Leveraging Semantic Web Service Descriptions for Validation by Automated Functional Testing

Recent years have seen the utilisation of Semantic Web Service descriptions for automating a wide range of service-related activities, with a primary focus on service discovery, composition, execution and mediation. An important area which so far has received less attention is service validation, whereby advertised services are proven to conform to required behavioural specifications. This paper proposes a method for validation of service-oriented systems through automated functional testing. The method leverages ontology-based and rule-based descriptions of service inputs, outputs, preconditions and effects (IOPE) for constructing a stateful EFSM specification. The specification is subsequently utilised for functional testing and validation using the proven Stream X-machine (SXM) testing methodology. Complete functional test sets are generated automatically at an abstract level and are then applied to concrete Web services, using test drivers created from the Web service descriptions. The testing method comes with completeness guarantees and provides a strong method for validating the behaviour of Web services

Trustworthy Refactoring via Decomposition and Schemes: A Complex Case Study

Widely used complex code refactoring tools lack a solid reasoning about the correctness of the transformations they implement, whilst interest in proven correct refactoring is ever increasing as only formal verification can provide true confidence in applying tool-automated refactoring to industrial-scale code. By using our strategic rewriting based refactoring specification language, we present the decomposition of a complex transformation into smaller steps that can be expressed as instances of refactoring schemes, then we demonstrate the semi-automatic formal verification of the components based on a theoretical understanding of the semantics of the programming language. The extensible and verifiable refactoring definitions can be executed in our interpreter built on top of a static analyser framework.Comment: In Proceedings VPT 2017, arXiv:1708.0688

FrameWorks 3D: composition in the third dimension

Music composition on computer is a challenging task, involving a range of data types to be managed within a single software tool. A composition typically comprises a complex arrangement of material, with many internal relationships between data in different locations - repetition, inversion, retrograde, reversal and more sophisticated transformations. The creation of such complex artefacts is labour intensive, and current systems typically place a significant cognitive burden on the composer in terms of maintaining a work as a coherent whole. FrameWorks 3D is an attempt to improve support for composition tasks within a Digital Audio Workstation (DAW) style environment via a novel three-dimensional (3D) user-interface. In addition to the standard paradigm of tracks, regions and tape recording analogy, FrameWorks displays hierarchical and transformational information in a single, fully navigable workspace. The implementation combines Java with Max/MSP to create a cross-platform, user-extensible package and will be used to assess the viability of such a tool and to develop the ideas furthe

Conformity, deformity and reformity

In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with specific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and expressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style provides a basis for consideration of notions of originality in the context of activity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post-structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivolous or subversive intent are considered. This paper presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essentially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge