FraudDroid: Automated Ad Fraud Detection for Android Apps

Although mobile ad frauds have been widespread, state-of-the-art approaches in the literature have mainly focused on detecting the so-called static placement frauds, where only a single UI state is involved and can be identified based on static information such as the size or location of ad views. Other types of fraud exist that involve multiple UI states and are performed dynamically while users interact with the app. Such dynamic interaction frauds, although now widely spread in apps, have not yet been explored nor addressed in the literature. In this work, we investigate a wide range of mobile ad frauds to provide a comprehensive taxonomy to the research community. We then propose, FraudDroid, a novel hybrid approach to detect ad frauds in mobile Android apps. FraudDroid analyses apps dynamically to build UI state transition graphs and collects their associated runtime network traffics, which are then leveraged to check against a set of heuristic-based rules for identifying ad fraudulent behaviours. We show empirically that FraudDroid detects ad frauds with a high precision (93%) and recall (92%). Experimental results further show that FraudDroid is capable of detecting ad frauds across the spectrum of fraud types. By analysing 12,000 ad-supported Android apps, FraudDroid identified 335 cases of fraud associated with 20 ad networks that are further confirmed to be true positive results and are shared with our fellow researchers to promote advanced ad fraud detectionComment: 12 pages, 10 figure

Generative theatre of totality

Generative art can be used for creating complex multisensory and multimedia experiences within predetermined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy's Theatre of Totality vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the Theatre of Totality's scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound and man ("man" is replaced in this article with "human", except where quoting from the author), with all the inherent complexities

Evolutionary games on graphs

Game theory is one of the key paradigms behind many scientific disciplines from biology to behavioral sciences to economics. In its evolutionary form and especially when the interacting agents are linked in a specific social network the underlying solution concepts and methods are very similar to those applied in non-equilibrium statistical physics. This review gives a tutorial-type overview of the field for physicists. The first three sections introduce the necessary background in classical and evolutionary game theory from the basic definitions to the most important results. The fourth section surveys the topological complications implied by non-mean-field-type social network structures in general. The last three sections discuss in detail the dynamic behavior of three prominent classes of models: the Prisoner's Dilemma, the Rock-Scissors-Paper game, and Competing Associations. The major theme of the review is in what sense and how the graph structure of interactions can modify and enrich the picture of long term behavioral patterns emerging in evolutionary games.Comment: Review, final version, 133 pages, 65 figure

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Robots that Say ‘No’. Affective Symbol Grounding and the Case of Intent Interpretations

© 2017 IEEE. This article has been accepted for publication in a forthcoming issue of IEEE Transactions on Cognitive and Developmental Systems. Personal use of this material is permitted. Permission from IEEE must be obtained for all other users, including reprinting/ republishing this material for advertising or promotional purposes, creating new collective works for resale or redistribution to servers or lists, or reuse of any copyrighted components of this work in other works.Modern theories on early child language acquisition tend to focus on referential words, mostly nouns, labeling concrete objects, or physical properties. In this experimental proof-of-concept study, we show how nonreferential negation words, typically belonging to a child's first ten words, may be acquired. A child-like humanoid robot is deployed in speech-wise unconstrained interaction with naïve human participants. In agreement with psycholinguistic observations, we corroborate the hypothesis that affect plays a pivotal role in the socially distributed acquisition process where the adept conversation partner provides linguistic interpretations of the affective displays of the less adept speaker. Negation words are prosodically salient within intent interpretations that are triggered by the learner's display of affect. From there they can be picked up and used by the budding language learner which may involve the grounding of these words in the very affective states that triggered them in the first place. The pragmatic analysis of the robot's linguistic performance indicates that the correct timing of negative utterances is essential for the listener to infer the meaning of otherwise ambiguous negative utterances. In order to assess the robot's performance thoroughly comparative data from psycholinguistic studies of parent-child dyads is needed highlighting the need for further interdisciplinary work.Peer reviewe