Composition Logic Research Articles

Refinement Composition Logic

One successful approach to verifying programs is refinement, where one establishes that the implementation (e.g., in C) behaves as specified in its mathematical specification. In this approach, the end result (a whole implementation refines a whole specification) is often established via composing multiple “small” refinements. In this paper, we focus on the task of composing refinements. Our key observation is a novel correspondence between the task of composing refinements and the task of proving entailments in modern separation logic. This correspondence is useful. First, it unlocks tools and abstract constructs developed for separation logic, greatly streamlining the composition proof. Second, it uncovers a fundamentally new verification strategy. We address the key challenge in establishing the correspondence with a novel use of angelic non-determinism. Guided by the correspondence, we develop RCL (Refinement Composition Logic), a logic dedicated to composing refinements. All our results are formalized in Coq.

Entre lo contextual y lo cíclico: paradigmas delo contemporáneo en el Pabellón de Vidrio de Sanaa.

The Glass Pavilion, with which the Japanese team SANAA began its S. XXI journey, empathizes with the modern heritage, especially that of Mies van der Rohe. Its volume and external presence herald it; its section confirms it. This article proceeds, intertwined and simultaneously, to delve into the history of the building; it dives into the phenomenological space formed by the looped sequences and overlapping glazes of glass and analyzes the compositional logic of its floor plan. In this way, modern ideology is shaken and, enriched by Japanese culture, contemporary paradigms emerge. The pavilion, even tacitly and silently, is aligned with an abstract Contextualism of non-vernacular roots, borders Figuration, in the purity of its volume it presents an Organic-Structuralist logic, and immerses the viewer in a Cyclical Time, like that of ancient legends and Eastern religions, intimately linked to the times of nature

Composition Methods of the Soviet Architectural Avant-Garde

This paper explores the composition logic of the creativity of the Avant-garde masters and to identify the principles of the composition language of the architecture of modernism.To characterize the composition language of Avant-garde architecture, systemic, historical-genetic and semiotic methods of research are used. Architectural composition is interpreted as an activity that has its own semantic, morphological and syntactic features. In the example of Svoboda Square (the former Dzerzhinsky Square) in Kharkiv, the logical methods of artistic activity and thinking of the architects of the Soviet Avant-garde of the 1920-1930s are studied.At the beginning of the 20th century avant-garde movements were created artificially, consciously, by an act of will, and they strove to dictate their ideas, concepts and principles as universal and general. The architectural language of the Avant-garde is normative, ascetic and rigidly organized. Distinctive features of the artistic movements of the Avant-garde are the deep analyticity of thinking and the normativity of the declared requirements, abstract concepts and symbols. The logical principles of composition are often repeated thanks to stable semantic associations and are reflected in geometric structures and forms. Thus, the methods of compositional thinking of the Avant-garde form a monological system, i.e. they are internally holistic and normative, not allowing alternatives. It was possible to identify and show that the Avant-garde, as a monological language system, is characterized by the following features: internal integrity, self-sufficiency, normativity; stability of figurative language devices; restriction of freedom of artistic expression with the help of a concept, declaration, slogan, clear conceptual system.Researchers and designers should treat the phenomenon under study not as a “closed”, stylistically defined object, but see it as a complex historical process of structure formation based on an even more complex process of development of thinking and activity of architects and builders of a particular period.

Few Shot Part Segmentation Reveals Compositional Logic for Industrial Anomaly Detection

Logical anomalies (LA) refer to data violating underlying logical constraints e.g., the quantity, arrangement, or composition of components within an image. Detecting accurately such anomalies requires models to reason about various component types through segmentation. However, curation of pixel-level annotations for semantic segmentation is both time-consuming and expensive. Although there are some prior few-shot or unsupervised co-part segmentation algorithms, they often fail on images with industrial object. These images have components with similar textures and shapes, and a precise differentiation proves challenging. In this study, we introduce a novel component segmentation model for LA detection that leverages a few labeled samples and unlabeled images sharing logical constraints. To ensure consistent segmentation across unlabeled images, we employ a histogram matching loss in conjunction with an entropy loss. As segmentation predictions play a crucial role, we propose to enhance both local and global sample validity detection by capturing key aspects from visual semantics via three memory banks: class histograms, component composition embeddings and patch-level representations. For effective LA detection, we propose an adaptive scaling strategy to standardize anomaly scores from different memory banks in inference. Extensive experiments on the public benchmark MVTec LOCO AD reveal our method achieves 98.1% AUROC in LA detection vs. 89.6% from competing methods.

İstanbul’daki Bazı Tarihi Yapıların Ma’kılî Hatları Üzerine

The square kufıc (ma’ qıli) calligraphy, frequently employed as early as the 11th
 century in the architecture of the Great Seljuks and Anatolian Seljuks periods, gradually
 yielded its place to other calligraphic styles and penwork embellishments in Ottoman
 constructions. Conversely, compared to other script forms, an insufficient body of
 scientific research is dedicated to the accurate comprehension and thorough recognition of
 ma’qili calligraphic art. This unique calligraphic style, which is not traditionally imparted
 within conventional calligraphy education and is currently witnessing renewed interest in
 Islamic architecture and art across various countries, necessitates comprehensive studies
 to elucidate its nuanced reading and compositional logic.
 This article undertakes a detailed exploration of some Square Kufıc calligraphy from
 the era of Mimar Sinan in Istanbul to the period preceding Sinan’s time. In addition
 to analyzing the content and compositions of the inscriptions, specific errors and
 interpretations are also addressed.

Asymmetric conducting route and potential redistribution determine the polarization-dependent conductivity in layered ferroelectrics.

Precise control of the conductivity of layered ferroelectric semiconductors is required to make these materials suitable for advanced transistor, memory and logic circuits. Although proof-of-principle devices based on layered ferroelectrics have been demonstrated, it remains unclear how the polarization inversion induces conductivity changes. Therefore, function design and performance optimization remain cumbersome. Here we combine ab initio calculations with transport experiments to unveil the mechanism underlying the polarization-dependent conductivity in ferroelectric channel field-effect transistors. We find that the built-in electric field gives rise to an asymmetric conducting route formed by the hidden Stark effect and competes with the potential redistribution caused by the external field of the gate. Furthermore, leveraging our mechanistic findings, we control the conductivity threshold in α-In2Se3 ferroelectric channel field-effect transistors. We demonstrate logic-in-memory functionality through the implementation of electrically self-switchable primary (AND, OR) and composite (XOR, NOR, NAND) logic gates. Our work provides mechanistic insights into conductivity modulation in a broad class of layered ferroelectrics, providing foundations for their application in logic and memory electronics.

The logic of forming a musical text in a solo piano-jazz improvisation by M. Petrucciani on the theme of T. Monk’s “’Round Midnight”

Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument, but also contribute to the realization of the unique concept of the work.

The Compositional and Dramaturgical Logic and Musical Expressive Means in the Performance Interpretation of Marian Stârcea’s Variations in G Major for Piano

The aim of the article is to reveal the compositional and dramaturgical logic, as well as the features of the expressive musical means used in the Variations for Piano by Moldovan composer Marian Stârcea in relation to their performance interpretation. The research results are based on the presentation of Stârcea's Variations as a composition that exemplifies the Moldovan compositional tradition, created at the beginning of the author’s creative work and reflecting the characteristic features of his individual style. M. Stârcea turned to the genre of piano variations along with other young composers of the Republic of Moldova, such as T. Chiriac, V. Cholac, V. Beliaev, and many others. Each composer demonstrated a desire to find an individual interpretation of this genre form. M. Stârcea's Variations are characterised by an organic synthesis of the compositional logic of the classical and romantic variation cycle, jazz stylistics, and folklore elements of the musical language. The scientific novelty of the article lies in its comprehensive examination of M. Stârcea's Variations for Piano, which is done for the first time. The practical significance of the work is determined by the possibility of using its materials by performing pianists and teachers of musical educational institutions in their work on the piece. The conclusions summarise the main ideas arising from the compositional and dramaturgical features of M. Stârcea's Variations, as well as their interpretation by students and performing pianists. Understanding the logic of the continuous development of the variation form, enriched with jazz techniques and folk elements, is the optimal way to an adequate comprehension and individual performance vision of this piece. The subsequent comparison of M. Stârcea's Variations for Piano with other works by this author, as well as with examples of variations by other composers, will allow us to develop and enrich the results obtained, which will contribute to the further development of a research approach to the issues of performing interpretation.

The Architectonics of Hope: Fragments of Life and Text in Walter Benjamin and Hart Crane

Abstract This essay develops a comparative account of Walter Benjamin’s and Hart Crane’s architectonic metaphors for text, culture, and history. I argue that theorist and poet alike employ parallel conceptual frameworks that analogize the “building” of the text to the condensation and constellation of disjunctive historical materials, thereby resisting progressivist conceptions of literary and cultural tradition. I further highlight the ways in which, for both figures, experiences of built images are ever-mediated, in contrast to certain strains of extant scholarship that interpret Crane’s poetry and Benjamin’s philosophy as dependent on the fiction of immediate affective experience, as if sensory perception were not always-already conditioned by the mediating abstractions of cognition and memory. Motivated by the personal and political struggles both men faced as outcasts, their visions of the fragmented cityscape as imbued with a complex, compositional logic of form and history ground, at once, the possibility of textual communicability and the preservation and transmission of memory—personal, collective, historical, and cultural. It is by virtue of this shared formal-historical logic—and the faith in a better future persisting therein—that I develop and defend Benjamin’s and Crane’s “architectonics of hope.”

The Recovery of Still Life: On a Gesture in Paul Fry’s Poetic Criticism

Reading Paul Fry and reading with Paul Fry involves responding to an invitation to see and to think about seeing. Proceeding from Wordsworth and the Poetry of What We Are (2008), this essay follows Fry as docent who guides the reader through a gallery of passages in Wordsworth to perceive the layeredness of visual genres informing Wordsworth’s compositions. In his engagement with Wordsworth’s pictorial imaginary and compositional logic, Fry strikingly repeats a gesture of critical ekphrasis that may be termed the “recovery of still life.” He brings to light arrangements of things human and inhuman and shows how they serve both to condition and uncondition the representational claims of history, landscape, and genre painting. While focusing on Fry’s Wordsworth criticism, I situate the recovery of still life within the wider context of his development of a poetics of ostension in A Defense of Poetry: Reflections on the Occasion of Writing (1995) and other essays on Romantic and post-Romantic poetry and poetics. I aim to spell out how Fry’s recovery of still life is a distinctive part of his phenomenological approach to poetry and signature aspect of his gift of gentle illumination.

The correlation of the voice and the piano parts in the vocal music of Schubert’s predecessors

This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian genius. The legacy of Mozart and Beethoven is especially close to the romantic achievements of Schubert. In the chamber-vocal music of these Viennese classics are used different types of correlation between the vocal and instrumental music scores: accompaniment prevails according to the principles of the general bass, but there are already some examples of relative independence of the music score ensemble. There appear instrumental introductions, conclusions, interludes. The texture of the piano part is diversified according to the types of presentation, and contains an imitation of the sounds of nature.

Anton Webern and the Renaissance Tradition

The composers of the postwar avant-garde trend in music perceived Anton Webern’s music primarily as a brilliant expression of a break with tradition. Nonetheless, what was perceived upon first glance as a manifestation of innovatory radicalism, upon more careful examination revealed to a greater degree its obvious historical genesis. Entirely different ideas and values disclosed themselves beyond Webern’s serial precepts — a profound symbolism permeated with mysticism and elements of developed Medieval and Renaissance traditions of ‘‘parametric’’ musical thinking. This article demonstrates in a thesis manner observations tracing out the lines of connection between the new elements of structural compositional logic of certain oeuvres by Webern and the traditional ideas of the polyphonic works by the Renaissance composers, primarily the ‘‘Great Flemish Masters,’’ the most sophisticated artists of counterpoint, giving special attention in their musical compositions to the architectonic organization of form, in whose music Webern experienced an indelibly profound interest during the course of his entire life. In the opinion of many researchers, certain aspects of Webern’s music become more visible, if they become connected to his profound knowledge of and fondness for such composers from the Netherlands as Dufay, Josquin, Ockeghem, Isaac, etc. The concept of tradition in the context of this article is not exhausted by the technological aspects of polyphony, but also presumes a mystical philosophical constituent connected with a particular system of symbolic encoding which plays a substantial role in both cases.

"ОСЕНЬ ПАТРИАРХА": ЗДАНИЕ ЦЕНТРАЛЬНОГО МОСКОВСКОГО ИППОДРОМА И.В. ЖОЛТОВСКОГО

The article deals with the latter stage of creative career of one of the top Soviet architects, Ivan Zholtovsky (1867–1959). In the 1950s, this master, who had the status of the patriarch of the Soviet architectural school and the leader of his own workshop-school, was in charge of the designing several large buildings in which monumental classical forms got a strongly marked crisis character. Perhaps the main work in a number of Zholtovsky’s later pieces is the reconstruction of the Central Moscow Hippodrome (1951–1955), which clearly embodied literary centrism as well as some obsession with decorative in late Stalinist architecture. Solving a major urban planning problem, Zholtovsky used a non-standard composition of the building. In such a case he rejected the canons of classicism and renaissance, which he usually sacredly honored. Instead, he apparently considered ensembles of the Hellenistic era as sources of compositional logic, and such a choice is stunningly accurate for a conclusion opus of the grand Stalinist style. Along with that, the building of the hippodrome can be described as a kind of compendium of quotes taken from earlier buildings of Zholtovsky, including the first one – the nearby mansion of the Racing Society (1903–1905). Loquacious pomposity and a tendency to self-repetition are symptoms of decline, but this final phase of style and its specific manifestations in the work of the architect are certainly worth research attention.

Consequences of M&A team composition for deal outcomes: An inductive study.

While Merger & Acquisition (M&A) activity has reached unprecedented levels over recent years, M&A failure rates remain high. In explaining these disappointing outcomes, previous studies barely focused on the teams that manage these M&A transactions. Furthermore, only scant information exists on team members’ roles and skill sets. With an aim to contribute to filling this gap, we inductively explore a composition logic of M&A teams and its consequences for M&A outcomes by following a grounded theory approach and conducting semi-structured interviews with 30 M&A professionals. We identify three prevailing team roles (project manager, expert and executor) which require a specific set of soft and hard skills that explain how M&A teams can enable M&A success in terms of deal execution and completion. Furthermore, we provide evidence to how aspects of project timing, such as deadlines and simultaneous projects, shape the team members’ work. Finally, our findings underline the importance of accumulating experience and learning effects on M&A deal outcomes, shaping both M&A team culture and the team members’ skill sets.

Analyzing the Architectural Characteristics of Tadao Ando’s Museum Projects

The museum is one of the building types that lead the development of architecture, transcending physical borders and regionalism and revealing the experimental nature of modern architecture. Japanese architect Tadao Ando is a representative architect of contemporary architecture but also designed the most significant number of museums and sublimated traditional Japanese architecture into a modern interpretation. This paper explores Ando’s philosophical background, which seeks to inform the relationship between architecture, humans, and the environment via unique Japanese culture. As a methodology, an existing literature study collected and analyzed various materials necessary to understand Tadao Ando's architectural theory and museum. His workspace's components and details of expression were observed and explored through field visits. Regarding the characteristics of his work, the architectural background and history, and the overall spatial composition and features of the pieces were analyzed with references and drawings. The result showed that Tadao Ando has been constructing architecture using the geometric formative language formed through his experiences in various fields, influenced by Western classical architecture and abstract art. Tadao Ando embodies his attitude towards nature, which is entrenched within him. As a result of a holistic analysis of Tadao Ando's architecture after 1985, It was proven that it is a phenomenon that appears throughout the work, and as the plane of geometry is repeated, the logic of form composition is consistently shown.

Design of Digital Evidence Collection Framework in Social Media Using SNI 27037: 2014

Social media is a place that people use to socialize. In addition to socializing, social media is also often used as a crime medium by certain people. In the evidentiary process, law enforcers have the duty to present the evidence used by the suspect in committing his crime. The method used in collecting digital evidence from social media must have a clear scientific basis and guidelines. If the method used is not known as a theory or method in digital forensics, this will undermine all expert testimony and evidence presented in the court. Making a framework that can be recognized by all judicial administrators (judges, public prosecutors, attorneys for defendants, witnesses and defendants) is a solution that can be used as a standard so that the evidence process runs well. The framework that has been created by the researcher is an update from the previous framework. The framework design is made using the Composite Logic method. The composite logic method will collaborate with the Digital Forensics Investigation Models framework to produce a new framework. Based on existing data and facts, this research has produced a framework with better performance than the previous framework.

Chlorine‐Substituted N‐Heteroacene Analogues Acting as Organic Semiconductors for Solution‐Processed n‐type Organic Field‐Effect Transistors

High performance solution processable n-type organic semiconductor is an essential element to realize low-cost, all organic and flexible composite logic circuits. In the design of n-type semiconducting materials, tuning the LUMO level of compounds is a key point. As a strong electron withdrawing unit, the introduction of chlorine atom into the chemical structure can increase the electron affinity of the material and reduce the LUMO energy level. Here, a series chlorine substituted N-heteroacene analogues of 6,7,8,9-tetrachloro-4,11-bis(4-((2-ethylhexyl)oxy)phenyl)-[1,2,5]thiadiazolo[3,4-b]phenazine (O4Cl), 6,7,8,9-tetrachloro-4,11-bis(4-((2-ethylhexyl)thio)phenyl)-[1,2,5]thiadiazolo[3,4-b]phenazine (S4Cl), 1,2,3,4,8,9,10,11-octachloro-6,13-bis(4-((2-ethylhexyl)oxy)phenyl)quinoxalino[2,3-b]phenazine (8Cl) and 12Cl have been synthesized and characterized. Solution-processed organic field-effect transistors (OFETs) based on these four compounds exhibit good electron mobilities of 0.04 cm2 V-1 s-1 , 0.01 cm2 V-1 s-1 , 2×10-3 cm2 V-1 s-1 and 3×10-3 cm2 V-1 s-1 , respectively, under ambient conditions. The results suggest that these chlorine substituted π-conjugated N-heteroacene analogues are promising n-type semiconductors in OFET applications.

Compositional noninterference on hardware weak memory models

Weak memory models are employed by all modern multicore processors to improve their performance. For most code, the effects of such memory models can be largely ignored by the programmer. However, for low-level operating system or library code which can include data races for efficiency, these effects may lead to information leaks which cannot be detected without taking the specific memory model into account. While there have been some efforts to develop information flow logics which can detect such leaks, the existing approaches are either not compositional, hindering scalability, or support only a limited form of compositionality, reducing applicability to programs with only simple interactions between threads. This paper is the first to provide a compositional logic for enforcing noninterference properties on more complex concurrent algorithms, while taking into account the underlying hardware memory model. It uses rely/guarantee reasoning to establish how security classifications may be modified by concurrent threads, and considers effects of out-of-order execution allowed on modern multicore processors. The results have been formalised and proved sound in the Isabelle/HOL theorem prover, and automated in a prototype symbolic execution tool. • Weak memory models can invalidate rely/guarantee reasoning. • Structured rely/guarantees with additional checks can support general reasoning. • Rely/guarantee reasoning supports compositional information flow analysis.

On the synthetism of artistic thinking in Andrey Eshpai's symphonic painting "Suvorov's Crossing the Alps"

The article attempts to analyze the genre stylistics of Andrei Eshpai's symphonic painting "Suvorov's Crossing the Alps" - a composition combining traditions and innovations. The composer's interest in historical and patriotic themes and the personality of the commander A.V. Suvorov is emphasized. The compositional and dramatic features of the work, revealed through the specifics of language modeling, are chosen as the subject of the study. Awareness of picturesqueness as the main genre-forming factor made it possible to concretize the type of symphonic painting, to identify signs of theatricality in the text. Special attention is paid to programming as the key to understanding the plot of the essay. The author analyzes the language models of the text in the most detail from the perspective of the interdependence of the content and genre-stylistic components. The scientific novelty of the research lies in the musical material under study, which has not been studied before. The research process allowed us to draw conclusions about the uniqueness and individual author's interpretation of the work. It was found that the methods of concretization of the content of language models confirm the presence of a theatrical code not only in the compositional logic, but also in the text of the work itself. The antinomic nature of language models was discovered. Antinomianism in combination with transformational poetics, the high-wave principle of development allowed us to conclude that the combination of signs of symphonism and picturesqueness in the compositional and dramatic solution of the composition determines the universality and synthetism of the composer's thinking.

Membangun Framework Konseptual Terintegrasi Menggunakan Metode Composite Logic untuk Cloud Forensic Readiness pada Organisasi

In the Forensic Readiness approach, incident readiness is the goal of the company or organization in dealing with incidents that may occur. Forensic Readiness can consist of actions or steps, technical and non-technical, that supposedly maximize an organization's ability to use digital evidence. A well-built Cloud Forensic Readiness Framework can help speed up and simplify decision-making regarding an incident occurring in a cloud computing environment. This creates new opportunities for collaboration in the field of digital forensics and cloud computing or cloud computing, so that solutions can be studied and researched by analyzing various literature sources of cloud computing forensic readiness framework and building an integrated cloud forensic readiness framework on an institutional scale using the composite logic method. With the completeness of the readiness framework designed, it is a kind of research that is expected to ease decision making process for organizational stakeholders to handle incident responses.