3. 1 What are formal methods? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 3. 2 A survey of formal methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3. 2. 1 FDTs and FSLs for sequential software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3. 2. 1. 1 VDM (Vienna Development Method). . . . . . . . . . . . . . . . . . . . . 19 3. 2. 1. 2 Z. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3. 2. 1. 3 me too . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3. 2. 1. 4 HOS and AXES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3. 2. 1. 5 Gist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 3. 2. 1. 6 Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 7 OBJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 8 ACT ONE and ACT TWO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 9 CIP-L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 10 LPG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 11 Larch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 3. 2. 1. 12 Logic languages-the Prolog family. . . . . . . . . . . . . . . . . . . 22 3. 2. 1. 13 Functional languages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3. 2. 2 FDTs and FSLs for concurrent software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 3. 2. 2. 1 LOTOS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 3. 2. 2. 2 Estelle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 3. 2. 2. 3 SDL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 3. 2. 2. 4 ASN. l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 3. 2. 2. 5 TTCN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3. 2. 2. 6 Gypsy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3. 2. 3 Graphical formalisms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3. 2. 3. 1 Petri nets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3. 2. 3. 2 Higraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 3. 2. 4 Less formal methods and notations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3. 2. 4. 1 SADT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3. 2. 4. 2 Structured Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3. 2. 4. 3 SSADM and LSDM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3. 2. 4. 4 JSPandJSD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3. 2. 4. 5 HDM and the SPECIAL language . . . . . . . . . . . . . . . . . . . . . . . . . . 27 3. 2. 4. 6 Structured analysis and design of real-time systems. . 27 3. 3 Support tools for FDTs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

"Melting snow and spring rains mean rising waters. When the ground can't soak up any more moisture, floods quickly cover the land. Learn more about this wet weather and the trouble it can cause." -- p. 4 of cover.

A light, humourous look into 39 real-life stories of personal angst, anxiety and coping. Gathered through a survey format, real people share what life situations cause them mild to moderate anxiety. Chronicles are diverse and range from "interview" and "personal appearance" anxiety to "hot flash" and "unexpected visitor" anxiety. The author has taken each event and describes how each person lives the anxiety they are experiencing and includes how they either cope with or handle these situations, where possible. The Anxiety Chronicles is a humourous and light look into the lives of 39 people just like us who experience all kinds of anxieties each and every day. This book is for everyone (A portion of the proceeds from the sale of this book will be donated to the British Columbia Association for Community Living - an organization supporting people with developmental disabilities and their families.)

Jonathan B. Owen, criminal and madman, lives his life between two worlds-a dubious reality and a scary fantasy. No in-between like you and I. He's in a place many would like to be-alone, far from mediocrity and our own crowd. If not running from the law, he is wandering the world-slipping around a corner, dancing up a street or falling over a hill.
In tropical countries he encounters souls, cultures and gods; countries open their villages, cities and temples to shake and rattle him. He stands his ground keeping them at arms length, holding off temptation, protecting himself from harm, at times he takes flight for his life. He is brave when the fight is needed especially twelve feet up on the neck of his Thai elephant or in pursuit across Cuba of a Garifuna woman. Lost in the beauty of a young criminal woman, the psychotic frenzy of a lover or the embrace of a refugee family he copes the best he can.
He travels not knowing where he will land next but that is where the excitement begins; in the foreign dust that covers his sandaled feet and in the searing sun that bakes him into one with the earth. There is no journey, no grand design and no cheap excuse, just a manic curiosity-a walk over ghosts and bones. No worry of the danger he courts-in the end there is redemption and the knowledge he lived. Look deep-he is as naughty as you.

The author is a retired cartographer and graphic artist from the Government of British Columbia. He left Canada in his Jeep, Silver Bullet, to live for a time in the tropics of Mexico. There and on his return he wrote the book Jonathan Owen, Silver Bullet and Bank Robber. The Mexican people, black volcanoes, jungle landscape, torrid climate and a 25 year old woman who robbed banks in North Africa, inspired him to write. On his return from Mexico the author embarked on the book A Dead Artist Can Make a Good Living. The author fictionalizes the stories of his experiences into those of his character Jonathan Owen.
In A Dead Artist Can Make a Good Living Jonathan Owen commits a crime in the Muskwa Kitchika district of Northern British Columbia and flees to Portugal, Spain, Gibraltar and Morocco. In pursuit of him is Constable Jack Garland from the North West Mounted Police Detachment, Fort Nelson, British Columbia, . With the assistance of Interpol and the police forces of the European Union the Officer pursues Jonathan across the south of Europe not realizing he and the rest of the world are part of an elaborate hoax.
Jonathan Owen is 60, full of life and adventure and knew perhaps he will become bored with his retirement when it happens. So through his work as a civil servant in the Government of British Columbia he masterminds, with the help of his daughter, a scheme that will make them both a fortune. On his retirement and his return from Mexico, Jonathan hatches his project.
Jonathan did not realize how demanding, physically and mentally the project would be. Neither did the author who went to the places his character did.