The Paths to Choreography Extraction

Abstract

Abstract. Choreographies are global descriptions of interactions among concurrent components, most notably used in the settings of verification and synthesis of correct-by-construction software. They require a top-down approach: programmers first write choreographies, and then use them to verify or synthesize their programs. However, most software does not come with choreographies yet, which prevents their application. To attack this problem, previous work investigated choreography extraction, which automatically constructs a choreography that describes the behavior of a given set of programs or protocol specifications. We propose a new extraction methodology that improves on the state of the art: we can deal with programs that are equipped with state and internal computation; time complexity is dramatically better; and we capture programs that work by exploiting asynchronous communication.

On Asynchrony and Choreographies

“…A more interesting extension is multicom [6], a primitive that considerably extends the expressivity of choreographies by allowing for general criss-cross communications. A prime example is the asynchronous exchange {p.e -> q, q.e -> p}, which allows two processes to exchange message without waiting for each other (this is the building block, e.g., of the alternating 2-bit protocol given in [6]). Multicoms crucially depend on asynchrony, making them an interesting case study in our context.…”

A Service Discovery Solution for Edge Choreography-Based Distributed Embedded Systems

“…In recent years, service composition modeling under choreography paradigm has been addressed in several platforms such as CHOReOS [19,20] and its evolution into CHOReV-OLUTION [21]; ActnConnect [22]; ChorSystem [23]; and research works such as [24][25][26][27][28]. Extensions integrated within choreography add functionality oriented to different scenarios [29][30][31][32].…”

Choreographies, logically

“…Previous works [14,9,10,18] have formally addressed choreographies and EPP but without providing chore-ography extraction. Choreography extraction is a known hard problem [3,16,11], and our work is the first to address it for a language supporting channel passing. Probably, the work closest to ours with respect to extraction is the model in [15], where global types are extracted from session types; choreographies are more expressive than global types, since they capture the interleaving of different sessions.…”