The US neutrino community gathered at the Workshop on the Intermediate Neutrino Program at Brookhaven National Laboratory February 4-6, 2015 to explore opportunities in neutrino physics over the next five to ten years. Scientists from particle, astroparticle and nuclear physics participated in the workshop. The workshop examined promising opportunities for neutrino physics in the intermediate term, including possible new small to mid-scale experiments, US contributions to large experiments, upgrades to existing experiments, R&D plans and theory. The workshop was organized into (...) two sets of parallel working group sessions, divided by physics topics and technology. Physics working groups covered topics on Sterile Neutrinos, Neutrino Mixing, Neutrino Interactions, Neutrino Properties and Astrophysical Neutrinos. Technology sessions were organized into Theory, Short-Baseline Accelerator Neutrinos, Reactor Neutrinos, Detector R&D and Source, Cyclotron and Meson Decay at Rest sessions.This report summarizes discussion and conclusions from the workshop. (shrink)

Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.

The recognition of a pattern of abstract marks as language is simultaneously obvious and undertheorized. Contemporary “asemic poetry” splits the recognition of language from its lexicality, providing an opportunity to consider this recognition directly. It reveals the necessary intervention of an “intentional function” that justifies considering markings as if they were encoded, i.e., as language. This essential moment of sign formation in written communication typically passes automatically without the need for consideration, but asemic poetry specifically allows meditation on that point (...) of transition, allowing the role of cultural knowledge to become apparent in its identification, as well as the Romantic heritage which rejects mechanical reproduction and automation. (shrink)

This essay presents and discusses the ways that prior experience constitutes a logical black box in Umberto Eco’s discussion of serial forms in ‘Interpreting Serials’ by using the complex adaptive system model for how complexity arises and is sustained over time, as proposed by John Holland. In exploring how Holland’s model can account for some aspects of Eco’s past experience, it becomes evident that a modification of both theories to accommodate multiple, contradictory potentials simultaneously suggests we consider meaning as a (...) range of potentials rather than as a singular choice. Even though the model proposed here is incomplete and tentative, it is suggestive of possible strategies for justifying interpretations without precluding their rejection or revision at a later time. Individual interpretations are justified not by comparison to an external truth but by the existence of other possible interpretations with shared characteristics that nevertheless contradict each other. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 204 Seiten: 239-252.

What is the role of intention in the identification of encoding that arises for images and other non-lexical objects of semiosis? This proposal of the “intentional function” resolves the syntagmatic problems posed by visual imagery: it identifies the viewer’s treatment of what they encounter as if it is encoded based on formal non-signifying cues visible in the image and learned through past experience. This decision about the organization and structure of the work becomes apparent from the consideration of a photographic (...) “selfie” made by a monkey in the rainforest. (shrink)

Glitches pose expressive challenges for digital motion pictures. These problematics reveal a “material function” that determines their identification and prescribes their semantics on-screen. These issues of materiality are familiar from the ideological critiques of avant-garde film in the 1970s, but have not been explored in relation to the semiotics of digital cinema. Developing an understanding of these problematics shows the complex problematics of using glitches for critical and expressive purposes in motion pictures.

"Cover"--"Title" -- "Copyright" -- "Dedication" -- "Contents" -- "List of Figures" -- "Acknowledgements" -- "1 Introduction" -- "Limina" -- "Anticipation and Recapitulation" -- "Problems of Cinematic Paratext" -- "2 Narrative Exposition" -- "Pseudo-independence" -- "Intratextuality" -- "3 Expositional Modes" -- "The Allegory Mode" -- "Lexical Expertise" -- "4 The Comment Mode" -- "Narrative Futurity" -- "Intertextuality and Quotation" -- "5 The Summary Mode" -- "Complex Summary" -- "Narrative Restatement" -- "6 The Prologue Mode" -- "Realist Integration" -- "Expository Texts" -- (...) "7 Conclusions" -- "The Paradoxes of Cinematic Paratext" -- "Typography and Pseudo-independence" -- "The Ideology of Naturalism::Stylization. (shrink)