Formal verification and testing of software architectural models

Ensuring the correctness of software has been the major motivation in software research, constituting a Grand Challenge. Due to its impact in the final implementation, one critical aspect of software is its architectural design. By guaranteeing a correct architectural design, major and costly flaws can be caught early on in the development cycle. Software architecture design has received a lot of attention in the past years, with several methods, techniques and tools developed. However, there is still more to be done, such as providing adequate formal analysis of software architectures. On these regards, a framework to ensure system dependability from design to implementation has been developed at FIU (Florida International University). This framework is based on SAM (Software Architecture Model), an ADL (Architecture Description Language), that allows hierarchical compositions of components and connectors, defines an architectural modeling language for the behavior of components and connectors, and provides a specification language for the behavioral properties. The behavioral model of a SAM model is expressed in the form of Petri nets and the properties in first order linear temporal logic. This dissertation presents a formal verification and testing approach to guarantee the correctness of Software Architectures. The Software Architectures studied are expressed in SAM. For the formal verification approach, the technique applied was model checking and the model checker of choice was Spin. As part of the approach, a SAM model is formally translated to a model in the input language of Spin and verified for its correctness with respect to temporal properties. In terms of testing, a testing approach for SAM architectures was defined which includes the evaluation of test cases based on Petri net testing theory to be used in the testing process at the design level. Additionally, the information at the design level is used to derive test cases for the implementation level. Finally, a modeling and analysis tool (SAM tool) was implemented to help support the design and analysis of SAM models. The results show the applicability of the approach to testing and verification of SAM models with the aid of the SAM tool.

Sustaining culture through architecture : how can local, vernacular architectural principles be adapted to contemporary design in a village in Guyana

This thesis explores how architecture can adapt local vernacular design principles to contemporary building design in a rural setting. Vernacular buildings in Guyana present a unique and coherent set of design principles developed in response to climatic and cultural conditions. The concept of “habitus” proposed by philosopher Pierre Bourdieu describing the evolving nature of social culture was used to interpret Guyanese local buildings. These principles were then applied to the design of a Women’s Center in the village of Port Mourant on the east coast of Guyana. The design specifically interpreted the “bottom-house” of local Guyanese architecture, an inherently flexible transitional outdoor space beneath raised buildings. The design of the Women’s Center demonstrates how contemporary architectural design can respond to climatic requirements, local preferences and societal needs to support the local culture.

Fibrous Aerial Robotics: study of spiderweb strategies for the design of architectural envelopes using swarms of drones and inflatable formworks

La tesi approccia in modo transdisciplinare biologia, architettura e robotica, con la finalità di indagare e applicare principi costruttivi attraverso l’interazione tra sciami di droni che depositano materiale fibroso su strutture gonfiabili di supporto. L’attenzione principale è nello sviluppo (attraverso un workflow computazionale che gestisce sciami di agenti costruttori) di una tettonica che integra struttura, spazio e ornamento all’interno dello stesso processo progettuale, il quale si sviluppa coerentemente dall’ideazione fino alla fabbricazione. Sono stati studiati modelli biologici quali le colonie di ragni sociali, i quali costruiscono artefatti di grandi dimensioni relativamente a quelle del singolo individuo grazie ad un’organizzazione coordinata ed emergente e alle proprietà dei sistemi fibrosi. L’auto-organizzazione e la decentralizzazione, insieme alle caratteristiche del sistema materiale, sono stati elementi indispensabili nell’estrapolazione prima e nella codificazione poi di un insieme di regole adatte allo sviluppo del sistema costruttivo. Parallelamente alla simulazione digitale si è andati a sviluppare anche un processo fisico di fabbricazione che, pur tenendo conto dei vincoli economici e tecnici, potesse dimostrarsi una prova di concetto e fattibilità del sistema costruttivo. Sono state investigate le possibilità che un drone offre nel campo della fabbricazione architettonica mediante il rilascio di fili su elementi gonfiabili in pressione. Il processo può risultare vantaggioso in scenari in cui non è possibile allestire infrastrutture costruttive tradizionali (es. gole alpine, foreste). Tendendo conto dei vincoli e delle caratteristiche del sistema di fabbricazione proposto, sono state esplorate potenzialità e criticità del sistema studiato.

Documentation of glaciers and mountain chains in the Nordvestfjord of Scorsby Sound (East Greenland, July 2016) by landscape photography during Maria S. Merian cruise MSM56

From the 12th until the 17th of July 2016, research vessel Maria S. Merian entered the Nordvestfjord of Scorsby Sound (East Greenland) as part of research cruise MSM56, "Ecological chemistry in Arctic fjords". A large variety of chemical and biological parameters of fjord and meltwater were measured during this cruise to characterize biogeochemical fluxes in arctic fjords. The photo documentation described here was a side project. It was started when we were close to the Daugaard-Jensen glacier at the end of the Nordvestfjord and realized that not many people have seen this area before and photos available for scientists are probably rare. These pictures shall help to document climate and landscape changes in a remote area of East Greenland. Pictures were taken with a Panasonic Lumix G6 equipped with either a 14-42 or 45-150 objective (zoom factor available in jpg metadata). Polarizer filters were used on both objectives. The time between taking the pictures and writing down the coordinates was maximally one minute but usually shorter. The uncertainty in position is therefore small as we were steaming slowly most of the time the pictures were taken (i.e. below 5 knots). I assume the uncertainty is in most cases below 200 m radius of the noted position. I did not check the direction I directed the camera to with a compass at the beginning. Hence, the direction that was noted is an approximation based on the navigation map and the positioning of the ship. The uncertainty was probably around +/- 40° but initially (pictures 1-17) perhaps even higher as this documentation was a spontaneous idea and it took some time to get the orientation right. It should be easy, however, to find the location of the mountains and glaciers when being on the respective positions because the mountains have a quite characteristic shape. In a later stage of this documentation, I took pictures from the bridge and used the gyros to approximate the direction the camera was pointed at. Here the uncertainty was much lower (i.e. +/- 20° or better). Directions approximated with the help of gyros have degree values in the overview table. The ship data provided in the MSM56 cruise report will contain all kinds of sensor data from Maria S. Merian sensor setup. This data can also be used to further constrain the position the pictures were taken because the exact time a photo was shot is noted in the metadata of the .jpg photo file. The shipboard clock was set on UTC. It was 57 minutes and 45 seconds behind the time in the camera. For example 12:57:45 on the camera was 12:00:00 UTC on the ship. All pictures provided here can be used for scientific purposes. In case of usage in presentations etc. please acknowledge RV Maria S. Merian (MSM56) and Lennart T. Bach as author. Please inform me and ask for reprint permission in case you want to use the pictures for scientific publications. I would like to thank all participants and the crew of Maria S. Merian Cruise 56 (MSM56, Ecological chemistry in Arctic fjords).

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

Spanish Photography Yearbooks between the Autarchy and the Transition A Documentary Analysis (1958-1980)

The first yearbook on Spanish artistic photography was published in 1924 and following the Civil War of 1936-1939, Madrid’s Real Sociedad Fotográfica, through its Sombras magazine, published two others in 1946 and 1948. There would not be another publication until 1958, when the Agrupación Fotográfica Almeriense put out the third yearbook, during a period of economic recovery following the country’s admission to the U.N. at the end of 1955. However, it was not until 1972 when Spanish photography resumed the publication of annual summaries of the authors and their works. From then on until 1980, nine yearbooks were published by two institutions: The Consorcio del Libro Técnico (Cotec) and the Editorial Everest publishing company. The object of this study is to analyze the contents of these yearbooks in order to determine and furnish new data on the history of Spanish photography: authors, works, publications, national and international relations and the purpose of their publications as a means for supporting photography.

Comparing architectural styles for distributed expert knowledge modules in intelligent tutoring systems

Intelligent Tutoring Systems (ITSs) are computerized systems for learning-by-doing. These systems provide students with immediate and customized feedback on learning tasks. An ITS typically consists of several modules that are connected to each other. This research focuses on the distribution of the ITS module that provides expert knowledge services. For the distribution of such an expert knowledge module we need to use an architectural style because this gives a standard interface, which increases the reusability and operability of the expert knowledge module. To provide expert knowledge modules in a distributed way we need to answer the research question: ‘How can we compare and evaluate REST, Web services and Plug-in architectural styles for the distribution of the expert knowledge module in an intelligent tutoring system?’. We present an assessment method for selecting an architectural style. Using the assessment method on three architectural styles, we selected the REST architectural style as the style that best supports the distribution of expert knowledge modules. With this assessment method we also analyzed the trade-offs that come with selecting REST. We present a prototype and architectural views based on REST to demonstrate that the assessment method correctly scores REST as an appropriate architectural style for the distribution of expert knowledge modules.

Photography, copyright, and the South Kensington experiment

Reviews the development of UK copyright law in the 19th century concerning photographs of works of art in public collections. Discusses the project at South Kensington Museum to sell photographs of works of art to the public at cost price, and the introduction of copyright protection for original photographs under the Fine Arts Copyright Act 1862. Considers the parliamentary debates on whether photography was worthy of copyright protection. Examines whether lessons should be learned now that digital technology offers the opportunity to improve public access to works of art.

Using UAV acquired photography and structure from motion techniques for studying glacier landforms: application to the glacial flutes at Isfallsglaciären

Glacier and ice sheet retreat exposes freshly deglaciated terrain which often contains small-scale fragile geomorphological features which could provide insight into subglacial or submarginal processes. Subaerial exposure results in potentially rapid landscape modification or even disappearance of the minor–relief landforms as wind, weather, water and vegetation impacts on the newly exposed surface. Ongoing retreat of many ice masses means there is a growing opportunity to obtain high resolution geospatial data from glacier forelands to aid in the understanding of recent subglacial and submarginal processes. Here we used an unmanned aerial vehicle to capture close-range aerial photography of the foreland of Isfallsglaciären, a small polythermal glacier situated in Swedish Lapland. An orthophoto and a digital elevation model with ~2 cm horizontal resolution were created from this photography using structure from motion software. These geospatial data was used to create a geomorphological map of the foreland, documenting moraines, fans, channels and flutes. The unprecedented resolution of the data enabled us to derive morphological metrics (length, width and relief) of the smallest flutes, which is not possible with other data products normally used for glacial landform metrics mapping. The map and flute metrics compare well with previous studies, highlighting the potential of this technique for rapidly documenting glacier foreland geomorphology at an unprecedented scale and resolution. The vast majority of flutes were found to have an associated stoss-side boulder, with the remainder having a likely explanation for boulder absence (burial or erosion). Furthermore, the size of this boulder was found to strongly correlate with the width and relief of the lee-side flute. This is consistent with the lee-side cavity infill model of flute formation. Whether this model is applicable to all flutes, or multiple mechanisms are required, awaits further study.