One recursively enumerable real α dominates another one β if there are nondecreasing recursive sequences of rational numbers (a[n] : n ∈ ω) approximating α and (b[n] : n ∈ ω) approximating β and a positive constant C such that for all n, C(α − a[n]) ≥ (β − b[n]). See [R. M. Solovay, Draft of a Paper (or Series of Papers) on Chaitin’s Work, manuscript, IBM Thomas J. Watson Research Center, Yorktown Heights, NY, 1974, p. 215] and [G. J. (...) Chaitin, IBM J. Res. Develop., 21 (1977), pp. 350–359]. We show that every recursively enumerable random real dominates all other recursively enumerable reals. We conclude that the recursively enumerable random reals are exactly the Ω-numbers [G. J. Chaitin, IBM J. Res. Develop., 21 (1977), pp. 350–359]. Second, we show that the sets in a universal Martin-Lof test for randomness have random measure, and every recursively enumerable random number is the sum of the measures represented in a universal Martin-Lof test. (shrink)

Since its conception nearly 20 years ago, Logic Programming - the idea of using logic as a programming language - has been developed to the point where it now plays an important role in areas such as database theory, artificial intelligence and software engineering. However, there are still many challenging research issues to be addressed and the UK branch of the Association for Logic Programming was set up to provide a forum where the flourishing research community could discuss important issues (...) of Logic Programming which were often by-passed at the large international conferences. This volume contains the twelve papers which were presented at the ALPUK's 3rd conference which was held in Edinburgh, 10-12 April 1991. The aim of the conference was to give a broad but detailed technical insight into the work currently being done in this field, both in the UK and by researchers as far afield as Canada and Bulgaria. The breadth of interest in this area of Computer Science is reflected in the range of the papers which cover - amongst other areas - massively parallel implementation, constraint logic programming, circuit modelling, algebraic proof of program properties, deductive databases, specialised editors and standardisation. The resulting volume gives a good overview of the current progress being made in the field and will be of interest to researchers and students of any aspects of logic programming, parallel computing or database techniques and management. (shrink)

This book constitutes the strictly refereed post-workshop proceedings of the 11th International Workshop on Computer Science Logic, CSL '97, held as the 1997 Annual Conference of the European Association on Computer Science Logic, EACSL, in Aarhus, Denmark, in August 1997. The volume presents 26 revised full papers selected after two rounds of refereeing from initially 92 submissions; also included are four invited papers. The book addresses all current aspects of computer science logics and its applications and thus presents the state (...) of the art in the area. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . 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continent. 2.1 (2012): 6–21. The French philosopher and novelist Tristan Garcia was born in Toulouse in 1981. This makes him rather young to have written such an imaginative work of systematic philosophy as Forme et objet , 1 the latest entry in the MétaphysiqueS series at Presses universitaires de France. But this reference to Garcia’s youthfulness is not a form of condescension: by publishing a complete system of philosophy in the grand style, he has already done what none of us (...) in the older generation of speculative realists has done so far. His book is sophisticated, erudite, rigorous, imaginatively rich, and abundant in worldly wisdom– despite the author’s conclusion that wisdom does not exist. The quality and scope of Forme et objet took few observers by surprise, since Garcia has been treated as an emerging philosopher to watch across half a decade of Parisian oral tradition. But Garcia was not just the subject of rumor, being already well known to the French public as a writer of fiction. His debut novel, La meilleure part des hommes , 2 was awarded the 2008 Prix de Flore 3 and has already appeared in English as Hate: A Romance . 4 His follow-up novel, Mémoires de la jungle , 5 made clever use of a chimpanzee narrator. Nor was Garcia only published as a novelist before last November: his philosophical study L’Image 6 had already appeared when the author was just twenty-six, a year before he was crowned by the muses at the historic Café de Flore. And then in 2011, just months before the appearance of Forme et objet , Garcia published a widely distributed work entitled Nous, animaux et humains , 7 with its focus on Jeremy Bentham’s ideas about animals. Given this prolific and versatile track record, an optimistic scenario might envisage the young Garcia as one of those combined literary/philosophical talents who appear intermittently in France across the centuries: Jean-Paul Sartre is merely the most famous recent case. While more time is needed to see how Garcia will channel his impressive mental energies, Forme et objet displays such breadth of insight that its author has a good chance to emerge as one of the leading philosophers of his generation. If we accept Aristotle’s dictum that the peak mental age is fifty-one, then to read Garcia’s massive book is to gain some idea of what European philosophy might look like in the futuristic-sounding 2030’s. The present article is confined to Forme et objet . At 486 pages, the work is obviously daunting in size. Indeed, it is even longer than it sounds, given that many of its early sections are printed in a smaller typeface to designate them as supplemental commentary to the main flow of the argument. But while the length of the book reportedly led to delays in French publication, and will probably slow the inevitable appearance of an English translation, the length of the book should not deter interested readers– much of it results from Garcia’s teacherly writing style. Whereas Quentin Meillassoux’s prose displays an arctic economy of means, Garcia’s style is reminiscent of the repeated lessons of oral classroom proceedings. Rarely is the reader given fewer than three or four chances to master an idea before the author moves on to the next. In practice, the style feels welcoming rather than long-winded. Otherwise, the structure of Forme et objet is surprisingly simple. There is a useful Introduction of less than twenty pages. Then comes Book I: Formally , running to approximately 135 pages. Here Garcia outlines the most basic features of a thing “no matter what it is,” or n’importe quoi , an everyday phrase that Garcia shapes into a technical term. This part of the book feels at times like a more amiable version of Hegel’s Science of Logic , a parallel emphasized further by the threefold articulation of its theme: 1. Thing; 2. Thing and World; 3. Being and Understanding. This is followed by the much longer Book II: Objectively , totaling more than 300 pages. It contains sixteen essay-like meditations on specific kinds of objects—including time, animals, humans, history, gender, and death. Here each chapter rolls smoothly into the next, making this second part of the book feel more like a different work of Hegel: The Phenomenology of Spirit . But these are merely analogies. Garcia is no Hegelian, even if the book contains a few dialectical flourishes that seem to reflect his early enthusiasm for the Frankfurt School. Forme et objet ends with a six-page Coda, followed by the usual page of acknowledgments. In what follows, I will briefly summarize each of these four parts of the book before ending with some more general remarks. Before doing so, it will be useful to situate Garcia biographically (as much as I am able) and philosophically. Though Toulouse is his native city, his formative years were spent largely in Algeria, where his family has deep roots. During our sole private conversation, Garcia mentioned that his parents are professors of literature. 8 As a student of philosopher Garcia flourished so early that many of his current ideas date to his teenaged years: “There are sentences in Forme et objet that I wrote when I was seventeen,” he said in response to a question on that cold night on the Canal St.-Martin. I recalled that remark when reading his brilliant account, late in the book, of the central role of adolescence in contemporary culture. While many prodigies blow through their formal academic training without serious obstruction, Garcia’s student memories are rich in tales of isolation and struggle, though equally rich in gratitude for a half-dozen or so exceptional teachers who provided the intellectual space he needed: Meillassoux and Alain Badiou are simply two of the most prominent figures on that list. Though there are many points of agreement between Garcia’s philosophical position and my own, he not only reached his position years before reading my work, 9 he arrived along a rather different path: not through phenomenology, but via the Frankfurt School, which may be one of the reasons for his profound fascination with aesthetics. Garcia’s cultural background is as broad as one could wish: he is no less informed about punk rock and European football leagues than about the spiritualist roots of Bergson’s philosophy. Curious about everything and contemptuous towards nothing, Garcia can be expected to write insightfully on dozens of topics in the years to come. Given that his philosophy is so personally tantalizing in its agreements and disagreements with my own, and given the great internal richness of Forme et objet itself, the present review is no better than a first effort at coming to terms with the challenges posed by this minstrel from the rising generation. This is especially intriguing for older Generation X’ers like me, since confrontation with the younger generation is one of the many themes treated insightfully in Garcia’s book. 1. Introduction Garcia begins in defense of a so-called “flat ontology,” in which all things are equally things. While Roy Bhaskar 10 used this term pejoratively to refer to anti-realist philosophies that flatten everything onto an epistemic plane of human access, Manuel DeLanda 11 (an admirer of Bhaskar) reversed it into the positive principle that all realities are equally realities. Similar notions can be found in the “absistence” of Alexius Meinong, 12 the “irreduction” of Bruno Latour, 13 and my own critique 14 of the undermining/overmining pair. Also noteworthy is Levi Bryant’s use of the term “flat ontology” throughout The Democracy of Objects 15 and his earlier essay “The Ontic Principle.” 16 But for Garcia, flatness is only one face of the cosmos, and one that he ultimately declares to be rather impoverished. Even so, he always remains an advocate of a flat ontology. Insofar as everything is equally something, no matter what it is ( n’importe qui ), everything is equally a thing, equally solitary in its relation with world. This is why his book abounds in those long lists of random, ontologically equivalent entities that Ian Bogost has playfully termed “Latour Litanies.” 17 The first litany in Garcia’s book runs as follows: “We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things.” (7) Yet Garcia is frankly dualistic; his flat ontology only lasts until page 159 and the end of Book I (entitled “Formally”), which deals entirely with things that are equally things. Thereafter Garcia turns his attention from things to objects, which are not flat in the least, but engage in hierarchical relations with one another. In agreement with both DeLanda and the speculative realists, Garcia proclaims that his book “proposes to put to the test a thought about things rather than a thought about our thought about things .” (8) Just as ducklings are “imprinted” (9) after hatching and treat the first creature they see as their mother, philosophers are imprinted by the idea with which they begin. Hence, philosophies that begin with human access will never truly find their way back to things. This makes Garcia rather suspicious of twentieth century philosophy, since “the twentieth century—to which in some way this work proposes to bid adieu—has been a period of theorizing modes of access to things rather than things...” (9) Among other possible benefits of the philosophy of things that Garcia proposes, it is fully able to account for thought as a special variant of things, while the reverse is not possible.(10) In Book I of Forme et objet , Garcia’s “things” are so flat, so de-determined, that he is forced to renounce some of the most basic features ascribed to things by most realists. As he tells us in his foreboding third footnote: “We will maintain that the solitude [of things] is less than unity, less than identity, and that it does not imply acceptance (any more than refusal) of the principle of non-contradiction.” (11) In a contemporary world cluttered with too many things, Garcia’s flat and formal plane provides us with some breathing room: “The formal plan of thought enables or re-enables us to cut short all accumulation—whether of knowing, experience, or action—by a simplicity, an impoverished surface...” (13) As Garcia says elsewhere in responding to a Deleuzian critic of the book, his starting point in flat ontology is designed to obstruct the claims of both analytic philosophy and Hegelianism: “Hence, this work seeks to protect each thing—real, imaginary, inconsistent, contradictory—both against Ockham’s Razor and against the Aufhebung or dialectical process.” 18 Yet contrary to the equalizing spirit of many flat ontologies, “we will add to our formal ontology of the equal, an objective ontology of the unequal.” (13) But initially, Garcia joins all flat ontologists in holding that everything is irreducible: “this irreducibility, which we will term the ‘chance’ of each thing... also marks the refusal of a positive thought that reduces things exclusively to natural things, or social things, or historical things, etc.” (15) This irreducible “chance” of a thing emerges as an important technical term in the book, always paired with its inverted brother, the “price to pay” ( prix à payer ). On pages 17-19, we find the only diagrams in the book. What they illustrate is that Garcia wishes to avoid two equally dangerous extremes. The first is the philosophy of substance, featuring the thing-in-itself as a mighty river fed by attributes as if by subordinate tributary streams. This model can be found in many of the classic thinkers of West and East alike. In it, “there is obviously a hierarchization between that which is dragged towards something other than itself, and this other which serves it as an ontological support while supporting its proper being.” (16) For Garcia, the second extreme worth avoiding is the philosophy of events: “One thus conceives trajectories of being, identified as events, facts, powers, intensities, or intentionality. These vectors of being come first, bearing and supporting being, displacing it, but without ever finding a stopping point, a buffer, an objective consistency.” (17) The first model gives us a thing too wrapped up in itself, too compact . This word “compact” (the French and the English are the same) is another technical term for Garcia. But if the “compact” model of things leads us to something more than things, the philosophy of events gives us less than things, by dissolving them into a play of vectors. Garcia’s alternative lies midway between these two extremes: Being enters the thing, being comes out of it. And a thing is nothing other than the difference between the enters and the being that comes out. Thus, the circuit of being is never halted. In the thing, there is never the thing-in-itself. And the thing is never in-itself, but outside of itself. Nonetheless, being is not eventally “pollinated” by vectors: it possesses an objecting halting-point... (19) This single idea is the key to Garcia’s book: the thing is neither a self-contained durable lump nor some sort of evental flux. Instead, the thing is the difference between its various components and its relations with its environment. Or stated differently: “the price to pay for this disposition is a circulation of being that systematically distinguishes two senses of things: that which is in the thing , and that in which the thing is , or that which encompasses it and that which it encompasses,” (19) translating comprendre here as “encompass.” 19 In a beautiful description of a piece of black slate, Garcia sums up the various minerals, qualities, and shapes that compose [ comprend ] it, and calls them “that which is in the thing,” (20) noting that this tells us nothing about “that in which [the slate] is”—namely, all the various situations in which the black slate can be found. Instead, the slate is the difference between these two: the most characteristic principle of Garcia’s philosophy. 2. Formally Book One of Forme et objet , “Formally,” is concerned with the formal equality of all things in a flat world. “Two questions mark the boundaries of reflection: of what is everything composed [ composé ], and: what do all things compose?” (27) Looking downward, we wish to know what everything is made of; looking upward, we want to know the ultimate result of the combination of all things. Here we must turn our attention to the thing n’importe quoi— no matter what it is. (30) Anything with finite qualities is obviously too specific to be relevant to global ontological questions. To an equal degree, something possessing all qualities (think of Whitehead’s God) 20 would not be n’importe quoi either, since it would still be too definite, even if incredibly vast. The same holds for contradictions, since these all differ from each other. The square circle, the non-white black white, and the non-city city are all too distinct to count as the thing no matter what it is. The n’importe quoi must be devoid of all specific qualities, including contradictory ones. In one of the more intriguing points in his book, so reminiscent of Meinong, Garcia proclaims that “the ‘no matter what it is’ is neither a reality nor an abstract construction, nor both of these at once; the ‘no matter what it is’ is simply the plane of equality of that which is real, that which is possible, that which is inexistent, that which is past, that which is impossible, that which is true, that which is false, that which is bad.”(39-40) Since everything has two faces, it would be a grievous mistake to focus on just one of them at the expense of the other, as physicalism or materialism do when reducing the world to minuscule physical underpinnings. For scientistic materialism, “it is either atoms, particles, or fields of force... which are the things.” (47-48) Moreover, “these more-than-things are accompanied by less-than-things: for example, ideas or facts of consciousness are determined by the state of matter and are not autonomous things, but manifestations reduced to secondary effects of material processes...” (48) On this point, Garcia’s position is in complete accord with my own critique of undermining and overmining. 21 Where we disagree is that Garcia is more deeply suspicious of the notion of substance, which I view as salvageable with a few needed changes, while Garcia sees this operation as hopeless: “A substance, in the history of philosophy, is the more-than-thing par excellence.” (51) Another agreement between our positions is visible when Garcia claims (correctly, in my opinion) “that it is vain to distinguish between things which are material and those which are not.” (52) Yet we also find an even more important disagreement, since for Garcia withdrawal cannot be the quality of a thing. Instead, the absence of a thing is simultaneous with it, embodied in all that is not it– the absence of the sculpture of a woman is to be found in the mold that appears at the same time as it, and thus withdrawal must be viewed as an “event” rather than as something pertaining to an object. For Garcia, nothing withdraws beyond access. Since we must distinguish between “that which is something” and “that which something is,” and since the former is identified with “no matter what it is is” and the latter with “ not no matter what it is,” we can say that “everything is thus a milieu, a fragile link between ‘no matter what it is’ and ‘ not no matter what it is.’” (62) And here we find Garcia’s critique of the thing-in-itself: “A thing is never defined en bloc . We can affirm that a thing is this or that, but that does not suffice. It is still necessary to state precisely that which is this thing .” (62) Stated differently, “something is not in itself : for that which is in the thing is not the thing, and that in which the thing is is not the thing.” (62) And here Garcia and I, facing the same evidence, draw opposite conclusions. For me, the fact that nothing can be identified with either its components or its concrete location means that the thing must be something in-itself distinct from both of these. Yet for Garcia, to be in-itself would mean to be identified with just one of these two extreme terms, and hence the thing can only be the difference between them. Garcia is equally suspicious of the classical tendency to view “unity” as a property of the thing, since in his eyes unity is too relational a property to belong to things. (65) While specific things are situated determinately with respect to other things, we are still speaking here about the thing no matter what it is, and this can be viewed only in terms of solitude, which all things share: a human being, a hand, or a chair or all equally things insofar as they are on their own , not insofar as they are one . (64) A thing is alone, and relates only to the one thing that is not another thing: world. In a striking parallel to my own argument for a partial revival of occasionalism, Garcia tells us that “the things communicate only by their solitude: it is because everything is equally on its own in the world that things can be together, enmeshed in one another.” (67) Alone in their solitude, things all relate to world, which serves as a mediator allowing them to become mixed up in one another. As we have seen, one reason that nothing can be in itself is because everything is in something else. For Garcia, “to be in something and to be something are equivalent.” (69) Stated more broadly, “being is thus the difference between the two aspects of each thing: that which is it, and that which it is.” (70) And even more vividly: “a thing is almost like a sack: there is that which one puts in the sack and that which remains outside the sack.” (70) But not quite like a sack, “since a thing is not a thin skin or film. Instead, a thing is comparable to a sack that is immaterial and without thickness: it is nothing other than the difference between that which is this thing and that which thing is, between content and container.” (71) Nothing can be in-itself because everything is two selves at once. For example, we cannot say that our self is defined by our consciousness: “Everything has a self because nothing is in itself. The self is not the quality of that which is related to itself (which is conscious, for example) or which thinks itself related to itself. Nonetheless, for an entity called ‘conscious’ to be related to itself, it is necessary that this very relation should be another thing than the self to which it is related.” (71) Consciousness cannot be the self, precisely because it is other than that of which it is conscious. Nothing is able to grasp itself. The self is “the function by which being and composition [ compréhension ] are mutually excluded...” (72) The self is “the point of shadow of everything that projects some light...” (72) The in-itself faces two opposite dangers: “For something to be in-itself is to be a self. Something which is a self flies out through one of its two sides... Stated differently, being in-itself is simply the possibility of a double failure.” (73) The in-itself can be termed compact : “There remains to us a means of thinking that which does not fully enter into the world, though without exiting from it. This means is what we call the compact.” (76) In a sense, the compact is the opposite of the world. For in the case of the world, everything enters it and it enters nothing; as for the compact, it enters the world (since it is something, after all) while nothing enters it. (77) The compact marks the presence of the impossible in the world. (78) It is not impossible, but possible only on the condition that it fails. (78) The time has come to speak of where a thing is located. “The sole condition of a thing is that of being in another thing than itself, and thus in another thing than something.” (78) A condition is “that which determines something, that which forms something, that in which something is.” (78) As for humans, “the condition of someone is his situation; my social condition is that which socially determines me, my place and my function...” (79) More generally, “to be conditioned is to find oneself reduced to that in which one is.” (79) Everything is conditioned, but nothing is reducible to this condition. To determine the condition of something is to determine in what it is. A thing is located in that which contradicts it, just as a statue exists in its mold, which is precisely that which it is not. Since the thing is finite and definite, its condition or form must be infinite and indefinite. That in which all things are is the world, which Garcia also terms “the whole.” (81) “To try to be in-itself is to attempt to remain outside the world. And indeed, to try to be in-itself is only a path of entry into the world.” (83) For Garcia, “the world is not the pre-existent container of the things it contains, a priori , nor the construction by the mind of a fictional ensemble of all things, a posteriori .” (85) Instead, the world is simultaneous with all things; the two always go together. The world cannot be a determinate world, such as the physical universe or mathematical space, since these are already too specific and limited. “Every determinate world, which is in fact a universe , is a ‘big thing’ [ grosse chose ]: it is a set, however vast, of composite things which itself embodies a thing.” (85) Every determinate world is really just a “big thing.” Stated differently, “it is nothing other than a balanced milieu between the things that compose it and the thing that it composes.” (85) We generally picture the world as a physical univer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.4 (2000) 303-318 [Access article in PDF] The Threshold of the Self Bradford Vivian The subject has a history. Classical Greek sculpture expressed a fascination with the formal beauty of one's self. Ever gazing outward or upward, the marble figures symbolized the Greek preoccupation with a boldness of being, a constant focus on the ideals of the body and mind, which, through their pursuit, might (...) allow one a foretaste of heaven. Centuries later, as the pagan symbols of the ancient world were replaced with those of the growing Byzantine Empire, blocks of the same marble were fashioned into very different expressions. The ideals of form made manifest in the smooth, taught lines and surfaces of classical Greek sculpture were supplanted by Byzantine art's attention to the less perfect details of the individual: distinctive and common faces, beards, clothing, and less glorified bodies. The gazes of the Byzantine statues were cast down, contemplative, reflecting Byzantium's early Christian emphasis upon the modesty of human existence, the pious appraisal of one's time on Earth. Each of these sculptural styles is a material way of thinking and expressing one's being in the world. In this context, each is also symptomatic of the conditions in which such being was possible.The subject must not be conceived as a transcendent entity. Quite to the contrary, there is a historicity to our being and its expression, to our subjectivity and its elaboration. Within a more sweeping perspective, our epochal narratives of the subject--as well as the modes of thought and speech by which we make sense of ourselves--change with each passing age.At the forefront of the current era is a manifold effort to rethink and elaborate anew the concept of the subject. Feminist scholars have initiated political critique and transformation by arguing that the very notion of a subject in Western discourse has functioned as a trope of masculine privilege cloaked in the language of equality and secular humanism. 1 Postmodernists, of course, define contemporary subjectivity as de-centered and fragmented by nature (e.g., Baudrillard 1994; Latour 1993; Lyotard 1984). And [End Page 303] a variety of interdisciplinary studies illuminate the role of modern science and technology in not only sustaining our being, but actually constituting the human; in short, our daily interdependence and union with artificial body parts, synthetic products, life-support machines, test-tube reproduction, computers, and more, characterizes the arrival of what has been called "the posthuman." 2 Like ancient marble from a quarry, however, all of these materials are sculpted in historically specific ways to simultaneously think and express our subjectivity.What role might rhetoric play in this re-imagining of subjectivity? Modern Western thought has defined the subject according to content--that is, by the nature of the essence or being the subject is said to possess. Drawn around this content, the subject comes to appear enclosed, perhaps autonomous, and identical to itself. In this essay, however, I argue that the self may be conceived as a form--a rhetorical form--that exists only in its continual aesthetic creation, in its indefinite becoming. The self is, by this account, isomorphic with the threshold out of which it is composed. Such a formulation makes the self open to difference, to continual movement and transformation, instead of identical to itself.I aim in this essay to explore the abstract rhetorical forms and functions out of which the self is composed. The distinction here amounts to no longer asking, "What is a subject?" but, "What conditions and forces enable the ongoing production of the self?" Commensurate with such a proposal, it will be essential to ask how this movement--this continual becoming--of the self is brought about. The answer to this question ultimately will amplify the role of rhetoric in, not simply expressing, but actually producing conditions of being. In what follows, I begin by reviewing the very general aspects of subjectivity that I wish to call into question. Thereafter, I explore how the subject might be conceived differently. Finally, I discuss the manner in which rhetoric may... (shrink)

"Religion," Mark C. Taylor maintains, "is most interesting where it is least obvious." From global financial networks to the casinos of Las Vegas, from images flickering on computer terminals to steel sculpture, material culture bears unexpected traces of the divine. In a world where the economies of faith are obscure, yet pervasive, Taylor shows that approaching religion directly is less instructive than thinking about it. Traveling from high culture to pop culture and back again, About Religion approaches cyberspace and (...) Las Vegas through Hegel and Kant and reads Melville's The Confidence-Man through the film Wall Street. As astonishing juxtapositions and associations proliferate, formerly uncharted territories of virtual culture disclose theological vestiges, showing that faith in contemporary culture is as unavoidable as it is elusive. The most accessible presentation of Taylor's revolutionary ideas to date, About Religion gives us a dazzling and disturbing vision of life at the end of the old and beginning of the new millennium. (shrink)

Computational explanations focus on information processing required in specific cognitive capacities, such as perception, reasoning or decision-making. These explanations specify the nature of the information processing task, what information needs to be represented, and why it should be operated on in a particular manner. In this article, the focus is on three questions concerning the nature of computational explanations: What type of explanations they are, in what sense computational explanations are explanatory and to what extent they involve (...) a special, “independent” or “autonomous” level of explanation. In this paper, we defend the view computational explanations are genuine explanations, which track non-causal/formal dependencies. Specifically, we argue that they do not provide mere sketches for explanation, in contrast to what for example Piccinini and Craver :283–311, 2011) suggest. This view of computational explanations implies some degree of “autonomy” for the computational level. However, as we will demonstrate that does not make this view “computationally chauvinistic” in a way that Piccinini or Kaplan :339–373, 2011) have charged it to be. (shrink)

This book compiles and reviews the most prominent linguistic theories into a single source that serves as an essential reference for future solutions to one of the most important challenges of our age.

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought (...) with a wide range of sources-from the classics to Norse legend, Shakespeare to the Bible-to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text. (shrink)

What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.

Computation is central to the foundations of modern cognitive science, but its role is controversial. Questions about computation abound: What is it for a physical system to implement a computation? Is computation sufficient for thought? What is the role of computation in a theory of cognition? What is the relation between different sorts of computational theory, such as connectionism and symbolic computation? In this paper I develop a systematic framework that addresses all of these questions. Justifying the role of (...) computation requires analysis of implementation, the nexus between abstract computations and concrete physical systems. I give such an analysis, based on the idea that a system implements a computation if the causal structure of the system mirrors the formal structure of the computation. This account can be used to justify the central commitments of artificial intelligence and computational cognitive science: the thesis of computational sufficiency, which holds that the right kind of computational structure suffices for the possession of a mind, and the thesis of computational explanation, which holds that computation provides a general framework for the explanation of cognitive processes. The theses are consequences of the facts that (a) computation can specify general patterns of causal organization, and (b) mentality is an organizational invariant, rooted in such patterns. Along the way I answer various challenges to the computationalist position, such as those put forward by Searle. I close by advocating a kind of minimal computationalism, compatible with a very wide variety of empirical approaches to the mind. This allows computation to serve as a true foundation for cognitive science. (shrink)

I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.

What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop (...) the views of Susanne Langer. Sculpture organizes the surrounding space when we see that space as defined by the potential for action of the sculpted object. (shrink)

Logic has pride of place in mathematics and its 20th century offshoot, computer science. Modern symbolic logic was developed, in part, as a way to provide a formal framework for mathematics: Frege, Peano, Whitehead and Russell, as well as Hilbert developed systems of logic to formalize mathematics. These systems were meant to serve either as themselves foundational, or at least as formal analogs of mathematical reasoning amenable to mathematical study, e.g., in Hilbert’s consistency program. Similar efforts continue, but have been (...) expanded by the development of sophisticated methods to study the properties of such systems using proof and model theory. In parallel with this evolution of logical formalisms as tools for articulating mathematical theories (broadly speaking), much progress has been made in the quest for a mechanization of logical inference and the investigation of its theoretical limits, culminating recently in the development of new foundational frameworks for mathematics with sophisticated computer-assisted proof systems. In addition, logical formalisms developed by logicians in mathematical and philosophical contexts have proved immensely useful in describing theories and systems of interest to computer scientists, and to some degree, vice versa. Three examples of the influence of logic in computer science are automated reasoning, computer verification, and type systems for programming languages. (shrink)

Linguistics. Artificial intelligence. Related fields. Computation.

This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.

Computability and Logic has become a classic because of its accessibility to students without a mathematical background and because it covers not simply the staple topics of an intermediate logic course, such as Godel's incompleteness theorems, but also a large number of optional topics, from Turing's theory of computability to Ramsey's theorem. This 2007 fifth edition has been thoroughly revised by John Burgess. Including a selection of exercises, adjusted for this edition, at the end of each chapter, it offers a (...) simpler treatment of the representability of recursive functions, a traditional stumbling block for students on the way to the Godel incompleteness theorems. This updated edition is also accompanied by a website as well as an instructor's manual. (shrink)

We offer philosophical motivations for a method we call Virtual World Cognitive Science (VW CogSci), in which researchers use virtual embodied agents that are embedded in virtual worlds to explore questions in the field of Cognitive Science. We focus on questions about mental and linguistic representation and the ways that such computational modeling can add rigor to philosophical thought experiments, as well as the terminology used in the scientific study of such representations. We find that this method forces researchers (...) to take a god’s-eye view when describing dynamical relationships between entities in minds and entities in an environment in a way that eliminates the need for problematic talk of belief and concept types, such as the belief that cats are silly, and the concept CAT, while preserving belief and concept tokens in individual cognizers’ minds. We conclude with some further key advantages of VW CogSci for the scientific study of mental and linguistic representation and for Cognitive Science more broadly. (shrink)

. Computational chemistry grew in a new era of “desktop modeling,” which coincided with a growing demand for modeling software, especially from the pharmaceutical industry. Parameterization of models in computational chemistry is an arduous enterprise, and we argue that this activity leads, in this specific context, to tensions among scientists regarding the epistemic opacity transparency of parameterized methods and the software implementing them. We relate one flame war from the Computational Chemistry mailing List in order to assess (...) in detail the relationships between modeling methods, parameterization, software and the various forms of their enclosure or disclosure. Our claim is that parameterization issues are an important and often neglected source of epistemic opacity and that this opacity is entangled in methods and software alike. Models and software must be addressed together to understand the epistemological tensions at stake. (shrink)

The essay aims to outline an epistemology of photography through the critical issues that arise from the encounter between photography and sculpture. In particular, it investigates the aesthetic and semiotic constraints that define the specificity of the photographic look with respect to a sculptural three-dimensional vision. The relationship between documentary and art photographs is the main area of research; specifically, the essay tries to highlight the interpretative value that can also be attributed to documentary photography, underlining the boundaries of (...) a complex distinction. A specific section is devoted to Medardo Rosso’s photographs of his own sculptures. Rosso’s work solicits a reflection on the status of photography and on some theoretical problems such as reproducibility, the relationship between original and copy, and the creative gap produced by variation in a series. The artist suggests a peculiar “grammar” of photography by virtue of his relationship with another art – sculpture. (shrink)

A Critique of Artificial Reason Hubert L. Dreyfus . HUBERT L. DREYFUS What Computers Still Can't Do Thi s One XZKQ-GSY-8KDG What. WHAT COMPUTERS STILL CAN'T DO Front Cover.

First-ever comprehensive introduction to the major new subject of quantum computing and quantum information.

Abstract The artwork of Joseph Beuys was provocative in his time. Although he was very successful on the international art scene and on the art market, the larger The public is still bewildered by his Fat Chair or his installations and his performances. The article shows the evolution of his artwork from classical materials (stone, steel) to soft materials (animals, products of animals) and further to his concept of “social sculpture” and to programmatic diagrams (with words and graphics). A (...) special point of interest is the transition towards language (phonic and conceptual), the philosophy of art exposed in his drawings, and diagrams and the relation between art and science in his artwork. (shrink)

Certaines sculptures d’époque archaïque trouvées dans les fouilles de l’École française d’Athènes à Délos sont encore très peu connues : c’est le cas des œuvres étudiées dans cet article, qui datent toutes de la fin de la période considérée. La paire de lions A 4103 et A 4104, trouvée par Homolle en 1878 dans l’Artémision (voir, en appendice, un bilan sur les sculptures archaïques découvertes à cette occasion), appartient à une série de fauves figurés dans une attitude menaçante qui est (...) représentée, en particulier, par deux exemplaires de l’Acropole d’Athènes également étudiés ici ; placés sur de hauts supports, peut‑être vers l’entrée du sanctuaire, ils soulignaient la puissance redoutable de l’Apollon Délien et de sa sœur Artémis. La sirène A 3995, un des rares exemples en ronde bosse de ce type de monstre à l’époque archaïque, se rapportait probablement au culte d’Artémis. Enfin, il est certain que la paire d’oiseaux A 3122 et A 3123 (pigeons ou colombes) provient non pas de l’Héraion, comme on l’a pensé, mais d’une zone située au sud‑est du lac : ils appartenaient peut‑être au sanctuaire GD4 68, comme la lionne A 4105. (shrink)

I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the (...) same structure we find in painting, the link is that painting manifests the perspective of vision. Touch is also perspectival, but the perspective involved is different from that in vision. Thus we can answer my second question, concerning the relations of the art forms to the senses, by addressing the first, concerning the role of perspective in sculpture. I argue that sculpture exhibits neither the perspectival structure of vision, nor that of touch. It is not perspectival, and it is not linked to either sense as painting is to vision. I close by considering the aesthetic significance of these conclusions. (shrink)

In every picture there is a perspective: the picture represents its object from a point (or points) of view. Is the same true of sculpture, and in particular is it true of the purest form of sculpture, sculpture in the round? I address this issue in two ways. First, I explore the prospects for reasoning that perspective forms part of the content of some sculptures by adapting an argument from M. G. F. Martin for the parallel claim (...) in the case of visualizing. I conclude that the argument does not transfer successfully to the sculptural case. Second, I turn to the question whether sculptural experience presents the sculpted object from a point of view. That is, does our experience of sculpture involve, not merely a perspective on the sculpture itself, but a distinct perspective on the object visible in that sculpture? I consider, and reject, an argument for thinking that the answer is ‘yes’ before turning to two arguments for distinguishing sculpture from pictorial representations in this respect. That leaves us with no reason to think sculpture does involve perspective, rather than having reason to think it does not. I end by considering a principle that would allow us to close this gap. (shrink)

This fourth edition of one of the classic logic textbooks has been thoroughly revised by John Burgess. The aim is to increase the pedagogical value of the book for the core market of students of philosophy and for students of mathematics and computer science as well. This book has become a classic because of its accessibility to students without a mathematical background, and because it covers not simply the staple topics of an intermediate logic course such as Godel's Incompleteness Theorems, (...) but also a large number of optional topics from Turing's theory of computability to Ramsey's theorem. John Burgess has now enhanced the book by adding a selection of problems at the end of each chapter, and by reorganising and rewriting chapters to make them more independent of each other and thus to increase the range of options available to instructors as to what to cover and what to defer. (shrink)

Textbook on Gödel’s incompleteness theorems and computability theory, based on the Open Logic Project. Covers recursive function theory, arithmetization of syntax, the first and second incompleteness theorem, models of arithmetic, second-order logic, and the lambda calculus.

En prenant comme point de départ la proposition d’André Breton d’une « physique de la poésie », nous analyserons ici les conditions de surgissement de diverses variations qui pris forme dans la pratique surréaliste de l’objet surréaliste, depuis la Boule suspendue (1930) de Giacometti aux sculptures crées par Miró dans les années cinquante, en prenant compte de la construction des objets à fonctionnements symboliques de Dalí, à l’« Équation de l’objet trouvé», écrit fondamental de Breton, et à la célébration, en (...) 1936, de l’exposition fondationale à la Galerie Charles Ratton. (shrink)

What is the mind? How does it work? How does it influence behavior? Some psychologists hope to answer such questions in terms of concepts drawn from computer science and artificial intelligence. They test their theories by modeling mental processes in computers. This book shows how computer models are used to study many psychological phenomena--including vision, language, reasoning, and learning. It also shows that computer modeling involves differing theoretical approaches. Computational psychologists disagree about some basic questions. For instance, should the (...) mind be modeled by digital computers, or by parallel-processing systems more like brains? Do computer programs consist of meaningless patterns, or do they embody (and explain) genuine meaning? (shrink)

Gualtiero Piccinini articulates and defends a mechanistic account of concrete, or physical, computation. A physical system is a computing system just in case it is a mechanism one of whose functions is to manipulate vehicles based solely on differences between different portions of the vehicles according to a rule defined over the vehicles. Physical Computation discusses previous accounts of computation and argues that the mechanistic account is better. Many kinds of computation are explicated, such as digital vs. analog, serial vs. (...) parallel, neural network computation, program-controlled computation, and more. Piccinini argues that computation does not entail representation or information processing although information processing entails computation. Pancomputationalism, according to which every physical system is computational, is rejected. A modest version of the physical Church-Turing thesis, according to which any function that is physically computable is computable by Turing machines, is defended. (shrink)

The computational view of mind rests on certain intuitions regarding the fundamental similarity between computation and cognition. We examine some of these intuitions and suggest that they derive from the fact that computers and human organisms are both physical systems whose behavior is correctly described as being governed by rules acting on symbolic representations. Some of the implications of this view are discussed. It is suggested that a fundamental hypothesis of this approach is that there is a natural domain (...) of human functioning that can be addressed exclusively in terms of a formal symbolic or algorithmic vocabulary or level of analysis. Much of the paper elaborates various conditions that need to be met if a literal view of mental activity as computation is to serve as the basis for explanatory theories. The coherence of such a view depends on there being a principled distinction between functions whose explanation requires that we posit internal representations and those that we can appropriately describe as merely instantiating causal physical or biological laws. In this paper the distinction is empirically grounded in a methodological criterion called the " cognitive impenetrability condition." Functions are said to be cognitively impenetrable if they cannot be influenced by such purely cognitive factors as goals, beliefs, inferences, tacit knowledge, and so on. Such a criterion makes it possible to empirically separate the fixed capacities of mind from the particular representations and algorithms used on specific occasions. In order for computational theories to avoid being ad hoc, they must deal effectively with the "degrees of freedom" problem by constraining the extent to which they can be arbitrarily adjusted post hoc to fit some particular set of observations. This in turn requires that the fixed architectural function and the algorithms be independently validated. It is argued that the architectural assumptions implicit in many contemporary models run afoul of the cognitive impenetrability condition, since the required fixed functions are demonstrably sensitive to tacit knowledge and goals. The paper concludes with some tactical suggestions for the development of computational cognitive theories. (shrink)

This thesis first introduces the basic principles of model-based image sequence coding technology, then discusses in detail the specific steps in various implementation algorithms, and proposes a basic feature point calibration required in three-dimensional motion and structure estimation. This is a simple and effective solution. Aiming at the monocular video image sequence obtained by only one camera, this paper introduces the 3D model of the sculpture building into the pose tracking framework to provide initial depth information. The whole posture (...) tracking framework can be divided into three parts, namely, the construction of the initial sculpture model, the posture tracking between frames, and the robustness processing during continuous tracking. In order to reduce the complexity of calculation, this paper proposes a new three-dimensional mesh model and a moving image restoration algorithm based on this model. At the same time, the influence of the intensity and direction factors in the scene is added, the simulation results are given, and the next step is discussed. The optimization work that needs to be done. (shrink)

This systematic investigation of computation and mental phenomena by a noted psychologist and computer scientist argues that cognition is a form of computation, that the semantic contents of mental states are encoded in the same general way as computer representations are encoded. It is a rich and sustained investigation of the assumptions underlying the directions cognitive science research is taking. 1 The Explanatory Vocabulary of Cognition 2 The Explanatory Role of Representations 3 The Relevance of Computation 4 The Psychological Reality (...) of Programs: Strong Equivalence 5 Constraining Functional Architecture 6 The Bridge from Physical to Symbolic: Transduction 7 Functional Architecture and Analogue Processes 8 Mental Imagery and Functional Architecture 9 Epilogue: What is Cognitive Science the Science of? (shrink)