Net.Sense

Net.sense will server as a proof-of-concept of a new type of network management system, using biological models and statistical principles to address scalability, predictability, and reliability issues associated with managing the highly complex computer systems that we as a society have come to depend on

Reasoning about Java's Reentrant Locks

This paper presents a verification technique for a concurrent Java-like language with reentrant locks. The verification technique is based on permission-accounting separation logic. As usual, each lock is associated with a resource invariant, i.e. when acquiring the lock the resources are obtained by the thread holding the lock, and when releasing the lock, the resources are released. To accommodate for reentrancy, the notion of lockset is introduced: a multiset of locks held by a thread. Keeping track of the lockset enables the logic to ensure that resources are not re-acquired upon reentrancy, thus avoiding the introduction of new resources in the system. To be able to express flexible locking policies, we combine the verification logic with value-parametrized classes. Verified programs satisfy the following properties: data race freedom, absence of null-dereferencing and partial correctness. The verification technique is illustrated on several examples, including a challenging lock-coupling algorithm

Choreographing the extended agent : performance graphics for dance theater

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (v. 2, leaves 448-458).The marriage of dance and interactive image has been a persistent dream over the past decades, but reality has fallen far short of potential for both technical and conceptual reasons. This thesis proposes a new approach to the problem and lays out the theoretical, technical and aesthetic framework for the innovative art form of digitally augmented human movement. I will use as example works a series of installations, digital projections and compositions each of which contains a choreographic component - either through collaboration with a choreographer directly or by the creation of artworks that automatically organize and understand purely virtual movement. These works lead up to two unprecedented collaborations with two of the greatest choreographers working today; new pieces that combine dance and interactive projected light using real-time motion capture live on stage. The existing field of"dance technology" is one with many problems. This is a domain with many practitioners, few techniques and almost no theory; a field that is generating "experimental" productions with every passing week, has literally hundreds of citable pieces and no canonical works; a field that is oddly disconnected from modern dance's history, pulled between the practical realities of the body and those of computer art, and has no influence on the prevailing digital art paradigms that it consumes.(cont.) This thesis will seek to address each of these problems: by providing techniques and a basis for "practical theory"; by building artworks with resources and people that have never previously been brought together, in theaters and in front of audiences previously inaccessible to the field; and by proving through demonstration that a profitable and important dialogue between digital art and the pioneers of modern dance can in fact occur. The methodological perspective of this thesis is that of biologically inspired, agent-based artificial intelligence, taken to a high degree of technical depth. The representations, algorithms and techniques behind such agent architectures are extended and pushed into new territory for both interactive art and artificial intelligence. In particular, this thesis ill focus on the control structures and the rendering of the extended agents' bodies, the tools for creating complex agent-based artworks in intense collaborative situations, and the creation of agent structures that can span live image and interactive sound production. Each of these parts becomes an element of what it means to "choreograph" an extended agent for live performance.Marc Downie.Ph.D