The syntax and semantics of actors and-agents is rst deened separately, using a uniform, \unbiased" approach. New coordination primitives are the added to the union of the two calculi which allow actors and-agents to cooperate. The syntax and semantics of actors and-agents are rst deened separately, using a uniform, \unbiased" approach. Since we aim at modeling concurrent distributed systems, a...

© Hazard Reduction in Scala Actors

one of the most important preparation steps of co-management projects implementation is recognizing key actors at local community level. these actors can assist managers and planners as local leaders and social powers. by applying social network analysis and centrality index at actors’ level of “goormomenin” common rangeland, kalateh region, daamghan city in this research, social powers and loc...

background although there is a general agreement on the benefits of evidence informed health policy development given resource constraints especially in low-income countries (lics), the definition of what evidence is, and what evidence is suitable to guide decision-making is still unclear. our study is contributing to filling this knowledge gap. we aimed to explore health policy actors’ views r...

This paper presents a newly developed implementation of remote message passing, remote actor creation and actor migration in SALSA Lite. The new runtime and protocols are implemented using SALSA Lite’s lightweight actors and asynchronous message passing, and provide significant performance improvements over SALSA version 1.1.5. Actors in SALSA Lite can now be local, the default lightweight acto...

The long-term objective of our research is the visualization of the simulation of the behavior of realistic human beings, called synthetic actors, in a given environment, interactively decided by the animator. The ultimate reason for developing realistic-looking synthetic actors is to be able to use them in virtually any scene that recreates the real world. However, a virtual scene-beautiful th...

By looking at two recent and widely recognized productions of Henry Purcell’s Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre-director Sebastian Nübling, Basel 2006) this article discusses three main aspects: 1. Genre: Coming from a Tanztheater (Waltz) and a Sprechtheater (Nübling) background, both directors renegotiate conventions of the operatic genre, and consciously ...