A Framework for Evaluating Model-Driven Self-adaptive Software Systems

In the last few years, Model Driven Development (MDD), Component-based Software Development (CBSD), and context-oriented software have become interesting alternatives for the design and construction of self-adaptive software systems. In general, the ultimate goal of these technologies is to be able to reduce development costs and effort, while improving the modularity, flexibility, adaptability, and reliability of software systems. An analysis of these technologies shows them all to include the principle of the separation of concerns, and their further integration is a key factor to obtaining high-quality and self-adaptable software systems. Each technology identifies different concerns and deals with them separately in order to specify the design of the self-adaptive applications, and, at the same time, support software with adaptability and context-awareness. This research studies the development methodologies that employ the principles of model-driven development in building self-adaptive software systems. To this aim, this article proposes an evaluation framework for analysing and evaluating the features of model-driven approaches and their ability to support software with self-adaptability and dependability in highly dynamic contextual environment. Such evaluation framework can facilitate the software developers on selecting a development methodology that suits their software requirements and reduces the development effort of building self-adaptive software systems. This study highlights the major drawbacks of the propped model-driven approaches in the related works, and emphasise on considering the volatile aspects of self-adaptive software in the analysis, design and implementation phases of the development methodologies. In addition, we argue that the development methodologies should leave the selection of modelling languages and modelling tools to the software developers.Comment: model-driven architecture, COP, AOP, component composition, self-adaptive application, context oriented software developmen

Modelling and analyzing adaptive self-assembling strategies with Maude

Building adaptive systems with predictable emergent behavior is a challenging task and it is becoming a critical need. The research community has accepted the challenge by introducing approaches of various nature: from software architectures, to programming paradigms, to analysis techniques. We recently proposed a conceptual framework for adaptation centered around the role of control data. In this paper we show that it can be naturally realized in a reflective logical language like Maude by using the Reflective Russian Dolls model. Moreover, we exploit this model to specify, validate and analyse a prominent example of adaptive system: robot swarms equipped with self-assembly strategies. The analysis exploits the statistical model checker PVeStA

Modelling and analyzing adaptive self-assembling strategies with Maude

Building adaptive systems with predictable emergent behavior is a challenging task and it is becoming a critical need. The research community has accepted the challenge by introducing approaches of various nature: from software architectures, to programming paradigms, to analysis techniques. We recently proposed a conceptual framework for adaptation centered around the role of control data. In this paper we show that it can be naturally realized in a reflective logical language like Maude by using the Reflective Russian Dolls model. Moreover, we exploit this model to specify, validate and analyse a prominent example of adaptive system: robot swarms equipped with self-assembly strategies. The analysis exploits the statistical model checker PVeStA

Participation as media: a compositional system for staging participation with reflective scenography

The practice-led research develops a compositional system for staging participation within reflective scenographies, and suggests an artistic concept of 'participation as media', which propose the participatory involvement as compositional material in itself. The research takes a starting point in the author's expert practice as a performer and director, and identifies key compositional problems from analysis of previous productions of participatory artworks. The practice-led research processes were organised into two laboratory events, a series of method investigations, and the production of two participatory installation artworks Mirror-Zone-Site and Zen- Sofa Arrangement. The approach is to rethink theatre as a complex communicational system of reflective operations, and to recognise performer technique as several simultaneously working levels of self-referential communicative operations, that can be staged as a participatory condition by reflective scenography. From a compositional perspective the question is how to externalise the performer's technique as abstracted mediating structures, and implement them by the use of responsive and mediating technology embedded in the reflective operations of a scenography. The compositional system consists of design parameters, compositional strategies, and a postprogressive dramaturgy. The design parameters framing, channelling, and coupling, organise a calibration of the staged feedback operations. The compositional strategies, which derive from practices of performer technique, organise scenarios of introvert, extrovert and social referencing operations. The postprogressive dramaturgy informs the performative engagement of the participant as a process of experiential narrativation. The system enables a capability to navigate the compositional process into the complex creation of participatory engagement as a media in itself, and enables a structured overview on the compositional process, argued in an interdisciplinary context. The research investigates events that involve the visitor in the realisation of the work, to an extent where the media of the artwork is the activity of participation in itself and the participatory engagement forms a main site of the emergence of the artwork. Through the visitor's acts of participation, she releases the potential of the artwork, and as such, occupies a crucial position in the constitution of the work These artworks are suggested to stage the participant in structures of communication and include her as an operator in a communication device

A Conceptual Framework for Adapation

This paper presents a white-box conceptual framework for adaptation that promotes a neat separation of the adaptation logic from the application logic through a clear identification of control data and their role in the adaptation logic. The framework provides an original perspective from which we survey archetypal approaches to (self-)adaptation ranging from programming languages and paradigms, to computational models, to engineering solutions

A Conceptual Framework for Adapation

This paper presents a white-box conceptual framework for adaptation that promotes a neat separation of the adaptation logic from the application logic through a clear identification of control data and their role in the adaptation logic. The framework provides an original perspective from which we survey archetypal approaches to (self-)adaptation ranging from programming languages and paradigms, to computational models, to engineering solutions

A Conceptual Framework for Adapation

We present a white-box conceptual framework for adaptation. We called it CODA, for COntrol Data Adaptation, since it is based on the notion of control data. CODA promotes a neat separation between application and adaptation logic through a clear identification of the set of data that is relevant for the latter. The framework provides an original perspective from which we survey a representative set of approaches to adaptation ranging from programming languages and paradigms, to computational models and architectural solutions

A dramaturgy of intermediality: composing with integrative design

The thesis investigates and develops a compositional system on intermediality in theatre and performance as a dramaturgical practice through integrative design. The position of the visual/sonic media in theatre and performance has been altered by the digitalisation and networking of media technologies, which enables enhanced dynamic variables in the intermedial processes. The emergent intermediality sites are made accessible by developments in media technologies and form part of broader changes towards a mediatised society: a simultaneous shift in cultural contexts, theatre practice and audience perception. The practice-led research is situated within a postdramatic context and develops a system of compositional perspectives and procedures to enhance the knowledge of a dramaturgy on intermediality. The intermediality forms seem to re-situate the actual/virtual relations in theatre and re-construct the processes of theatricalisation in the composition of the stage narrative. The integration of media and performers produces a compositional environment of semiosis, where the theatre becomes a site of narration, and the designed integration in-between medialities emerges as intermediality sites in the performance event. A selection of performances and theatre directors is identified, who each in distinct ways integrate mediating technologies as a core element in their compositional design. These directors and performances constitute a source of reflection on compositional strategies from the perspective of practice, and enable comparative discussions on dramaturgical design and the consistency of intermediality sites. The practice-led research realised a series of prototyping processes situated in performance laboratories in 2004-5. The laboratories staged investigations into the relation between integrative design procedures and parameters for composition of intermediality sites, particularly the relative presence in-between the actual and the virtual, and the relative duration and distance in-between timeness and placeness. The integration of performer activities and media operations into dramaturgical structures were developed as a design process of identifying the mapping and experiencing the landscape through iterative prototyping. The developed compositional concepts and strategies were realised in the prototype performance Still I Know Who I Am, performed October 2006. This final research performance was a full-scale professional production, which explored the developed dramaturgical designs through creative practice. The performance was realised as a public event, and composed of a series of scenes, each presenting a specific composite of the developed integrative design strategies, and generating a particular intermediality site. The research processes in the performance laboratories and the prototype performance developed on characteristics, parameters and procedures of compositional strategies, investigating the viability of a dramaturgy of intermediality through integrative design. The practice undertaken constitutes raw material from which the concepts are drawn and underpins the premises for the theoretical reflections

Antifragility = Elasticity + Resilience + Machine Learning: Models and Algorithms for Open System Fidelity

We introduce a model of the fidelity of open systems - fidelity being interpreted here as the compliance between corresponding figures of interest in two separate but communicating domains. A special case of fidelity is given by real-timeliness and synchrony, in which the figure of interest is the physical and the system's notion of time. Our model covers two orthogonal aspects of fidelity, the first one focusing on a system's steady state and the second one capturing that system's dynamic and behavioural characteristics. We discuss how the two aspects correspond respectively to elasticity and resilience and we highlight each aspect's qualities and limitations. Finally we sketch the elements of a new model coupling both of the first model's aspects and complementing them with machine learning. Finally, a conjecture is put forward that the new model may represent a first step towards compositional criteria for antifragile systems.Comment: Preliminary version submitted to the 1st International Workshop "From Dependable to Resilient, from Resilient to Antifragile Ambients and Systems" (ANTIFRAGILE 2014), https://sites.google.com/site/resilience2antifragile

Dancing to the music of the till— John Goto’s Ukadia

Dancing to the music of the till— John Goto’s Ukadia explores the photographic montage work of Goto in relation to an analysis of contemporary cultures of consumption