Formal specification and refinement of a safe train control function

Motivated by the design and development challenges of the BART case study, an approach for developing and analyzing a formal model for reactive systems is presented. The approach makes use of a domain specific language for specifying control algorithms able to satisfy competing properties such as safety and optimality. The domain language, called SPC, offers several key abstractions such as the state, the profile, and the constraint to facilitate problem specification. Using a high-level program transformation system such as HATS being developed at the University of Nebraska at Omaha, specifications in this modelling language can be transformed to ML code. The resulting executable specification can be further refined by applying generic transformations to the abstractions provided by the domain language. Problem dependent transformations utilizing the domain specific knowledge and properties may also be applied. The result is a significantly more efficient implementation which can be used for simulation and gaining deeper insight into design decisions and various control policies. The correctness of transformations can be established using a rewrite-rule based induction theorem prover Rewrite Rule Laboratory developed at the University of New Mexico.

facilitating formal specification acquisition by using recursive functions on context-free languages

Although formal specification techniques are very useful in software development, the acquisition of formal specifications is a difficult task. This paper presents the formal specification language LFC, which is designed to facilitate the acquisition and validation of formal specifications. LFC uses context-free languages for syntactic aspect and relies on a new kind of recursive functions, i.e. recursive functions on context-free languages, for semantic aspect of specifications. Construction and validation of LFC specifications are machine-aided. The basic ideas behind LFC, the main aspects of LFC, and the use of LFC and illustrative examples are described.

Formalization and specification for controlling process modularity in mobile computing

新的计算模式，普适计算和全局计算，正在作为高度分布式和移动计算的计算模式展现出来。这篇论文探讨了在抽象层面上支持这些新型计算模式的适合的形式化基础，关注在进程移动单位上的控制, 以便在分布式与移动计算环境下更好地协调进程的移动性。 论文的第一部分概述了针对分布式、移动计算的现有进程演算模型中的进程移动单元，并且设计了一种在此方面更优、更具弹性的进程框架。为了表示这种进程框架，我们提出了一种新的、针对移动和分布式系统的进程演算,这种进程演算的优点是动态、弹性的控制进程的移动单元；具体的思路就是扩展π- calculus以及其支持分布式和移动性的变体。我们把这种新的演算叫做Modular π-calculus。我们通过这种演算的提出来说明进程框架提供了一种针对移动进程更为合适的协调机制以及编程模型，例如移动的代理和动态组件载入的支持。之后，我们通过讨论互模拟的几种提法来具体说明能够反映演算设计的进程描述的关键，之后我们讨论了它们的具体性质。 本文的第二部分提出了一个对进程模型的行为和性质进行推理的规约框架。首先，提出了一个对Modularπ-calculus中进程的系统性质进行规约的模态逻辑。为了更好的理解该逻辑，文中对由这个逻辑推出的进程等价的特征进行了研究，并且证明了该逻辑的区分能力介于互模拟和结构一致之间。接下来关于这个规约框架的自动化，本文针对该逻辑和Modular π-calculus的有限控制子集，提出了模型检测算法，并且给出了算法正确性的证明。同时文中贯穿了一些实际且直观的例子，以展现本文提出的一组框架即演算、逻辑和模型算法的有效性。

Creation of Computer Animation from Story Descriptions

This report describes a computer system that creates simple computer animation in response to high-level, vague, and incomplete descriptions of films. It makes its films by collecting and evaluating suggestions from several different bodies of knowledge. The order in which it makes its choices is influenced by the focus of the film. Difficult choices are postponed to be resumed when more of the film has been determined. The system was implemented in an object-oriented language based upon computational entities called "actors". The goal behind the construction of the system is that, whenever faced with a choice, it should sensibly choose between alternatives based upon the description of the film and as much general knowledge as possible. The system is presented as a computational model of creativity and aesthetics.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Safe Compositional Specification of Networking Systems

The Science of Network Service Composition has clearly emerged as one of the grand themes driving many of our research questions in the networking field today [NeXtworking 2003]. This driving force stems from the rise of sophisticated applications and new networking paradigms. By "service composition" we mean that the performance and correctness properties local to the various constituent components of a service can be readily composed into global (end-to-end) properties without re-analyzing any of the constituent components in isolation, or as part of the whole composite service. The set of laws that would govern such composition is what will constitute that new science of composition. The combined heterogeneity and dynamic open nature of network systems makes composition quite challenging, and thus programming network services has been largely inaccessible to the average user. We identify (and outline) a research agenda in which we aim to develop a specification language that is expressive enough to describe different components of a network service, and that will include type hierarchies inspired by type systems in general programming languages that enable the safe composition of software components. We envision this new science of composition to be built upon several theories (e.g., control theory, game theory, network calculus, percolation theory, economics, queuing theory). In essence, different theories may provide different languages by which certain properties of system components can be expressed and composed into larger systems. We then seek to lift these lower-level specifications to a higher level by abstracting away details that are irrelevant for safe composition at the higher level, thus making theories scalable and useful to the average user. In this paper we focus on services built upon an overlay management architecture, and we use control theory and QoS theory as example theories from which we lift up compositional specifications.

Object Oriented Animation on the World Wide Web

This report describes our attempt to add animation as another data type to be used on the World Wide Web. Our current network infrastructure, the Internet, is incapable of carrying video and audio streams for them to be used on the web for presentation purposes. In contrast, object-oriented animation proves to be efficient in terms of network resource requirements. We defined an animation model to support drawing-based and frame-based animation. We also extended the HyperText Markup Language in order to include this animation mode. BU-NCSA Mosanim, a modified version of the NCSA Mosaic for X(v2.5), is available to demonstrate the concept and potentials of animation in presentations an interactive game playing over the web.