Software Model Checking via Large-Block Encoding

The construction and analysis of an abstract reachability tree (ART) are the basis for a successful method for software verification. The ART represents unwindings of the control-flow graph of the program. Traditionally, a transition of the ART represents a single block of the program, and therefore, we call this approach single-block encoding (SBE). SBE may result in a huge number of program paths to be explored, which constitutes a fundamental source of inefficiency. We propose a generalization of the approach, in which transitions of the ART represent larger portions of the program; we call this approach large-block encoding (LBE). LBE may reduce the number of paths to be explored up to exponentially. Within this framework, we also investigate symbolic representations: for representing abstract states, in addition to conjunctions as used in SBE, we investigate the use of arbitrary Boolean formulas; for computing abstract-successor states, in addition to Cartesian predicate abstraction as used in SBE, we investigate the use of Boolean predicate abstraction. The new encoding leverages the efficiency of state-of-the-art SMT solvers, which can symbolically compute abstract large-block successors. Our experiments on benchmark C programs show that the large-block encoding outperforms the single-block encoding.Comment: 13 pages (11 without cover), 4 figures, 5 table

Two Paths to Abstract Art: Kandinsky and Malevich

Wassily Kandinsky and Kazimir Malevich were both great Russian painters who became pioneers of abstract art during the second decade of the twentieth century. Yet the forms of their art differed radically, as did their artistic methods and goals. Kandinsky, an experimental artist, approached abstraction tentatively and visually, by gradually and progressively concealing forms drawn from nature, whereas Malevich, a conceptual innovator, plunged precipitously into abstraction, by creating symbolic elements that had no representational origins. The conceptual Malevich also made his greatest innovations considerably earlier in his life than the experimental Kandinsky. Interestingly, at the age of 50 Kandinsky wrote an essay that clearly described these two categories of artist, contrasting the facile and protean young virtuoso with the single-minded individual who matured more slowly but was ultimately more original.

Embodying Artifact Production Knowledge

On a modified view of embodied cognition, I argue that the conceptual structure of some present-day’s abstract artifact concepts such as PIECE OF MUSIC or PIECE OF ART can be effectively explained if it is taken into account that “visual recordings” of first observed result objects played a major role in developing abstract artifact concepts

RESERVATION PRICES AND PRE-AUCTION ESTIMATES: A STUDY IN ABSTRACT ART

Using a sample of European abstract art we show that reservation prices constrain pre-auction estimates in such a way that we are more likely to observe overestimation relative to the midpoint of the estimation window. At the same time, we also find that the low pre-auction estimate is a more powerful, accurate and precise predictor of hammer prices than the high estimate.Art Auctions, Abstract Art, Pre-auction Estimates, Reservation Price, Bias

Hedonic Models and Pre-Auction Estimates: Abstract Art Revisited

We investigate the predictive power of hedonic models compared to that of pre-auction estimates in the context of art auctions. We use a panel data consisting of abstract paintings and a methodology that employs the estimates as instrumental variables in the framework of a hedonic regression model. The results suggest that hedonic models have no better predictive power than that of the estimates. Pre-auction estimates appear to fully account for the available public information on works of art.

Cognitive Interpretation of Kant’s Theory of Aesthetic ideas

The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena