library abstraction). La idea subyacente es relacionar la librería original con otra que abstrae los detalles de implementación y conóon que describa dicha abstracción de librerías debe validar el Teorema de Abstracción: durante la prueba de la validez de una propiedad del cliente de la librería concurrente, el reemplazo de esta última por su implementación abstracta es lógicamente correcto. Usualmente, una relación de abstracción de librerías como la linearizabilidad (linearizability), tiene como premisa el ocultamiento de información entre el cliente y la librería (information hiding), es decir, que no se les permite comunicarse mediante la memoria compartida. Sin embargo, dicha comunicación ocurre en la práctica y la correctitud de estas interacciones en una memoria compartida depende de un contrato implícito entre la librería y el cliente. En este trabajo, se propone un nueva definición del concepto de abtracción de librerías que no presupone un ocultamiento de información entre la librería y el cliente. Con el fin de establecer un contrato entre diferentes componentes de un programa, extendemos la máquina de estados subyacente con dos estados abstractos que representan las vistas del cliente y la librería. Esto permite la formalización de la propiedad de seguridad interna (internal safety), que requiere que cada componente preserva la vista del otro durante la ejecuci on de un comando. Consecuentemente, se define la relación de abstracción de librerías mediante una correspondencia entre los usos posibles de una librería abstracta y una concreta. Finalmente, se prueba el Teorema de Abstracción para la relación de abstracción de librerías propuesta, para cualquier traza de un programa y cualquier componente que satisface los contratos apropiados.

Knowledge-based spatiotemporal linear abstraction

We present a theoretical framework and a case study for reusing the same conceptual and computational methodology for both temporal abstraction and linear (unidimensional) space abstraction, in a domain (evaluation of traffic-control actions) significantly different from the one (clinical medicine) in which the method was originally used. The method, known as knowledge-based temporal abstraction, abstracts high-level concepts and patterns from time-stamped raw data using a formal theory of domain-specific temporal-abstraction knowledge. We applied this method, originally used to interpret time-oriented clinical data, to the domain of traffic control, in which the monitoring task requires linear pattern matching along both space and time. First, we reused the method for creation of unidimensional spatial abstractions over highways, given sensor measurements along each highway measured at the same time point. Second, we reused the method to create temporal abstractions of the traffic behavior, for the same space segments, but during consecutive time points. We defined the corresponding temporal-abstraction and spatial-abstraction domain-specific knowledge. Our results suggest that (1) the knowledge-based temporal-abstraction method is reusable over time and unidimensional space as well as over significantly different domains; (2) the method can be generalized into a knowledge-based linear-abstraction method, which solves tasks requiring abstraction of data along any linear distance measure; and (3) a spatiotemporal-abstraction method can be assembled from two copies of the generalized method and a spatial-decomposition mechanism, and is applicable to tasks requiring abstraction of time-oriented data into meaningful spatiotemporal patterns over a linear, decomposable space, such as traffic over a set of highways.