Actor Model And Process Calculi
In computer science, the Actor model and process calculi are two closely related approaches to the modelling of concurrent digital computation. See Actor model and process calculi history.
There are many similarities between the two approaches, but also several differences (some philosophical, some technical):
- There is only one Actor model (although it has numerous formal systems for design, analysis, verification, modeling, etc.); there are numerous process calculi, developed for reasoning about a variety of different kinds of concurrent systems at various levels of detail (including calculi that incorporate time, stochastic transitions, or constructs specific to application areas such as security analysis).
- The Actor model was inspired by the laws of physics and depends on them for its fundamental axioms, i.e. physical laws (see Actor model theory); the process calculi were originally inspired by algebra (Milner 1993).
- Processes in the process calculi are anonymous, and communicate by sending messages either through named channels (synchronous or asynchronous), or via ambients (which can also be used to model channel-like communications (Cardelli and Gordon 1998)). In contrast, actors in the Actor model possess an identity, and communicate by sending messages to the mailing addresses of other actors (this style of communication can also be used to model channel-like communications — see below).
The publications on the Actor model and on process calculi have a fair number of cross-references, acknowledgments, and reciprocal citations (see Actor model and process calculi history).
Read more about Actor Model And Process Calculi: How Do Channels Work?, Issues With Synchronous Channels, Asynchronous Channels, Algebras, Denotational Semantics
Famous quotes containing the words actor, model and/or process:
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (18781979)
“She represents the unavowed aspiration of the male human being, his potential infidelityand infidelity of a very special kind, which would lead him to the opposite of his wife, to the woman of wax whom he could model at will, make and unmake in any way he wished, even unto death.”
—Marguerite Duras (b. 1914)
“Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.”
—Honoré De Balzac (17991850)