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This paper provides a roadmap for the application of dialectics to the study of liveness. The roadmap incorporates the utterance chain from relational dialectics theory to describe live performance in terms of the discursive interplay it generates which gives it meaning. As such, this paper addresses a stated need in the literature on liveness for theoretical development and refinement. The paper also positions itself in approaches to liveness that emphasize relational and communicative elements of performance. It is presented as a case study of Bob Dylan's Rough and Rowdy Ways World-Wide Tour where he surprised audiences by performing Grateful Dead material. [ABSTRACT FROM AUTHOR]

This article explores the fabrication of liveness, understood as a category of affective urgency and narrative motivation, in two reality series derived from a sex tape scandal: Keeping Up with the Kardashians and The Kardashians. The reality programs narratively incorporate Kim's live TV appearances to compensate for the sex tape intertext's incomplete liveness. Consequently, the Kardashian series suggest that live TV might imbue other media genres, like reality TV and sex tapes, with the liveness those genres only partially replicate. At the same time, the Kardashian series indicate a deficiency in live TV's intertextual influence. The two series necessitate artificial liveness, produced through esthetic techniques, and simulated liveness, manufactured from imitations of live TV, to bolster the liveness of Kim's live TV appearances. The Kardashians 's intertext, Saturday Night Live, clarifies this complication in live TV's intertextual impact by parodying live TV's decline as the dominant medium for liveness. [ABSTRACT FROM AUTHOR]

In 2019, I presented a paper at a conference in NUI Maynooth, Ireland that used Kevin Donnelly’s notion of the soundtrack as spectre as the starting point for discussing performativity and presence in the films of Russian director Andrey Zvyagintsev. During the discussion that followed, Danijela Kulezic-Wilson, who was in attendance, raised several observations concerning the relevance of Donnelly’s concept to her own research exploring the integrated soundtrack. This paper essentially seeks to continue that conversation. By revisiting several examples explored in Kulezic-Wilson’s chapter on “Soundtrack’s Liminal Spaces” in Sound Design Is the New Score, alongside others including Nick Cave’s score for The Proposition (John Hillcoat, 2005) and Birdman (Alejandro Iñárritu, 2014), I explore to what extent Donnelly’s analogy can be expanded to consider instances in film where the foregrounding of tactile musical gestures and spatial placement within the audio mix results in a distinctly performative, quasi-physical sensibility that challenges the “insubstantial” status of Donnelly’s spectral presence. Drawing on a broad framework of theoretical concepts including Miguel Mera’s discussion of the haptic score and Paul Sanden’s network of liveness, this paper aims to provide a complimentary perspective to an important aspect of Danijela Kulezic-Wilson’s significant contribution to the study of film sound and music.

Background: Approaches to documenting the software patterns of a system can support intentionally and manually documenting them or automatically extracting them from the source code. Some of the approaches that we review do not maintain proximity between code and documentation. Others do not update the documentation after the code is changed. All of them present a low level of liveness. Approach: This work proposes an approach to improve the understandability of a software system by documenting the design patterns it uses. We regard the creation and the documentation of software as part of the same process and attempt to streamline the two activities. We achieve this by increasing the feedback about the pattern instances present in the code, during development—i.e., by increasing liveness. Moreover, our approach maintains proximity between code and documentation and allows us to visualize the pattern instances under the same environment. We developed a prototype—DesignPatternDoc—for IntelliJ IDEA that continuously identifies pattern instances in the code, suggests them to the developer, generates the respective pattern-instance documentation, and enables live editing and visualization of that documentation. Results: To evaluate this approach, we conducted a controlled experiment with 21 novice developers. We asked participants to complete three tasks that involved understanding and evolving small software systems—up to six classes and 100 lines of code—and recorded the duration and the number of context switches. The results show that our approach helps developers spend less time understanding and documenting a software system when compared to using tools with a lower degree of liveness. Additionally, embedding documentation in the IDE and maintaining it close to the source code reduces context switching significantly. [ABSTRACT FROM AUTHOR]

Using social cognitive theory and notions of sanitized sports violence as a framework, a content analysis of 486 National Football League (NFL) violent penalty calls (unnecessary roughness, roughing the passer) from broadcasts in 2009 and 2019 was conducted. Announcers were largely polarized in their reactions to violent penalties when they were shown on replay. Players were rarely injured and concussions as a key issue were rarely mentioned. Concerns about the effectiveness of NFL rule changes intended to protect players and their influence on announcers' frustration with perceived over-penalization of the game (and audiences as a potential byproduct) are discussed. [ABSTRACT FROM AUTHOR]

Selecting a reliable and stable coordinator is a crucial aspect of distributed systems, often vulnerable to node failures and security breaches. In response to these challenges, we present the Reliable and Stable Coordinator Election Algorithm in Distributed Systems (RSCEA). This algorithm is designed to withstand node failures and security threats during the election process. A key highlight of our approach is the utilization of a preference-based voting mechanism that incorporates essential nodal characteristics into the election procedure. By including nodal properties, the system's robustness is greatly increased, and a long-lasting and dependable coordinator is elected. The complexity of the RSCEA space, execution time and communication complexity were thoroughly examined. The findings show that RSCEA effectively selects a coordinator with linear message complexity proportional to the number of nodal features, denoted as O(n.m) where n is number of nodes and m indicates the number of attributes. RSCEA demonstrates scalability with a storage expense linear in number of nodes, thus markedly enhancing communication efficiency. RSCEA elects a reliable and stable coordinator in distributed networks. Its distinctive design, resilience, and effectiveness make it an important asset in the progression of distributed systems.

This paper presents the provocation that 'unmediatised liveness', or experiences not filtered through digital technology, is vital to performances that promote recovery, resistance, and survival among young people in response to the climate crisis. Our provocation draws from interviews conducted with youth theatre and performance practitioners in Australia whose work addresses the climate crisis holistically across disaster preparedness, first response, disaster recovery, and climate activism. We argue that while mediatised interactions remain a critical element of contemporary youth culture and performance, unmediatised co-presence, artistic collaboration, community action, and activism are crucial in the high-stakes context of Australia's climate crisis. [ABSTRACT FROM AUTHOR]

This article closely examines two recent works for the stage by British conceptualist theatre-maker Tim Crouch, Total Immediate Collective Imminent Terrestrial Salvation (2019) and Truth's a Dog Must to Kennel (2022), discussing in particular the manipulative aspects of community formation accentuated in the former and the slight shift in emphasis towards the collective experience of live theatre apparent in the latter, his first play to be staged after the COVID-19 pandemic. The essay argues that by presenting "parallel worlds" to be measured against the present world of crisis, Crouch's complex metatheatrical work may be seen to explore in practice the ideas of emancipated spectatorship theorised by Jacques Rancière on the one hand and to engage with the influential ideas on community elaborated by Jean-Luc Nancy on the other. Crouch's recent work thus highlights the essential link of community to finitude while maintaining a strong emphasis on imagination being exercised by the individual. [ABSTRACT FROM AUTHOR]

Background Approaches to documenting the software patterns of a system can support intentionally and manually documenting them or automatically extracting them from the source code. Some of the approaches that we review do not maintain proximity between code and documentation. Others do not update the documentation after the code is changed. All of them present a low level of liveness. Approach This work proposes an approach to improve the understandability of a software system by documenting the design patterns it uses. We regard the creation and the documentation of software as part of the same process and attempt to streamline the two activities. We achieve this by increasing the feedback about the pattern instances present in the code, during development—i.e., by increasing liveness. Moreover, our approach maintains proximity between code and documentation and allows us to visualize the pattern instances under the same environment. We developed a prototype—DesignPatternDoc—for IntelliJ IDEA that continuously identifies pattern instances in the code, suggests them to the developer, generates the respective pattern-instance documentation, and enables live editing and visualization of that documentation. Results To evaluate this approach, we conducted a controlled experiment with 21 novice developers. We asked participants to complete three tasks that involved understanding and evolving small software systems—up to six classes and 100 lines of code—and recorded the duration and the number of context switches. The results show that our approach helps developers spend less time understanding and documenting a software system when compared to using tools with a lower degree of liveness. Additionally, embedding documentation in the IDE and maintaining it close to the source code reduces context switching significantly.

This paper deals with the concept of liveness and digital performance during Covid-19 through Dangdut performance. This paper originated because after the spread of the Covid-19 virus in March 2020, Dangdut could not be performed in its regular stages and several performances cancelled. Covid-19 impacted many kinds of performances, but Dangdut is highlighted because the performance stimulates the audience to respond by dancing on the stage and giving tips to the singer (sawer). The live performance creates ambiance, intimacy, and interactivity among the singers, musicians, and audiences. In short, liveness is essential in Dangdut performance. How do musicians sustain live, staged performances of Dangdut during Covid-19? What efforts did the musicians make? How does digital technology assist in the production of liveness for Dangdut? This paper will discuss what has been done by Dangdut actors in media streaming. To articulate the phenomenon, I referred to a debate about the liveness of live performance and live streaming from a performance studies perspective. This paper discusses how performers such as Ndarboy Genk, Guyon Waton, Denny Caknan, and OM Wawes tried to solve the liveness problem. These performances have the intention to enlighten the experience of the liveness in digital performance. These performances proved the resilience of Dangdut agents during the Covid-19. This paper will enrich the point of view of performance studies and popular music studies. Tulisan ini menyoal tentang liveness dan pertunjukan digital di masa Covid-19 melalui pertunjukan Dangdut. Tulisan ini terstimulasi pasca tersebarnya virus Covid-19 pada Maret 2020, Dangdut tidak dapat melakukan pementasan di panggung berkala dan banyak pertunjukan dibatalkan. Covid-19 terjadi dan berimplikasi kepada banyak jenis pertunjukan, tetapi saya menggarisbawahi Dangdut karena panggung Dangdut menstimulasi penonton untuk merespons, semisal berjoged di panggung dan memberi tips kepada penyanyi (sawer). Pertunjukan live mencipta ambiance, keintiman, dan interaktivitas antara penyanyi, musisi, dan penonton. Singkat kata, saya menyadari jika pada pertunjukan Dangdut perihal liveness menjadi esensial. Atas dasar itu, bagaimana musisi bertahan, mementaskan pertunjukan sepanjang Covid-19? Apa upaya yang dibuat oleh musisi? Bagaimana teknologi digital membantu dalam memproduksi liveness? Artikel ini akan menyelisik dan meneliti apa-apa saja yang telah dilakukan oleh agen Dangdut pada media tertayang. Untuk meneliti fenomena ini, Saya merujuk pada perdebatan mengenai liveness pada pertunjukan langsung atau pertunjukan tertaryang dari sudut pandang Performance Studies. Lebih lanjut, artikel ini mendiskusikan bagaimana musisi seperti Ndarboy Genk, Guyon Waton, Denny Caknan, dan OM Wawes mencoba meretas persoalan liveness pada dangdut. Pertunjukan-pertunjukan it memiliki intensi untuk mencerahkan pengalaman akan liveness pada pertunjukan digital. Pertunjukan-pertunjukan itu membuktikan kebertahanan dari agen Dangdut selama Covid-19. Dengan membongkar hal ini, artikel ini akan memperkaya sudut pandang Performance Studies dan kajian musik populer.

Music festivals are increasingly utilizing ICT to augment live music performances. This research project proposes and trials three liveness scales to measure attendee???s perceptions of authenticity regarding liveness across a broad spectrum of formats for, and viewpoints of, live performances at, or emanating from, music festivals. The research addresses the thesis that: It may be possible to develop liveness scales to measure attendee perceptions of liveness regarding ICT-enhanced performances at music festivals. Following item development processes, pretest liveness Likert scales were developed, and two iterations of primary research were carried out to collect and interpret empirical evidence from 164 respondents. Formats and viewpoints generating the greatest acceptance or resistance were identified. Significant differentiation in responses was tested for by gender regarding audience viewpoints and by occupation regarding audience size. Potential to further develop/simplify the liveness scales, and for future research into ICT-enhanced experiences at music festivals, was ascertained. [ABSTRACT FROM AUTHOR]

Successfully attaining consensus in the absence of a centralized coordinator is a fundamental problem in distributed multi-agent systems. We analyze progress in the Synod consensus protocol—which does not assume a unique leader—under the assumptions of asynchronous communication and potential agent failures. We identify a set of sufficient conditions under which it is possible to guarantee that a set of agents will eventually attain consensus using Synod. First, a subset of the agents must not permanently fail or exhibit Byzantine failure until consensus is reached, and second, at least one proposal must be eventually uninterrupted by higher-numbered proposals. To formally reason about agent failures, we introduce a failure-aware actor model (FAM). Using FAM, we model the identified conditions and provide a formal proof of eventual progress in Synod. Our proof has been mechanically verified using the Athena proof assistant and, to the best of our knowledge, it is the first machine-checked proof of eventual progress in Synod. [ABSTRACT FROM AUTHOR]

Based on the assumptions that digital media are used as integrated structures or “polymedia repertoires” and that media practices cannot be treated as unrelated practices performed on distinct platforms, the present study examined the digital sociability of young people and their media prosumption in a polymedia environment. Data were collected from group interviews of 67 12- to 19-year-olds and 59 personal visualised media sketches. The study focused on teenage engagement with news as part of their media repertoires and their understanding of what news is in the context of general platform sociability conditions, including a state of permanent connectedness and constant anticipation of something new. Their sociability based on permanent activity and affective engagement was enabled and framed by the algorithmically produced regime of visibility and the promise of liveness. The findings indicated that an important consequence of the increased fragmentation of activities is the naturalisation of the performance of multiple media practices at the same time. Although the complexity of such performance, even among teenagers, revealed socially distinctive categories, clear hierarchies between types of practices—such as watching news or pop culture, online shopping and doing homework—and the cultural differentiation of the dominant contexts for these practices—such as school and leisure—were eroded. The contexts of school, home, and leisure thus collapse, and the definition of important news journalism becomes highly unstable, with the distinction between pop and politics generally disintegrating.

As on-demand media claim an increasing amount of the time we spend on digital media, traditional broadcasters have adopted video on-demand (VoD) services as a means of presenting their programmes. This article analyses two Danish VoD services offered by legacy broadcasters – that is, BVoD services. It argues that the traditional features of broadcast television, to communicate liveness and immediacy, are reappropriated in the publishing practices of the BVoD services. With an analytical focus on the use of temporal paratexts, the article finds that whereas both services emphasise liveness and immediacy in their publishing practices, they apply different means of expressing the temporal qualities. These differences can be attributed to organisational differences. Finally, the article concludes that competitiveness, distinctiveness, and the public service identity of the broadcasters are explanatory factors for the reappropriation of time-structured publishing in the two Danish BVoD services DRTV and TV 2 Play.

This paper deals with the supervisory control problem of discrete event systems modeled by labeled Petri nets. The system is originally unbounded. First, the solvability of the problem is confirmed. A necessary condition is given and proven for the existence of a feasible priority-based controller based on the notions of liveness and transition invariants. Next, a cyclic behavior graph is constructed, which shows the reachable markings that guarantee the maximum liveness of the system within a given bound vector. Finally, an on-line control strategy is proposed to enforce boundedness and liveness to the given system by appending priority relations to transitions. The dynamic priority relation changes flexibly according to the current state of the system and enforces the system evolving in a bounded and live manner. In addition, numerical examples are studied to verify the validity of the proposed approach that remains the structure of the plant net and is efficient for on-line control.

Al festival Drodesera / Supercontinent 2017 è stata presentata l’opera The Perfumed Garden / Hekmat, xx dell’artista libanese Raafat Majzoub. Parte di un più ampio progetto di scrittura di un romanzo seriale che ha avuto origine nel 2012 e che tuttora non è stato completato, in questa tappa Majzoub partecipa all’installazione scrivendo un nuovo capitolo del romanzo mentre si trova nella propria residenza a Beirut. A differenza di altre tappe che vedevano presente l’autore, Hekmat, xx / Dro si confronta con una particolare modalità di fruizione che discute il grado di presenza/assenza dell’artista, riconfigurato attraverso il passaggio mimetico nella forma narrativa e l’intervento a distanza. Aggiornando in tempo reale un documento condiviso sulla piattaforma Google Drive che viene visualizzato sullo schermo di un laptop, l’artista rende visibile al fruitore l’atto di creazione di un brano di testo pur non essendo fisicamente presente. Il gruppo dei fruitori abita e interagisce (ascoltando, guardando, agendo) in uno spazio fisico ed entra in una specifica e complessa relazione con l’autore. Esaminando gli scritti critici dell’artista e confrontandoli con formulazioni teoriche, il saggio analizza il progetto di Majzoub approfondendo un esperimento che impiega diversi gradi della performance mediata per esprimere una serie di istanze artistiche, filosofiche e politiche.

Negli anni della pandemia, si è assistito a un’ampia sperimentazione nel campo dello spettacolo dal vivo, che ha visto la nascita di nuove forme artistiche sfruttando le potenzialità, ma anche i limiti, delle piattaforme digitali. Questo saggio si propone di delineare la natura degli Oggetti Teatrali Online Non Identificati (OTONI) come una realtà distintiva, analizzandoli attraverso il concetto di mediatizzazione. La mediatizzazione degli OTONI coinvolge sia la loro forma drammaturgica sia quella performativa, caratterizzandosi per un nuovo tipo di patto empatico con lo spettatore, per la loro natura deterritorializzata ed effimera now everywhere, e per l'assimilazione di logiche e linguaggi digitali sia nella strutturazione formale che nella drammaturgia.

This paper is going to discuss, what will be called, 'The Internet of Bodies'. Our physical and virtual worlds are blending and shifting our understanding of three key areas: (1) our identities are diversifying, as they become hyper-enhanced and multi-sensory; (2) our collaborations are co-created, immersive and connected; (3) our innovations are diverse and inclusive. It is proposed that our bodies have finally become the interface. [ABSTRACT FROM AUTHOR]

Based on the assumptions that digital media are used as integrated structures or "polymedia repertoires" and that media practices cannot be treated as unrelated practices performed on distinct platforms, the present study examined the digital sociability of young people and their media prosumption in a polymedia environment. Data were collected from group interviews of 67 12- to 19-year-olds and 59 personal visualised media sketches. The study focused on teenage engagement with news as part of their media repertoires and their understanding of what news is in the context of general platform sociability conditions, including a state of permanent connectedness and constant anticipation of something new. Their sociability based on permanent activity and affective engagement was enabled and framed by the algorithmically produced regime of visibility and the promise of liveness. The findings indicated that an important consequence of the increased fragmentation of activities is the naturalisation of the performance of multiple media practices at the same time. Although the complexity of such performance, even among teenagers, revealed socially distinctive categories, clear hierarchies between types of practices--such as watching news or pop culture, online shopping and doing homework--and the cultural differentiation of the dominant contexts for these practices--such as school and leisure--were eroded. The contexts of school, home, and leisure thus collapse, and the definition of important news journalism becomes highly unstable, with the distinction between pop and politics generally disintegrating. [ABSTRACT FROM AUTHOR]

Sarah Kate Wilsons's article 'Painting's liveness' is written from her vantage point, as an artist/curator/researcher/collaborator/educator. Here she reveals how painting's relationship with performance, particularly during the second part of the twentieth century, has led to painting's liveness. This, she asserts, is apparent in paintings by Daniel Buren, Robert Rauschenberg, Yoko Ono, works by the Gutai Art Association and performances by Ei Arakawa. The inauguration of a performance programme at Bauhaus in Germany, Black Mountain College in America and the formation of the Gutai Art Association in Japan are highlighted by Wilson as important milestones. Writing by RoseLee Goldberg and Peggy Phelan on performance, J. L. Austin's speech act theory as well as Satori, an expression from Zen Buddhism meaning enlightenment, are woven into this text. David Joselit's declaration that the medium of painting is live and 'On Air' is drawn into her argument for painting's liveness, whilst Catherine Wood's curatorial project A Bigger Splash: Painting After Performance (2012) Tate Modern, London and her own curatorial project Painting in Time (2015–16) set the stage for this text. [ABSTRACT FROM AUTHOR]

This article critically analyzes the BeReal social media platform, considering how its infrastructure enables a new kind of networked public. I utilize the walkthrough method to examine how BeReal's "environment of expected use" and vision aims to instill authenticity as a value and ideal for users. I also employ the concept of networked public as a framework to understand how BeReal organizes attention and action through networked technologies that create both a mediated space and collection of people. From this analysis of BeReal's digital structure, I develop the concept of a live networked public to characterize BeReal's ability to coordinate interpersonal and global connections to a specific temporality. Furthermore, I connect live networked public to a concept of authenticity in the app's design by arguing that BeReal's concept of "realness" is contingent on its unique affordances. Particular features not only support the core network public on the app, but guide behaviors to encourage a particular version of "sporadic" authenticity. This version is useful for BeReal's branding as the "most authentic" platform in competition with other social media apps. This work combines scholarship on networked publics and affordances, with that on liveness—specifically online and group liveness. Given that BeReal's skyrocketing popularity tapered off, this study also highlights the importance of analyzing newcomers to the social media ecosystem that promise and play with new ways of being and interacting online. [ABSTRACT FROM AUTHOR]

Not all information communication technologies are liked equally by their intended users. Situated within media richness and media ritual theories, this study conceptualizes the notion of liveness for live video streaming and its implementation for Facebook Live. A longitudinal analysis of 21 top hit radio stations in the United States in the years 2016 and 2018 found that, overall, Facebook Live did not garner audience approval. A closer examination of the Facebook Live content showed that while in-studio content featuring radio announcers in their traditional setup did not solicit followers' likes, Facebook Live posts that featured out-of-studio locations gained more approval in 2018. These findings show how technological-algorithmic platforms are leveraged by radio stations, even if they are not endorsed by social media users. The implication of these findings is that the meaningful integration of video live streaming is still negotiated on social media platforms. [ABSTRACT FROM AUTHOR]

VR technologies occupy a peculiar position in the contemporary media landscape. Periodically, they seem to be at the dawn of a popularisation which, however, struggles to actualise. They have a central place in marketing discourses, in the film and video game industries, in cultural heritage and artistic experimentation, but their actual diffusion have hardly achieved the status of a mass phenomenon. This eccentricity to the mainstream does not necessarily make it an object of the elite since it embodies a conflict between imaginary and empirical uses where numerous tensions of contemporary aesthetic forms clash. This exploratory study investigates the role of the VR medium theatrical performance, analysing how spectators construct their spectatorial position between the theatrical dispositif and the virtual reality medium. The research asks what kind of liveness is involved in this genre of performance. The case study is La Mappa del Cuore di Lea Melandri in VR, by Ateliersi The case is investigated through in-depth interviews with spectators and the creators of the performance. The results show that the frame of the VR medium as "attraction" is still central. Furthermore, it emerges how the audience recognises a specific gradient of liveness to the work given by the coconstruction of the vision and the entrance into the performance space, while mentioning copresence with the audience and simultaneity among the main deficiencies. [ABSTRACT FROM AUTHOR]

This article focuses on the digital adaptations of Shakespeare’s plays which have been produced and/or broadcast during the Covid-19 pandemic. It reflects on three assumptions in particular: that digital theatre is not “real” theatre, that audiences were not active participants during these online performances, and that digital theatre was a simple parenthesis which would close as soon as theatres would open again. I argue that, on the contrary, online theatre has taught us about the limitations of physical theatre and should inspire us to make it more accessible. Shakespeare’s plays appear as an experimental ground to implement these changes.

A contraction of two words: monologue and vlog, the monoVlog is a hybrid performance genre developed during the Covid-19 pandemic. While the monoVlog is similar to vlogging and to the performance of a monologue, the monoVlog differs from vlogging because a vlog has not always been live. Several vloggers produce content by recording themselves prior to its online premiere. On the other hand, the monoVlog has a shorter duration compared to most monologues performed on stage. This article is an interview-essay regarding the monoVlog. The aim of the paper is to document the form and to produce a preliminary speculation regarding the future direction of the form. At the same time, it is intended to transfer the ideas of Layeta Bucoy, the figure behind the performance form, to academic writing. Finally, the paper aims to include the monoVlog in the archive of performance practices of the Philippines. The archiving of the form is intended for the future generation of performance artists and scholars and for them to understand that despite crisis such as the Covid-19, the resiliency and creativity of the Filipino artists continue to persist. The final section of the article is the play JonaLive, two short monoVlogs combined as one-act-play by Bucoy. An example is provided to understand the dramatic aspect of the form and at the same time, its vlog aspect. [ABSTRACT FROM AUTHOR]

This article demonstrates how the concept of paratexts can be employed in the analysis of unfolding sports events. Drawing on the work of Jonathan Gray and Matt Hills, it reflects on the "extended presence" of sports events across media, space, and time - how meaning is created before, during, and after their apparent conclusion, and how their mediated "centres" appear to move in the process. By way of illustration, it examines a boxing event in early 2023 involving the popular British boxers Chris Eubank Jr. and Liam Smith; however, it focuses on the events before the event - namely, the preceding press conference and weigh-in - and suggests that these "entryway events" were paratextually significant in shaping expectations and attitudes towards the "main event". The article also demonstrates how sports events feed into wider processes of social inclusion and exclusion, often acting as lightning rods for public discussions of socio-political issues, such as race, class, gender, and (in this case) sexual orientation. [ABSTRACT FROM AUTHOR]

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We introduce a meta-model based on formal languages, dubbed formal choreographic languages, to study message-passing systems. Our framework allows us to generalise standard constructions from the literature and to compare them. In particular, we consider notions such as global view, local view, and projections from the former to the latter. The correctness of local views projected from global views is characterised in terms of a closure property. We consider a number of communication properties -such as (dead)lock-freedom- and give conditions on formal choreographic languages to guarantee them. Finally, we show how formal choreographic languages can capture existing formalisms; specifically we consider communicating finite-state machines, choreography automata, and multiparty session types. Notably, formal choreographic languages, differently from most approaches in the literature, can naturally model systems exhibiting non-regular behaviour. [ABSTRACT FROM AUTHOR]

Weighted Petri nets are common tools for modeling and validating discrete event systems involving resource allocation, such as flexible manufacturing systems (FMSs). A subclass of weighted Petri nets called a system of sequential systems with shared resources (S4R) has the power for modeling complex FMSs where the execution of an operation may require multiple resource types and multiple units of some resource types. Deadlock resolution is a crucial issue for the operation of an FMS. A direct and efficient policy is developed in this paper for detecting deadlock markings by extracting a weighted resource flow graph (WRFG) from an S4R and recovering them by synthesizing a recovery-transition-based controller. This study contributes to the field with five folds: 1) with S4R, an efficient integrated policy is put forward for robust supervisor synthesis; 2) it enhances an algorithm for extracting the WRFG from an S4R to reveal the shared resource competitions by different processes; 3) to detect partial deadlock markings, a technique for finding weighted circular wait graphs (WCWGs) in WRFG is presented; 4) with WCWGs, an algorithm is designed for the design of recovery-transition-based controller such that the resulting controlled system becomes deadlock-free; and 5) it presents a comprehensive analysis to demonstrate the proposed method by using the Integrated Net Analyzer (INA). With the proposed policy, it is not necessary to generate a reachability graph, making the method efficient. Finally, the performance of the proposed policy is illustrated by some commonly used examples.