ACTOR-ACTOR INTERACTION ANALYSIS – BLUEPRINT

eJournal: uffmm.org,
ISSN 2567-6458, 13.February 2019
Email: info@uffmm.org
Author: Gerd Doeben-Henisch
Email: gerd@doeben-henisch.de

Last corrections: 14.February 2019 (add some more keywords; added  emphasizes for central words)

CONTEXT

An overview to the enhanced AAI theory  version 2 you can find here.  In this post we talk about the   chapter dealing with the blueprint  of the whole  AAI analysis process (but leaving out the topic of actor models (AM) and the topic of simulation. For these topics see other posts).

THE AAI ANALYSIS BLUEPRINT

Blueprint of the whole AAI analysis process including the epistemological assumptions. Not shown here is the whole topic of actor models (AM) and as well simulation.
Blueprint of the whole AAI analysis process including the epistemological assumptions. Not shown here is the whole topic of actor models (AM) and as well simulation.

The Actor-Actor Interaction (AAI) analysis is understood here as part of an  embracing  systems engineering process (SEP), which starts with the statement of a problem (P) which includes a vision (V) of an improved alternative situation. It has then to be analyzed how such a new improved situation S+ looks like; how one can realize certain tasks (T)  in an improved way.

DRIVING ACTORS

The driving actors for such an AAI analysis are some stakeholders which communicate a problem P and a vision V and some experts with at least some AAI experts, which take the lead in the process of elaborating the vision.

EPISTEMOLOGY

It has to be taken into account that the driving actors are able to do this job because they  have in their bodies brains (BRs) which in turn include  some consciousness (CNS). The processes and states beyond the consciousness are here called ‘unconscious‘ and the set of all these unconscious processes is called ‘the Unconsciousness’ (UCNS).

SEMIOTIC SUBSYSTEM

An important set of substructures of the unconsciousness are those which enable symbolic language systems with so-called expressions (L) on one side and so-called non-expressions (~L) on the other. Embedded in a meaning relation (MNR) does the set of non-expressions ~L  function as the meaning (MEAN) of the expressions L, written as a mapping MNR: L <—> ~L. Depending from the involved sensors the expressions L can occur either as acoustic events L_spk, or as visual patterns written L_txt or visual patterns as pictures L_pict or even in other formats, which will not discussed here. The non-expressions can occur in every format which the brain can handle.

While written (symbolic) expressions L are only associated with the intended meaning through encoded mappings in the brain,  the spoken expressions L_spk as well as the pictorial ones L_pict can show some similarities with the intended meaning. Within acoustic  expressions one can ‘imitate‘ some sounds which are part of a meaning; even more can the pictorial expressions ‘imitate‘ the visual experience of the intended meaning to a high degree, but clearly not every kind of meaning.

DEFINING THE MAIN POINT OF REFERENCE

Because the space of possible problems and visions it nearly infinite large one has to define for a certain process the problem of the actual process together with the vision of a ‘better state of the affairs’. This is realized by a description of he problem in a problem document D_p as well as in a vision statement D_v. Because usually a vision is not without a given context one has to add all the constraints (C) which have to be taken into account for the possible solution.  Examples of constraints are ‘non-functional requirements’ (NFRs) like “safety” or “real time” or “without barriers” (for handicapped people).

AAI ANALYSIS – BASIC PROCEDURE

If the AAI check has been successful and there is at least one task T to be done in an assumed environment ENV and there are at least one executing actor A_exec in this task as well as an assisting actor A_ass then the AAI analysis can start.

ACTOR STORY (AS)

The main task is to elaborate a complete description of a process which includes a start state S* and a goal state S+, where  the participating executive actors A_exec can reach the goal state S+ by doing some actions. While the imagined process p_v  is a virtual (= cognitive/ mental) model of an intended real process p_e, this intended virtual model p_e can only be communicated by a symbolic expressions L embedded in a meaning relation. Thus the elaboration/ construction of the intended process will be realized by using appropriate expressions L embedded in a meaning relation. This can be understood as a basic mapping of sensor based perceptions of the supposed real world into some abstract virtual structures automatically (unconsciously) computed by the brain. A special kind of this mapping is the case of measurement.

In this text especially three types of symbolic expressions L will be used: (i) pictorial expressions L_pict, (ii) textual expressions of a natural language L_txt, and (iii) textual expressions of a mathematical language L_math. The meaning part of these symbolic expressions as well as the expressions itself will be called here an actor story (AS) with the different modes  pictorial AS (PAS), textual AS (TAS), as well as mathematical AS (MAS).

TAR AND AAR

If the actor story is completed (in a certain version v_i) then one can extract from the story the input-output profiles of every participating actor. This list represents the task-induced actor requirements (TAR).  If one is looking for concrete real persons for doing the job of an executing actor the TAR can be used as a benchmark for assessing candidates for this job. The profiles of the real persons are called here actor-actor induced requirements (AAR), that is the real profile compared with the ideal profile of the TAR. If the ‘distance’ between AAR and TAR is below some threshold then the candidate has either to be rejected or one can offer some training to improve his AAR; the other option is to  change the conditions of the TAR in a way that the TAR is more closer to the AARs.

The TAR is valid for the executive actors as well as for the assisting actors A_ass.

CONSTRAINTS CHECK

If the actor story has in some version V_i a certain completion one has to check whether the different constraints which accompany the vision document are satisfied through the story: AS_vi |- C.

Such an evaluation is only possible if the constraints can be interpreted with regard to the actor story AS in version vi in a way, that the constraints can be decided.

For many constraints it can happen that the constraints can not or not completely be decided on the level of the actor story but only in a later phase of the systems engineering process, when the actor story will be implemented in software and hardware.

MEASURING OF USABILITY

Using the actor story as a benchmark one can test the quality of the usability of the whole process by doing usability tests.

 

 

 

 

 

 

 

 

 

 

 

ACTOR-ACTOR INTERACTION [AAI] WITHIN A SYSTEMS ENGINEERING PROCESS (SEP). An Actor Centered Approach to Problem Solving

eJournal: uffmm.org, ISSN 2567-6458
Email: info@uffmm.org

Author: Gerd Doeben-Henisch

Email: gerd@doeben-henisch.de

Draft version 22.June 2018

Update 26.June 2018 (Chapter AS-AM Summary)

Update 4.July 2018 (Chapter 4 Actor Model; improving the terminology of environments with actors, actors as input-output systems, basic and real interface, a first typology of input-output systems…)

Update 17.July 2018 (Preface, Introduction new)

Update 19.July 2018 (Introduction final paragraph!, new chapters!)

Update 20.July 2018 (Disentanglement of chapter ‘Simulation & Verification’ into two independent chapters; corrections in the chapter ‘Introduction’; corrections in chapter ‘AAI Analysis’; extracting ‘Simulation’ from chapter ‘Actor Story’ to new chapter ‘Simulation’; New chapter ‘Simulation’; Rewriting of chapter ‘Looking Forward’)

Update 22.July 2018 (Rewriting the beginning of the chapter ‘Actor Story (AS)’, not completed; converting chapter ‘AS+AM Summary’ to ‘AS and AM Philosophy’, not completed)

Update 23.July 2018 (Attaching a new chapter with a Case Study illustrating an actor story (AS). This case study is still unfinished. It is a case study of  a real project!)

Update 7.August 2018 (Modifying chapter Actor Story, the introduction)

Update 8.August 2018 (Modifying chapter  AS as Text, Comic, Graph; especially section about the textual mode and the pictorial mode; first sketch for a mapping from the textual mode into the pictorial mode)

Update 9.August 2018 (Modification of the section ‘Mathematical Actor Story (MAS) in chapter 4).

Update 11.August 2018 (Improving chapter 3 ‘Actor Story; nearly complete rewriting of chapter 4 ‘AS as text, comic, graph’.)

Update 12.August 2018 (Minor corrections in the chapters 3+4)

Update 13.August 2018 (I am still catched by the chapters 3+4. In chapter  the cognitive structure of the actors has been further enhanced; in chapter 4 a complete example of a mathematical actor story could now been attached.)

Update 14.August 2018 (minor corrections to chapter 4 + 5; change-statements define for each state individual combinatorial spaces (a little bit like a quantum state); whether and how these spaces will be concretized/ realized depends completely from the participating actors)

Update 15.August 2018 (Canceled the appendix with the case study stub and replaced it with an overview for  a supporting software tool which is needed for the real usage of this theory. At the moment it is open who will write the software.)

Update 2.October 2018 (Configuring the whole book now with 3 parts: I. Theory, II. Application, III. Software. Gerd has his focus on part I, Zeynep will focus on part II and ‘somebody’ will focus on part III (in the worst case we will — nevertheless — have a minimal version :-)). For a first quick overview about everything read the ‘Preface’ and the ‘Introduction’.

Update 4.November 2018 (Rewriting the Introduction (and some minor corrections in the Preface). The idea of the rewriting was to address all the topics which will be discussed in the book and pointing out to the logical connections between them. This induces some wrong links in the following chapters, which are not yet updated. Some chapters are yet completely missing. But to improve the clearness of the focus and the logical inter-dependencies helps to elaborate the missing texts a lot. Another change is the wording of the title. Until now it is difficult to find a title which is exactly matching the content. The new proposal shows the focus ‘AAI’ but lists the keywords of the main topics within AAA analysis because these topics are usually not necessarily associated with AAI.)

ACTOR-ACTOR INTERACTION [AAI]. An Actor Centered Approach to Problem Solving. Combining Engineering and Philosophy

by

GERD DOEBEN-HENISCH in cooperation with  LOUWRENCE ERASMUS, ZEYNEP TUNCER

LATEST  VERSION AS PDF

BACKGROUND INFORMATION 19.Dec.2018: Application domain ‘Communal Planning and e-Gaming’

BACKGROUND INFORMATION 24.Dec.2018: The AAI-paradigm and Quantum Logic

PRE-VIEW: NEW EXPANDED AAI THEORY 23.January 2019: Outline of the new expanded  AAI Paradigm. Before re-writing the main text with these ideas the new advanced AAI theory will first be tested during the summer 2019 within a lecture with student teams as well as in  several workshops outside the Frankfurt University of Applied Sciences with members of different institutions.

AASE – Actor-Actor Systems Engineering. Theory & Applications. Micro-Edition (Vers.9)

eJournal: uffmm.org, ISSN 2567-6458
13.June  2018
Email: info@uffmm.org
Authors: Gerd Doeben-Henisch, Zeynep Tuncer,  Louwrence Erasmus
Email: doeben@fb2.fra-uas.de
Email: gerd@doeben-henisch.de

PDF

CONTENTS

1 History: From HCI to AAI …
2 Different Views …
3 Philosophy of the AAI-Expert …
4 Problem (Document) …
5 Check for Analysis …
6 AAI-Analysis …
6.1 Actor Story (AS) . . . . . . . . . . . . . . . . . . . . . . . . .
6.1.1 Textual Actor Story (TAS) . . . . . . . . . . . . . . .
6.1.2 Pictorial Actor Story (PAT) . . . . . . . . . . . . . .
6.1.3 Mathematical Actor Story (MAS) . . . . . . . . . . .
6.1.4 Simulated Actor Story (SAS) . . . . . . . . . . . . .
6.1.5 Task Induced Actor Requirements (TAR) . . . . . . .
6.1.6 Actor Induced Actor Requirements (UAR) . . . . . .
6.1.7 Interface-Requirements and Interface-Design . . . .
6.2 Actor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6.2.1 Actor and Actor Story . . . . . . . . . . . . . . . . .
6.2.2 Actor Model . . . . . . . . . . . . . . . . . . . . . .
6.2.3 Actor as Input-Output System . . . . . . . . . . . .
6.2.4 Learning Input-Output Systems . . . . . . . . . . . .
6.2.5 General AM . . . . . . . . . . . . . . . . . . . . . .
6.2.6 Sound Functions . . . . . . . . . . . . . . . . . . .
6.2.7 Special AM . . . . . . . . . . . . . . . . . . . . . .
6.2.8 Hypothetical Model of a User – The GOMS Paradigm
6.2.9 Example: An Electronically Locked Door . . . . . . .
6.2.10 A GOMS Model Example . . . . . . . . . . . . . . .
6.2.11 Further Extensions . . . . . . . . . . . . . . . . . .
6.2.12 Design Principles; Interface Design . . . . . . . . .
6.3 Simulation of Actor Models (AMs) within an Actor Story (AS) .
6.4 Assistive Actor-Demonstrator . . . . . . . . . . . . . . . . . .
6.5 Approaching an Optimum Result . . . . .
7 What Comes Next: The Real System
7.1 Logical Design, Implementation, Validation . . . .
7.2 Conceptual Gap In Systems Engineering? . . .
8 The AASE-Paradigm …
References

Abstract

This text is based on the the paper “AAI – Actor-Actor Interaction. A Philosophy of Science View” from 3.Oct.2017 and version 11 of the paper “AAI – Actor-Actor Interaction. An Example Template” and it   transforms these views in the new paradigm ‘Actor- Actor Systems Engineering’ understood as a theory as well as a paradigm for and infinite set of applications. In analogy to the slogan ’Object-Oriented Software Engineering (OO SWE)’ one can understand the new acronym AASE as a systems engineering approach where the actor-actor interactions are the base concepts for the whole engineering process. Furthermore it is a clear intention to view the topic AASE explicitly from the point of view of a theory (as understood in Philosophy of Science) as well as from the point of view of possible applications (as understood in systems engineering). Thus the classical term of Human-Machine Interaction (HMI) or even the older Human-Computer Interaction (HCI) is now embedded within the new AASE approach. The same holds for the fuzzy discipline of Artificial Intelligence (AI) or the subset of AI called Machine Learning (ML). Although the AASE-approach is completely in its beginning one can already see how powerful this new conceptual framework  is.

 

 

AAI – Actor-Actor Interaction. A Toy-Example, No.1

eJournal: uffmm.org, ISSN 2567-6458
13.Dec.2017
Email: info@uffmm.org

Author: Gerd Doeben-Henisch
Email: gerd@doeben-henisch.de

Contents

1 Problem ….. 3
2 AAI-Check ….. 3
3 Actor-Story (AS) …..  3
3.1 AS as a Text . . . . . . . . . . . . . . . . . .3
3.2 Translation of a Textual AS into a Formal AS …… 4
3.3 AS as a Formal Expression . . . . . . . . . .4
3.4 Translation of a Formal AS into a Pictorial AS… 5
4 Actor-Model (AM) …..  5
4.1 AM for the User as a Text . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . .6
4.2 AM for the System as a Text . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
5 Combined AS and AM as a Text …..  6
5.1 AM as an Algorithm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
6 Simulation …..  7
6.1 Simulating the AS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
6.2 Simulating the AM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
6.3 Simulating AS with AM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
7 Appendix: Formalisms ….. 8
7.1 Set of Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
7.2 Predicate Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
8 Appendix: The Meaning of Expressions …11
8.1 States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
8.2 Changes by Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Abstract

Following the general concepts of the paper ’AAI – Actor-Actor Interaction. A Philosophy of Science View’ from 3.Oct.2017 this paper illustrates a simple application where the difference as well as the
interaction between an actor story and several actor models is shown. The details of interface-design as well as the usability-testing are not part of this example.(This example replaces the paper with the title
’AAI – Case Study Actor Story with Actor Model. Simple Grid-Environment’ from 15.Nov.2017). One special point is the meaning of the formal expressions of the actor story.

Attention: This toy example is not yet in fully conformance with the newly published Case-Study-Template

To read the full text see PDF

Clearly, one can debate whether a ‘toy-example’ makes sens, but the complexity of the concepts in this AAI-approach is to great to illustrate these in the beginning  with a realistic example without loosing the idea. The author of the paper has tried many — also very advanced — versions in the last years and this is the first time that he himself has the feeling that at least the idea is now clear enough. And from teaching students it is very clear, if you cannot explain an idea in a toy-example you never will be able to apply it to real big problems…

 

AAI – Actor-Actor Interaction. A Philosophy of Science View

AAI – Actor-Actor Interaction.
A Philosophy of Science View
eJournal: uffmm.org, ISSN 2567-6458

Gerd Doeben-Henisch
info@uffmm.org
gerd@doeben-henisch.de

PDF

ABSTRACT

On the cover page of this blog you find a first general view on the subject matter of an integrated engineering approach for the future. Here we give a short description of the main idea of the analysis phase of systems engineering how this will be realized within the actor-actor interaction paradigm as described in this text.

INTRODUCTION

Overview of the analysis phase of systems engineering as realized within an actor-actor interaction paradigm
Overview of the analysis phase of systems engineering as realized within an actor-actor interaction paradigm

As you can see in figure Nr.1 there are the following main topics within the Actor-Actor Interaction (AAI) paradigm as used in this text (Comment: The more traditional formula is known as Human-Machine Interaction (HMI)):

Triggered by a problem document D_p from the problem phase (P) of the engineering process the AAI-experts have to analyze, what are the potential requirements following from this document, all the time also communicating with the stakeholder to keep in touch with the hidden intentions of the stakeholder.

The idea is to identify at least one task (T) with at least one goal state (G) which shall be arrived after running a task.

A task is assumed to represent a sequence of states (at least a start state and a goal state) which can have more than one option in every state, not excluding repetitions.

Every task presupposes some context (C) which gives the environment for the task.

The number of tasks and their length is in principle not limited, but their can be certain constraints (CS) given which have to be fulfilled required by the stakeholder or by some other important rules/ laws. Such constraints will probably limit the number of tasks as well as their length.

Actor Story

Every task as a sequence of states can be viewed as a story which describes a process. A story is a text (TXT) which is static and hides the implicit meaning in the brains of the participating actors. Only if an actor has some (learned) understanding of the used language then the actor is able to translate the perceptions of the process in an appropriate text and vice versa the text into corresponding perceptions or equivalently ‘thoughts’ representing the perceptions.

In this text it is assumed that a story is describing only the observable behavior of the participating actors, not their possible internal states (IS). For to describe the internal states (IS) it is further assumed that one describes the internal states in a new text called actor model (AM). The usual story is called an actor story (AS). Thus the actor story (AS) is the environment for the actor models (AM).

In this text three main modes of actor stories are distinguished:

  1. An actor story written in some everyday language L_0 called AS_L0 .
  2. A translation of the everyday language L_0 into a mathematical language L_math which can represent graphs, called AS_Lmath.
  3. A translation of the hidden meaning which resides in the brains of the AAI-experts into a pictorial language L_pict (like a comic strip), called AS_Lpict.

To make the relationship between the graph-version AS_Lmath and the pictorial version AS_Lpict visible one needs an explicit mapping Int from one version into the other one, like: Int : AS_Lmath <—> AS_Lpict. This mapping Int works like a lexicon from one language into another one.

From a philosophy of science point of view one has to consider that the different kinds of actor stories have a meaning which is rooted in the intended processes assumed to be necessary for the realization of the different tasks. The processes as such are dynamic, but the stories as such are static. Thus a stakeholder (SH) or an AAI-expert who wants to get some understanding of the intended processes has to rely on his internal brain simulations associated with the meaning of these stories. Because every actor has its own internal simulation which can not be perceived from the other actors there is some probability that the simulations of the different actors can be different. This can cause misunderstandings, errors, and frustrations.(Comment: This problem has been discussed in [DHW07])

One remedy to minimize such errors is the construction of automata (AT) derived from the math mode AS_Lmath of the actor stories. Because the math mode represents a graph one can derive Der from this version directly (and automatically) the description of an automaton which can completely simulate the actor story, thus one can assume Der(AS_Lmath) = AT_AS_Lmath.

But, from the point of view of Philosophy of science this derived automaton AT_AS_Lmath is still only a static text. This text describes the potential behavior of an automaton AT. Taking a real computer (COMP) one can feed this real computer with the description of the automaton AT AT_AS_Lmath and make the real computer behave like the described automaton. If we did this then we have a real simulation (SIM) of the theoretical behavior of the theoretical automaton AT realized by the real computer COMP. Thus we have SIM = COMP(AT_AS_Lmath). (Comment: These ideas have been discussed in [EDH11].)

Such a real simulation is dynamic and visible for everybody. All participating actors can see the same simulation and if there is some deviation from the intention of the stakeholder then this can become perceivable for everybody immediately.

Actor Model

As mentioned above the actor story (AS) describes only the observable behavior of some actor, but not possible internal states (IS) which could be responsible for the observable behavior.

If necessary it is possible to define for every actor an individual actor model; indeed one can define more than one model to explore the possibilities of different internal structures to enable a certain behavior.

The general pattern of actor models follows in this text the concept of input-output systems (IOSYS), which are in principle able to learn. What the term ‘learning’ designates concretely will be explained in later sections. The same holds of the term ‘intelligent’ and ‘intelligence’.

The basic assumptions about input-output systems used here reads a follows:

Def: Input-Output System (IOSYS)

IOSYS(x) iff x=< I, O, IS, phi>
phi : I x IS —> IS x O
I := Input
O := Output
IS := Internal

As in the case of the actor story (AS) the primary descriptions of actor models (AM) are static texts. To make the hidden meanings of these descriptions ‘explicit’, ‘visible’ one has again to convert the static texts into descriptions of automata, which can be feed into real computers which in turn then simulate the behavior of these theoretical automata as a real process.

Combining the real simulation of an actor story with the real simulations of all the participating actors described in the actor models can show a dynamic, impressive process which is full visible to all collaborating stakeholders and AAI-experts.

Testing

Having all actor stories and actor models at hand, ideally implemented as real simulations, one has to test the interaction of the elaborated actors with real actors, which are intended to work within these explorative stories and models. This is done by actor tests (former: usability tests) where (i) real actors are confronted with real tasks and have to perform in the intended way; (ii) real actors are interviewed with questionnaires about their subjective feelings during their task completion.

Every such test will yield some new insights how to change the settings a bit to gain eventually some improvements. Repeating these cycles of designing, testing, and modifying can generate a finite set of test-results T where possibly one subset is the ‘best’ compared to all the others. This can give some security that this design is probably the ‘relative best design’ with regards to T.

Further Readings:

  1. Analysis
  2. Simulation
  3. Testing
  4. User Modeling
  5. User Modeling and AI

For a newer version of the AAi-text see HERE..

REFERENCES

[DHW07] G. Doeben-Henisch and M. Wagner. Validation within safety critical systems engineering from a computation semiotics point of view.
Proceedings of the IEEE Africon2007 Conference, pages Pages: 1 – 7, 2007.
[EDH11] Louwrence Erasmus and Gerd Doeben-Henisch. A theory of the
system engineering process. In ISEM 2011 International Conference. IEEE, 2011.

EXAMPLE

For a toy-example to these concepts please see the post AAI – Actor-Actor Interaction. A Toy-Example, No.1