In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Database of Classical Bibliography ed. by Dee. L. ClaymanGerald A. PressDee. L. Clayman, editor. The Database of Classical Bibliography. CD-ROM and manual. Atlanta: Scholars Press, 1997. Pp. xvi + 120. $85 (individual); $340-2400 (institutional).L ’Annee Philologique (APh) has long been one of the most important scholarly resources for students of the history of ancient philosophy. Even though in print form it contains errors and omissions, (...) has become of unwieldy size, and does not appear promptly enough for up-to-date research, there is no other single source of such international comprehensiveness. It is far more inclusive in many respects than The Philosopher’s Index.The Database of Classical Bibliography (DCB) is a long-term project sponsored by the N.E.H., the American Philological Association and others to make the full contents of APh accessible from a CD-ROM either from individual PCs or on a local network. Unlike the Thesaurus Linguae Graecae, the DCB CD-ROM comes with its own search software (DCB CompLex) on the disk. This software is set up both for IBM and MAC machines, installs quickly, and operates extremely well. The manual gives clear instructions both for general use and for detailed search strategies. CompLex enables the user to search DCD in many different ways; e.g., by ancient or modern authors and works, by titles, publisher, place of publication, year of publication, journal, modern language, or series name, as well as by APh volumes, years, page numbers, rubrics, and topics. It can also search by any word in a modern language (i.e., in Roman characters) or for words in a Greek index. And CompLex enables one to perform more complex searches utilizing wildcards and Boolean operators in a user-friendly form.DCB Version 2, containing Volumes 45–60 (1974–1989), fulfills the editor’s initial commitment to make a new release available each year with the addition of three to five years, since it includes four years of APh (1973–74 and 1988–89) not on Version 1. Also new in Version 2 is a French interface and manual.DCB has faults, however. It repeats mistakes that appeared in the print version of APh and contains other mistakes that did not originate in APh. Many were noted in reviews of Version 1, but this should not be surprising in a work of such magnitude as either APh or DCB. What is perhaps disturbing is that errors noted in Version 1 have not been corrected in Version 2, though it would not seem difficult to make use of the information provided by careful reviewers.Nevertheless, DCB is a terrific scholarly tool. No college or university library should be without it. [End Page 619]Gerald A. PressHunter CollegeCopyright © 1998 Journal of the History of Philosophy, Inc... (shrink)

Recently, Intelligent Tutoring Systems (ITS) got much attention from researchers even though ITS educational technology began in the late 1960s and ITS is just embryonic from laboratories into the field. In this paper we outline an intelligent tutoring system for teaching basics of the databases system called (MDB). The MDB was built as education system by using the authoring tool (ITSB). MDB contains learning materials as a group of lessons for beginner level which include relational database system and lessons (...) in the process to install and set up a database. MDB system has exams for each level of the Lessons. An evaluation was done to see the effectiveness the MDB among learners and instructors. The outcome of the evaluation was promising. (shrink)

“Time Capsule” is a work-experience that lies somewhere between a local eventinstallation, a site-specific work in which the site itself is both my body and a remote database, a simulcast on TV and the Web, and interactive webscanning of my body. The live component of the piece was realised on November 11, 1997, in the context of the exhibition “Arte Suporte Computador”, at the cultural centre Casa da Rosas, in Sao Paulo, Brazil. “Time Capsule” was carried live on the (...) evening newscast of the TV station Canal 21 and on tape by two other TV stations (TV Manchete and TV Cultura). The webscast was transmitted by Casa das Rosas.The object that gives the piece its title is a microchip that contains a programmed identification number and that is integrated with a coil and a capacitor, all hermetically sealed in biocompatible glass. The temporal scale of the work is stretched between the ephemeral and the permanent; i.e., between the few minutes necessary for the completion of the basic procedure, the microchip implantation, and the permanent character of the implant. As with other underground time capsules, it is under the skin that this digital time capsule projects itself into the future. (shrink)

Over the coming decades, the so-called telematic technologies are destined to grow more and more encompassing in scale and the repercussions they will have on our professional and personal lives will become ever more accentuated. The transformations resulting from the digitization of data have already profoundly modified a great many of the activities of human life and exercise significant influence on the way we design, draw up, store and send documents, as well as on the means used for locating information (...) in libraries, databases and on the net. These changes are transforming the nature of international communication and are modifying the way in which we carry out research, engage in study, keep our accounts, plan our travel, do our shopping, look after our health, organize our leisure time, undertake wars and so on. The time is not far off when miniaturized digital systems will be installed everywhere - in our homes and offices, in the car, in our pockets or even embedded within the bodies of each one of us. They will help us to keep control over every aspect of our lives and will efficiently and effectively carry out multiple tasks which today we have to devote precious time to. As a consequence, our ways of acting and thinking will be transformed. These new winds of change, which are blowing strongly, are giving birth to a new culture to which the name ‘digital culture’ has been given. It is timely that a study should be made of the different aspects and consequences of this culture, but that this study should not be just undertaken from the point of view of the simple user who quickly embraces the latest successful innovation, in reaction essentially to market forces. The major challenge for this culture resides not so much in the development of even more tiny microchips, faster processors or more refined software, but in the honing of conceptual instruments which will give us the ability to analyse and evaluate the radical changes that this revolution is bringing about and which it will continue to provoke in all of our lives. (shrink)

In this paper, a stochastic simulation model for a standalone PV system sizing is replicated and extended to supply a dairy’s power demand. A detailed hourly-based simulation is conducted considering an hourly load profile and global solar radiation prediction model. The stochastic simulation model is based on a thorough statistical analysis of the solar radiation data and simulates the energy yield, the excess energy curtailed, and the state of charge of the batteries for the sizing month and the whole year, (...) providing the designer autonomy factor values d to properly size the PV system, finding the optimum combination of installed peak power P m and battery storage capacity C L that meets the application load requirements, considering a preset reliability level at minimum cost. The model makes use of the NASA’S Surface Meteorology and Solar Energy database to obtain solar radiation data. Results show a substantial reduction of 44% in installed peak power and battery storage capacity when compared to conventional methodologies, considering three days of autonomy, and an 85% reduction considering four days. Considering the goodness of fit test results, the Wakeby distribution best represents the behavior of historical solar radiation data for the site in almost half of the months. This article seeks to contribute to the literature gap in the application of methodologies for the multicomponent power supply in the dairy industry through the use of renewable energy. (shrink)

Objectives:Over the past two decades, all U.S. states have incorporated alcohol ignition interlock technology into sentencing laws for individuals convicted of driving while intoxicated. This article provides the first 50-state summary of these laws to include changes in the laws over time and their effective dates. This information is critical for policy makers to make informed decisions and for researchers to conduct quantitative evaluation of the laws.Methods:Standard legal research and legislative history techniques were used, including full-text searches in the Westlaw (...) legal database and identification of state session laws. Because ignition interlock device laws often change over time, we identified the date of each law's initial enactment as well as the effective date of each law in its current form.Results:Beginning with California and Washington in 1987, all 50 states have enacted IID laws as a sentencing option for DWI offenders. Initially, most of these laws were discretionary. Today, however, 48 states mandate IID installation for at least some types of DWI offenders to maintain lawful driving privileges. Of these, 27 mandate an IID for all offenders; seven mandate an IID for repeat offenders only; and 21 for some combination of specific groups of DWI offenders, including repeat offenders, offenders with a blood alcohol content above a legislatively-specified level, and aggravated offenders.Conclusion:States have wrestled with a number of IID policy issues, including for whom to mandate IIDs and whether to suspend a license for DWI prior to reinstating driving privileges with or without an IID. By understanding how state interlock laws differ, policy makers and researchers can ultimately better ascertain the impact of these laws. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it (...) realizes another work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

This is a very short introduction to the "Installation Art" Symposium appeared on JAAC, which presents papers by Gemma Argüello Manresa, Eleen Deprez, Ken Wilder, and myself.

In business and government, databases contain large quantities of digital transactional data (purchases made, services used, finances transferred, benefits received, licences acquired, borders crossed, tickets purchased). The data can be understood as ongoing and dynamic measurements of the activities and doings of people. In government, numerous database devices have been developed to connect such data across services to discover patterns and identify and evaluate the performance of individuals and populations. Under the UK’s New Labour government, the development of such (...) devices was part of a broader policy known as ‘joined-up thinking and government’. Analyses of this policy have typically understood joining up as an operation of adding together distributed data about subjects, which can then be used in the service of government surveillance, the database state or informational capitalism. But rather than such technical or managerialist analytics, I argue that topological analytics capture what these database devices enact and do: they materialize the ‘individuality’ of subjects in intensified, distributed and fluctuating ways and materialize and intensify a logic of what Deleuze describes as modulating controls. Through examples of UK New Labour social policy initiatives over the past decade, I argue that topological analytics can account for these as immanent rather than exceptional properties of database devices and, as such, part and parcel of a governmental logic and ontology of subjects. (shrink)

Recent discussions of genomics and international justice have adopted the concept of ‘global public goods’ to support both the view of genomics as a benefit and the sharing of genomics knowledge across nations. Such discussion relies on a particular interpretation of the global public goods argument, facilitated by the ambiguity of the concept itself. Our aim in this article is to demonstrate this by a close examination of the concept of global public goods with particular reference to its use in (...) the context of genomic databases. We contend that the argument for construing genomics as a global public good depends on seeing it as a natural good by focusing on features intrinsic to genomics knowledge. We shall argue that social and political arrangements are relevant and that recognising this opens the door to construing the use of global public goods language as a strategic one. (shrink)

This article reports on ethnographic research into the practical and ethical consequences of the implementation and use of telecare devices for older people living at home in Spain and the United Kingdom. Telecare services are said to allow the maintenance of their users’ autonomy through connectedness, relieving the isolation from which many older people suffer amid rising demands for care. However, engaging with Science and Technology Studies literature on “user configuration” and implementation processes, we argue here that neither services nor (...) users preexist the installation of the service: they are better described as produced along with it. Moving beyond design and appropriation practices, our contribution stresses the importance of installations as specific moments where such emplacements take place. Using Etienne Souriau’s concept of instauration, we describe the ways in which, through installation work, telecare services “bring into existence” their very infrastructure of usership. Hence, both services and telecare users are effects of fulfilling the “felicity conditions” of an achieved installation. (shrink)

We argue that future database systems must provide autonomy for individuals for the privacy of data they manage. We propose a design for such a system, identify challenges and problems, and suggest some approaches to these. We enunciate the reasons for informational self-determination systems, which include legal, organizational and technical issues. Our main goal is to achieve a widely-accepted realistic and practical solution in order to ensure privacy for individuals in our future world, yet without hindering business and security.

Generalized databases will be examined, in which attributes can be sets of attributes, or sets of sets of attributes, and other higher type constructs. A precise semantics will be developed for such databases, based on a higher type modal/intensional logic.

Initiatives relying on artificial intelligence (AI) to deliver socially beneficial outcomes—AI for social good (AI4SG)—are on the rise. However, existing attempts to understand and foster AI4SG initiatives have so far been limited by the lack of normative analyses and a shortage of empirical evidence. In this Perspective, we address these limitations by providing a definition of AI4SG and by advocating the use of the United Nations’ Sustainable Development Goals (SDGs) as a benchmark for tracing the scope and spread of AI4SG. (...) We introduce a database of AI4SG projects gathered using this benchmark, and discuss several key insights, including the extent to which different SDGs are being addressed. This analysis makes possible the identification of pressing problems that, if left unaddressed, risk hampering the effectiveness of AI4SG initiatives. (shrink)

Intermedial art, as it emerged in the 1960s and 70s, constituted a threat not only to the medium specificity of modernism, but to the artwork as self-contained autonomous object. Both supporters and critics of intermedia drew a contrast between, on the one hand, modernism’s aesthetic engagement with a medium-specific ‘object’, and on the other new non-aesthetic ‘practices’ engaging the ‘literal spectator’ within her own space, such that the space of the gallery is drawn into the situational encounter. In her 2003/12 (...) book Aesthetics of Installation Art Juliana Rebentisch challenges this binary characterization of autonomous/non-autonomous art. She argues that aesthetic autonomy is not something that can be guaranteed by production, but rather is explicable only with reference to the structure of the aesthetic experience. And for Rebentisch, while installation art has not led to fundamentally different conditions of reception, it has led to an ideological rejection of the notion of context-independent art. Aesthetic autonomy is here not abandoned, but rather reconfigured as a dynamic operational with respect to the ethical and political situation where we encounter the artwork. Sympathetic to the broad remit of Rebentisch’s argument, this article investigates the role of the beholder’s share within the context of such situated art. I draw specifically on Wolfgang Iser’s transformation of a negative aesthetics from binaries of negation/affirmation into an enabling structure where the organization of signifiers serve not the designation of a signified object, but rather designate instructions for the production of the signified. This requires work of the situated beholder, who must negotiate access to the work’s content by bringing her orientation into play. Installation art, thus conceived, constitutes a space that while virtualized – removed from functional imperatives – compels acts of imagination/ideation by problematizing our habitual dispositions. (shrink)

Cet article est une étude synthétique des installations commerciales de la ville de Délos à l'époque hellénistique. On examine les constructions qui appartenaient aussi bien aux installations temporaires qu'aux installations permanentes, on propose une nomenclature et on présente les locaux de production et de vente certainement identifiés. On propose ensuite des critères d'identification des installations commerciales et on tente de retrouver leur mode de fonctionnement. On présente enfin les programmes d'aménagement qui ont conduit à la construction des locaux de commerce (...) et la distribution de ces locaux dans la ville. On constate que le grand nombre et la diversité des installations liées au commerce confirment la réputation de Délos en tant que grand centre commercial à la fin de l'époque hellénistique. (shrink)

ObjectivesConstant Installation of Present Orientation and Safety is a Eye Movements Desensitization and Reprocessing -derived technique, which is often used to prepare for the treatment of post-traumatic stress disorder. It differs from the latter by involving cyclically recurring exercises in reorientation to the present, interspersed between brief periods of exposure to the traumatic material.While EMDR is well established as a therapeutic method, the efficacy and mechanisms of action of CIPOS have not been investigated so far. In this pilot study, (...) an experimental setting was used to record the subjective and physiological effects of the CIPOS intervention compared to a control condition with pure mental exposition.MethodsThe study was performed on 30 healthy volunteers aged from 20 to 30 years. Distress was induced using audio files of subjectively stressful situations. Subjective distress was measured via the Subjective Units of Distress Scale, while physiological indicators were used as measures for objective stress. For each condition, pre- and post-intervention comparisons were calculated.ResultsIn both groups, startle reflex potentiation and mean skin conductance level significantly decreased. In the group with CIPOS intervention, but not in the control group, a significant decrease in the SUD value was found.Conclusion and significanceThe results show that the CIPOS technique is as effective as pure mental exposition in reducing physiological stress. In addition, a superiority in reducing subjective distress was found compared to pure mental exposition. Possible explanations of these effects are discussed. (shrink)

Cet article est une étude sur l’apparition et la fortune critique du terme installation dans le vocabulaire de l’art contemporain. À travers la brève histoire de la diffusion de ce mot en art seront analysés les circonstances contextuelles, les modalités de fonctionnement et l’imaginaire de la forme « installation ». Devenue populaire grâce à trois artistes commissaires d’un lieu d’exposition à Londres, le « Museum of Installation » dans les années 1990, la forme « installation » (...) renvoie à des dispositifs antérieurs, amorcés dès les avant-gardes. L’analyse historique permet d’en appréhender les différents paliers : les prémisses, puis les « environnements » issus de l’assemblage et popularisés par Allan Kaprow, et l’« in situ », ces deux dernières formes et leur terminologie dominant jusqu’à la fin des années 1970. Après la transition constituée par les années 1980, le texte se conclut par l’analyse d’un moment inaugural ouvrant l’histoire des installations en France, les « Ateliers du Paradise » de 1991. À travers cette œuvre sont questionnées les différentes valeurs critiques comme les ambiguïtés de ce mode aujourd’hui si répandu internationalement qu’il semble à beaucoup synonyme d’art contemporain. This article studies the emergence and critical reception of the term installation in today’s artistic vocabulary. Through the brief history of the diffusion of the word will be analyzed its contextual circumstances, the functioning procedures and the imaginary conveyed through the different forms of installation. Mediated by three artists who, in the 1990s, curated a place in London they called the “Museum of Installation”, installation as an art form much predates the 1990, and can be found in avant-garde art. The historical analysis allows one to discern different stages: the premises of installation, “environments” issued from assemblage and popularized by Allan Kaprow, “site-specific” installations,—these last two forms and words being prevalent up to the end of the 1970s. After presenting the transitional period of the 1980s, the text concludes with the analysis of an inaugural event opening the history of installations in France, the “Paradise’s Studios”, in 1991. Through this analysis are questioned the critical values as well as the ambiguities of installation, as this very form is so internationally spread today that it seems to mean contemporary art itself. (shrink)

Nous examinons ici un type très caractéristique d'installation artisanale, fréquente dans les habitats ou les bâtiments isolés de l'époque minoenne. Elle est composée, dans sa forme la plus simple et la plus courante, d'un récipient tronconique avec bec verseur placé sur une plate-forme artificielle ou un banc et, en immédiate relation avec lui, d'un grand vase situé à un niveau inférieur, servant à recueillir un liquide. On a donné des interprétations variées de ces installations : servaient-elles à séparer deux (...) liquides (huile et eau), au cours de la production de l'huile? à écraser les raisins pendant la fabrication du vin? à laver les vêtements? Après avoir dressé un catalogue, aussi complet que possible, des installations minoennes de ce type connues à ce jour, on tente de comprendre leur fonctionnement, à l'aide de données comparatives et de parallèles iconographiques diachroniques. Enfin, on examine le rôle de ces installations dans le cadre socio-économique plus large de l'époque minoenne. (shrink)

Since Norbert Wiener presented a new research field called the study of control and communication in the animal and the machine, the biological and the artificial universes are each time more integrated as pieces of a game that involves science, philosophy, technology, arts, architecture and several other fields. It is astonishing to take a look at an imaginary non-linear timeline where it is possible to see the ancient Ars Mnemonica inspiring the Leibniz combinatoria and how all these virtual knowledge structures (...) inspired the development of a communication and control machine called the computer. A machine that is quite an exploded black box artificial systems integrated into biological systems in a cybernetic structure through which most diverse kinds of information flows. We are living in times in which the logic of this machine becomes the core of our post-biological era in its essence, the era in which the biological and artificial realms are immersed in one another. An era in which we see [] humans in fact integrating with the fiction of their imagination as conjured up digitally by the computer, and in which the digital arts emanating from the cosmology of number are also a link between digital finality and infinity imagination, defending man in his impossibility to be simulated (Weibel 1999: 222). Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet. The aim of the present research is to study this choreography using the complex sciences framework. Following this objective, a series of parameters based on systemic measures of organization and complexity were structured. Our intention is, obviously, not to say that the work of art is more or less systemic, more or less complex or organized, but to help in understanding and to conceive the installation as a system: a complex adaptive system (CAS). (shrink)

There are many ways in which biases can enter processes of scientific reasoning. One of these is what Ludwik Fleck has called a “harmony of illusions”. In this paper, Fleck’s ideas on the relevance of social mechanisms in epistemic processes and his detailed description of publication processes in science will be used as a starting point to investigate the connection between cognitive processes, social dynamics, and biases in this context. Despite its usefulness as a first step towards a more detailed (...) analysis, Fleck’s account needs to be updated in order to take the developments of digital communication technologies of the 21st century into account. Taking a closer look at today’s practices of science communication shows that information and communication technologies (ICTs) play a major role here. By presenting a detailed case study concerning the database SCOPUS, the question will be investigated how such ICTs can influence the division of epistemic labour. The result will be that they potentially undermine the epistemic benefits of social dynamics in science communication due to their inherent tendency to reduce the diversity of scientific hypotheses and ideas. (shrink)

Introduction: This article discusses ethical, legal and social issues raised by the collection, storage and use of DNA in forensic databases. Review: The largest and most inclusive forensic database in the world, the UK National DNA database, leads the worldwide trend towards greater inclusivity. The performance of the NDNAD, criteria for inclusion, legislative framework and plans for integrating forensic databases across Europe are discussed. Comparisons are drawn with UK biobank that has started collecting DNA samples linked to medical (...) records and, unlike the NDNAD, requires informed consent from volunteers, allows withdrawal of samples and only includes adults. The potential uses of research into genes associated with violent and ‘antisocial’ behaviour are discussed in the context of an increasing degree of surveillance in the UK. Conclusion: It should not be assumed that the benefits of forensic databases will necessarily override the social and ethical costs, regardless of changes to the criteria for inclusion or the permitted uses of samples and profiles. The expansion of forensic databases raises issues of relevance to the medical profession. (shrink)

Remodel[l]ing Reality is an inquiry into Wittgenstein's notion of übersichtliche Darstellung and the phenomenon of installation in visual art. In a sense, both provide a perspicuous overview of a particular part of our complex world, but the nature of the overview differs. Although both generate knowledge, philosophy via the übersichtliche Darstellung gives us a view of how things stand for us, while the installation shows an unexpected, exiting point of view. The obvious we tend to forget and the (...) ambiguity of reality are related to each other in a dynamic way. It is in this reflexive dynamics that we constantly remodel our reality. Tools we use are our creative abilities and our powers of imagination. In our choices and solutions we show which aspects of reality we find important and how we communicate these values. The outcome of this investigation is a new perspective on the art of installation and a new insight in Wittgenstein's notion of übersichtliche Darstellung. Because of this combination, the book is itself an artwork: an InstallationPackage. The book is distributed by Ideabooks Amsterdam, Isbn 978 90 804240 3 6. Remodel[l]ing Reality is included in Special Collections, Allard Pierson Museum Amsterdam. (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing (...) properties in common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

This paper contrasts the experience of works of installation art with sculptural and architectural experience and argues that installation art is an interactive art form.

We study logical reduction (factorization) of relations into relations of lower arity by Boolean or relative products that come from applying conjunctions and existential quantifiers to predicates, i.e. by primitive positive formulas of predicate calculus. Our algebraic framework unifies natural joins and data dependencies of database theory and relational algebra of clone theory with the bond algebra of C.S. Peirce. We also offer new constructions of reductions, systematically study irreducible relations and reductions to them and introduce a new characteristic (...) of relations, ternarity, that measures their ‘complexity of relating’ and allows to refine reduction results. In particular, we refine Peirce’s controversial reduction thesis, and show that reducibility behaviour is dramatically different on finite and infinite domains. (shrink)

This study presents a description of an open database on scientific output of Vietnamese researchers in social sciences and humanities, one that corrects for the shortcomings in current research publication databases such as data duplication, slow update, and a substantial cost of doing science. Here, using scientists’ self-reports, open online sources and cross-checking with Scopus database, we introduce a manual system and its semi-automated version of the database on the profiles of 657 Vietnamese researchers in social sciences (...) and humanities who have published in Scopus-indexed journals from 2008 to 2018. The final system also records 973 foreign co-authors, 1,289 papers, and 789 affiliations. The data collection method, highly applicable for other sources, could be replicated in other developing countries while its content be used in cross-section, multivariate, and network data analyses. The open database is expected to help Vietnam revamp its research capacity and meet the public demand for greater transparency in science management. (shrink)

The paper discusses the potential value of a deontic approach to database specification. More specifically, some different types of integrity constraints are considered and a distinction is drawn between necessary (hard) and deontic (soft) constraints.Databases are compared with other normative systems. A deontic logic for database specification is proposed and the problems of how to react to, and of how to correct, or repair, a situation which arises through norm violation are discussed in the context of this logic. (...) The limitations of the proposed logic and possible modifications and extensions of it are analysed. (shrink)

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation (...) art, utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by administered pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art pieces. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics. (shrink)

The Database, Logic, and Suffering _Memento_ and Random-Access Information Aesthetic.

Although the widespread use of the term “Big Data” is comparatively recent, it invokes a phenomenon in the developments of database technology with distinct historical contexts. The database engineer Jim Gray, known as “Mr. Database” in Silicon Valley before his disappearance at sea in 2007, was involved in many of the crucial developments since the 1970s that constitute the foundation of exceedingly large and distributed databases. Jim Gray was involved in the development of relational database systems (...) based on the concepts of Edgar F. Codd at IBM in the 1970s before he went on to develop principles of Transaction Processing that enable the parallel and highly distributed performance of databases today. He was also involved in creating forums for discourse between academia and industry, which influenced industry performance standards as well as database research agendas. As a co-founder of the San Francisco branch of Microsoft Research, Gray increasingly turned toward scientific applications of database technologies, e. g. leading the TerraServer project, an online database of satellite images. Inspired by Vannevar Bush’s idea of the memex, Gray laid out his vision of a Personal Memex as well as a World Memex, eventually postulating a new era of data-based scientific discovery termed “Fourth Paradigm Science”. This article gives an overview of Gray’s contributions to the development of database technology as well as his research agendas and shows that central notions of Big Data have been occupying database engineers for much longer than the actual term has been in use. (shrink)

Although the widespread use of the term “Big Data” is comparatively recent, it invokes a phenomenon in the developments of database technology with distinct historical contexts. The database engineer Jim Gray, known as “Mr. Database” in Silicon Valley before his disappearance at sea in 2007, was involved in many of the crucial developments since the 1970s that constitute the foundation of exceedingly large and distributed databases. Jim Gray was involved in the development of relational database systems (...) based on the concepts of Edgar F. Codd at IBM in the 1970s before he went on to develop principles of Transaction Processing that enable the parallel and highly distributed performance of databases today. He was also involved in creating forums for discourse between academia and industry, which influenced industry performance standards as well as database research agendas. As a co-founder of the San Francisco branch of Microsoft Research, Gray increasingly turned toward scientific applications of database technologies, e. g. leading the TerraServer project, an online database of satellite images. Inspired by Vannevar Bush’s idea of the memex, Gray laid out his vision of a Personal Memex as well as a World Memex, eventually postulating a new era of data-based scientific discovery termed “Fourth Paradigm Science”. This article gives an overview of Gray’s contributions to the development of database technology as well as his research agendas and shows that central notions of Big Data have been occupying database engineers for much longer than the actual term has been in use. (shrink)

Criminal intelligence data poses problems for conventional database technology. It has little structure or homogeneity and queries may involve looking for unknown associations between entities; such open-ended queries cannot be made in current systems. Finally, the data must be presented in an intuitively simple fashion for both investigative and evidential purposes. We discuss a database system which uses a labelled graph as its data model. This approach obviates the need for schema design, allows queries which look for associations (...) between entities to be implemented and provides the basis for a natural visual representation of the data. (shrink)

After the novel, and subsequently cinema privileged narrative as the key form of cultural expression of the modern age, the computer age introduces its correlate — database. Why does new media favour database form over others? Can we explain ist popularity by analysing the specificity of the digital medium and of computer programming? What is the relationship between database and another form, which has traditionally dominated human culture — narrative? In addressing these questions, I discuss the connection (...) between computer's ontology — the way software represents the world — and the new cultural forms privileged by computer culture such as database. I propose that computerisation of culture involves projection of two fundamental parts of computer software — data structures and algorithms — onto the cultural sphere. Thus CD-ROMs and Web databases are cultural manifestations of one half of this ontology — data structures; while new media narratives are manifestations of the second part — algorithms. I conclude by proposing that in computer culture database and narrative do not have the same status. Given that on the level of data organisation most new media objects are databases, it is not surprising that on the level of form database also dominates new media culture. (shrink)

This chapter illustrates through the analysis of some examples how philosophical research can illuminate the improvisational aspects of installation art. There is little philosophical research on improvisation in the visual arts. Similarly, there is little philosophical research on installation art – in section 2, I mention some key claims that have been put forward. Not surprisingly, then, philosophers have not yet focussed – at least to my knowledge – on improvisation in installation art. The issue, though, is (...) timely. Not only some installation artists have explored improvisation in their practice, both solo and collaboratively (see section 3) but, as I shall argue, it can be claimed that some works of installation art represent or express improvisation (section 4), that some invite the public to engage in improvisation (section 5), and that curatorial teams responsible for the displays of certain installation artworks have the opportunity to introduce improvisational elements in their practice, if they so wish (section 6). (shrink)