Model transformations in Converge

Model transformations are currently the focus of much interest and research due to the OMG’s QVT initiative. Current proposals for model transformation languages can be divided into two main camps: those taking a ‘declarative’ approach, and those opting for an ‘imperative’ approach. In this paper we detail an imperative, meta-circular, object orientated, pattern matching programming language Converge which is enriched with features pioneered by the Icon programming language, amongst them: success/failure, generators and goal-directed evaluation. By presenting these features in a language suitable for representing models, we show that we are able to gain some of the advantages of declarative approaches in an imperative setting

A Monitoring Language for Run Time and Post-Mortem Behavior Analysis and Visualization

UFO is a new implementation of FORMAN, a declarative monitoring language, in which rules are compiled into execution monitors that run on a virtual machine supported by the Alamo monitor architecture.Comment: In M. Ronsse, K. De Bosschere (eds), proceedings of the Fifth International Workshop on Automated Debugging (AADEBUG 2003), September 2003, Ghent. cs.SE/030902

Dynamically typed languages

Dynamically typed languages such as Python and Ruby have experienced a rapid grown in popularity in recent times. However, there is much confusion as to what makes these languages interesting relative to statically typed languages, and little knowledge of their rich history. In this chapter I explore the general topic of dynamically typed languages, how they differ from statically typed languages, their history, and their defining features

Choosers: The design and evaluation of a visual algorithmic music composition language for non-programmers

Algorithmic music composition involves specifying music in such a way that it is non-deterministic on playback, leading to music which has the potential to be different each time it is played. Current systems for algorithmic music composition typically require the user to have considerable programming skill and may require formal knowledge of music. However, much of the potential user population are music producers and musicians (some professional, but many amateur) with little or no programming experience and few formal musical skills. To investigate how this gap between tools and potential users might be better bridged we designed Choosers, a prototype algorithmic programming system centred around a new abstraction (of the same name) designed to allow non-programmers access to algorithmic music composition methods. Choosers provides a graphical notation that allows structural elements of key importance in algorithmic composition (such as sequencing, choice, multi-choice, weighting, looping and nesting) to be foregrounded in the notation in a way that is accessible to non-programmers. In order to test design assumptions a Wizard of Oz study was conducted in which seven pairs of undergraduate Music Technology students used Choosers to carry out a range of rudimentary algorithmic composition tasks. Feedback was gathered using the Programming Walkthrough method. All users were familiar with Digital Audio Workstations, and as a result they came with some relevant understanding, but also with some expectations that were not appropriate for algorithmic music work. Users were able to successfully make use of the mechanisms for choice, multi-choice, looping, and weighting after a brief training period. The ‘stop’ behaviour was not so easily understood and required additional input before users fully grasped it. Some users wanted an easier way to override algorithmic choices. These findings have been used to further refine the design of Choosers