In many real enforcement systems, a security-relevant action must return a result before the application program that invoked that action can continue to execute. However, current models of runtime mechanisms do not capture this requirement on results being returned to application programs; current models are limited to reasoning about policies and enforcement in terms of actions alone, without considering the results of those actions. This thesis presents a more general model of runtime policy enforcement in which all actions return (possibly void- or unit-type) results. This mandatory-results model more accurately reflects the capabilities and limitations of real enforcement mechanisms, particularly those mechanisms that operate by monitoring function/method invocations. We analyze the new model to show that result-returning runtime monitors enforce a strict superset of the safety policies, including some nontrivial liveness policies.

The complex behavior of computer systems offers many challenges for formal verification. The analysis quickly becomes difficult as the number of participating processes increases. A parameterized system is a family of systems parameterized on a number n, typically representing the number of participating processes. The uniform verification problem — to check whether a property holds for each instance — is an infinite-state problem. The automated analysis of parameterized and infinite-state systems has been the subject of research over the last 15–20 years. Much of the work has focused on safety properties. Progress in verification of liveness properties has been slow, as it is more difficult in general. In this thesis, we consider verification of parameterized and infinite-state systems, with an emphasis on liveness, in the verification framework called regular model checking (RMC). In RMC, states are represented as words, sets of states as regular expressions, and the transition relation as a regular relation. We extend the automata-theoretic approach to RMC. We define a specification logic sufficiently strong to specify systems representable using RMC, and linear temporal logic properties of such systems, and provide an automatic translation from a specification into an analyzable model. We develop acceleration techniques for RMC which allow more uniform and automatic verification than before, with greater power. Using these techniques, we succeed to verify safety and liveness properties of parameterized protocols from the literature. We present a novel reachability based verification method for verification of liveness, in a general setting. We implement the method for RMC, with promising results. Finally, we develop a framework for the verification of dynamic networks based on graph transformation, which generalizes the systems representable in RMC. In this framework we verify the latest version of the DYMO routing protocol, currently being considered for standardization by the IETF.

The purpose of this study was to examine changing news practices especially at the moment of going live in a convergent broadcasting newsroom. The study chose Al Jazeera English, a leading international news network, as a case and adopted content analysis and ethnographic research methods to examine both the content and process of breaking news and live reporting. The professional practices in making breaking, live news were changed as a result of the implementation of convergent journalism in AJE’s newsroom. These changes in both news products and news production were accounted for by the interrelated influences of a set of external and internal factors at the levels of newsroom and organization.

3D Motion capture is a medium that plots motion, typically human motion, converting it into a form that can be represented digitally. It is a fast evolving field and recent inertial technology may provide new artistic possibilities for its use in live performance. Although not often used in this context, motion capture has a combination of attributes that can provide unique forms of collaboration with performance arts. The inertial motion capture suit used for this study has orientation sensors placed at strategic points on the body to map body motion. Its portability, real-time performance, ease of use, and its immunity from line-of-sight problems inherent in optical systems suggest it would work well as a live performance technology. Many animation techniques can be used in real-time. This research examines a broad cross-section of these techniques using four practice-led cases to assess the suitability of inertial motion capture to live performance. Although each case explores different visual possibilities, all make use of the performativity of the medium, using either an improvisational format or interactivity among stage, audience and screen that would be difficult to emulate any other way. A real-time environment is not capable of reproducing the depth and sophistication of animation people have come to expect through media. These environments take many hours to render. In time the combination of what can be produced in real-time and the tools available in a 3D environment will no doubt create their own tree of aesthetic directions in live performance. The case study looks at the potential of interactivity that this technology offers.

Concurrent programs are known to be complicated because synchronisation is required amongst the processes in order to ensure safety (nothing bad ever happens) and progress (something good eventually happens). Due to possible interference from other processes, a straightforward rearrangement of statements within a process can lead to dramatic changes in the behaviour of a program, even if the behaviour of the process executing in isolation is unaltered. Verifying concurrent programs using informal arguments are usually unconvincing, which makes formal methods a necessity. However, formal proofs can be challenging due to the complexity of concurrent programs. Furthermore, safety and progress properties are proved using fundamentally different techniques. Within the literature, safety has been given considerably more attention than progress. One method of formally verifying a concurrent program is to develop the program, then perform a post-hoc verification using one of the many available frameworks. However, this approach tends to be optimistic because the developed program seldom satisfies its requirements. When a proof becomes difficult, it can be unclear whether the proof technique or the program itself is at fault. Furthermore, following any modifications to program code, a verification may need to be repeated from the beginning. An alternative approach is to develop a program using a verify-while-develop paradigm. Here, one starts with a simple program together with the safety and progress requirements that need to be established. Each derivation step consists of a verification, followed by introduction of new program code motivated using the proofs themselves. Because a program is developed side-by-side with its proof, the completed program satisfies the original requirements. Our point of departure for this thesis is the Feijen and van Gasteren method for deriving concurrent programs, which uses the logic of Owicki and Gries. Although Feijen and van Gasteren derive several concurrent programs, because the Owicki-Gries logic does not include a logic of progress, their derivations only consider safety properties formally. Progress is considered post-hoc to the derivation using informal arguments. Furthermore, rules on how programs may be modified have not been presented, i.e., a program may be arbitrarily modified and hence unspecified behaviours may be introduced. In this thesis, we develop a framework for developing concurrent programs in the verify-while-develop paradigm. Our framework incorporates linear temporal logic, LTL, and hence both safety and progress properties may be given full consideration. We examine foundational aspects of progress by formalising minimal progress, weak fairness and strong fairness, which allow scheduler assumptions to be described. We formally define progress terms such as individual progress, individual deadlock, liveness, etc (which are properties of blocking programs) and wait-, lock-, and obstruction-freedom (which are properties of non-blocking programs). Then, we explore the inter-relationships between the various terms under the different fairness assumptions. Because LTL is known to be difficult to work with directly, we incorporate the logic of Owicki-Gries (for proving safety) and the leads-to relation from UNITY (for proving progress) within our framework. Following the nomenclature of Feijen and van Gasteren, our techniques are kept calculational, which aids derivation. We prove soundness of our framework by proving theorems that relate our techniques to the LTL definitions. Furthermore, we introduce several methods for proving progress using a well-founded relation, which keeps proofs of progress scalable. During program derivation, in order to ensure unspecified behaviour is not introduced, it is also important to verify a refinement, i.e., show that every behaviour of the final (more complex) program is a possible behaviour of the abstract representation. To facilitate this, we introduce the concept of an enforced property, which is a property that the program code does not satisfy, but is required of the final program. Enforced properties may be any LTL formula, and hence may represent both safety and progress requirements. We formalise stepwise refinement of programs with enforced properties, so that code is introduced in a manner that satisfies the enforced properties, yet refinement of the original program is guaranteed. We present derivations of several concurrent programs from the literature.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Is an actor performing live if that actor is out of sight in the wings and appears on stage as a computer-mediated representation? Is co-presence with such a mediated embodiment problematic for the performer? This project seeks to explore the use of digital media elements, from the perspective of the actor, in the collaborative process of devising, designing, rehearsing and performing a Shakespearian theatre production. It raises issues of the creative possibilities that applications of new technologies afford and of a changing perception of the nature of liveness. Can digital media techniques usefully enhance the liveness of performance and extend the audience’s experience of the production? Specifically, can it augment their perception of themselves, mirrored on stage? Exploring the usefulness of digital media techniques takes a theatre practitioner into the intermedial, liminal spaces where the two fields converge. These are spaces of possibility where new ways of working might emerge. This thesis is presented primarily as an experimental performance and is contextualised by this exegesis with its written and DVD components.

Multimedia technology in theatre is nothing new, but various companies in modern and post-modern Japan, such as Dumb Type, Hatsune Miku, and the robot theatre of Oriza Hirata and Hiroshi Ishiguro, have been experimenting with mediatized technology. This thesis hones in on these Japanese multimedia theatres. It studies the origins of mediatization in theatre, looking at the impact of the innovations made by Adolphe Appia. Furthermore, the growing impact of media technology can create a perception of ‘Liveness’ of these artificial actors. Liveness is a critically important concept, both on and off stage, affecting how one perceives the non-human and the type of relationships that are conveyed between the human and non-human actor, as well as the non-human actor and its human audience. This thesis covers the productions of “A One Woman Show” and a spoiler-heavy discussion on "Super Danganronpa 2 The Stage ~Sayonara Zetsubō Gakuen~" within the context of the impact of projections on stage. Robots and the uncanny valley are also reviewed, with the play "Sayonara" as the primary case study within this topic. Then the thesis analyzes the experimental human theatre of Dumb Type, focusing on their plays "S/N" and "pH," as well Vocaloid concerts and the impact of these characters, especially Hatsune Miku, upon the fans. In the course of this analysis, reasons are suggested as to why these technological innovations have found particular success in Japan. / Graduate

This work focuses on liveness detection for the fingerprint recognition technology. The first part of this thesis describes biometrics, biometric systems, liveness detection and the method for liveness detection is proposed, which is based on spectroscopic characteristics of human skin. The second part describes and summarizes performed experiments. In the end, the results are discussed and further improvements are proposed.