‘AI & Law’ research has been around since the 1970s, even though with shifting emphasis. This is an overview of the contributions of digital technologies, both artificial intelligence and non-AI smart tools, to both the legal professions and the police. For example, we briefly consider text mining and case-automated summarization, tools supporting argumentation, tools concerning sentencing based on the technique of case-based reasoning, the role of abductive reasoning, research into applying AI to legal evidence, tools for fighting crime and tools (...) for identification. (shrink)

Lennart Åqvist (1992) proposed a logical theory of legal evidence, based on the Bolding-Ekelöf of degrees of evidential strength. This paper reformulates Åqvist's model in terms of the probabilistic version of the kappa calculus. Proving its acceptability in the legal context is beyond the present scope, but the epistemological debate about Bayesian Law isclearly relevant. While the present model is a possible link to that lineof inquiry, we offer some considerations about the broader picture of thepotential of AI & Law (...) in the evidentiary context. Whereas probabilisticreasoning is well-researched in AI, calculations about the threshold ofpersuasion in litigation, whatever their value, are just the tip of theiceberg. The bulk of the modeling desiderata is arguably elsewhere, if one isto ideally make the most of AI's distinctive contribution as envisaged forlegal evidence research. (shrink)

We discuss robotic art, emotion in robotic art, and compassion in the philosophy of art. We discuss a particular animated artwork, survivor, the walking chair, symbolising survivors of landmine blasts, learning to use crutches, and maimed emotionally as well as physically. Its control incorporates mutual relations between very rudimentary representations of distinct emotions. This artwork is intended for sensitising viewers to the horror experienced by those who survive, and those who don’t. We can only give a small sample, here, of (...) the reactions of viewers on various occasions when survivor was exhibited. Regardless of how much which pertains to human mental functions the tool embodies or doesn’t, it is the effect on the human perceivers which matters most to us, and enables us to understand something more about human cognition. Arguably this project is instructive in respect of the ethical-social implications of the synthetic method, i.e. the construction of inorganic systems in order to understand autonomous intentional action; in this project, the latter pertains to the humans involved. (shrink)

We discuss robotic art, emotion in robotic art, and compassion in the philosophy of art. We discuss a particular animated artwork, survivor, the walking chair, symbolising survivors of landmine blasts, learning to use crutches, and maimed emotionally as well as physically. Its control incorporates mutual relations between very rudimentary representations of distinct emotions. This artwork is intended for sensitising viewers to the horror experienced by those who survive, and those who don't. We can only give a small sample, here, of (...) the reactions of viewers on various occasions when survivor was exhibited. Regardless of how much which pertains to human mental functions the tool embodies or doesn't (actually, such replication is minimalist), it is the effect on the human perceivers which matters most to us, and enables us to understand something more about human cognition. Arguably this project is instructive in respect of the ethical-social implications of the synthetic method, i.e. the construction of inorganic systems in order to understand autonomous intentional action; in this project, the latter pertains to the humans involved. (shrink)

Computational models of emotions have been thriving and increasingly popular since the 1990s. Such models used to be concerned with the emotions of individual agents when they interact with other agents. Out of the array of models for the emotions, we are going to devote special attention to the approach in Adamatzky’s Dynamics of Crowd-Minds. The reason it stands out, is that it considers the crowd, rather than the individual agent. It fits in computational intelligence. It works by mathematical simulation (...) on a crowd of simple artificial agents: by letting the computer program run, the agents evolve, and crowd behaviour emerges. Adamatzky’s purpose is to give an account of the emergence of allegedly “irrational” behaviour. This is not without problem, as the irrational to one person may seem entirely rational to another, and this in turn is an insight that, in the history of crowd psychology, has affected indeed the competition among theories of crowd dynamics. Quite importantly, Adamatzky’s book argues for the transition from individual agencies to a crowd’s or a mob’s coalesced mind as so, and at any rate for coalesced crowd’s agency. (shrink)

We expose the implications of lexical innovation as supported by the ONOMATURGE knowledge-based paradigm, for policies intended to foster native or national languages. In certain cases, the survival of native cultures, as supported by their language, depends on their ability to fill lexical gaps due to the technological gap. In certain other cases, the native culture itself is not in crisis (e.g., in the case of the national language of a sovereign country), but the local technologists or translators participate in (...) lexical innovation in a specific technical domain, and can benefit from the ONOMATURGE paradigm. (shrink)

Several facets of the “flimsy pretext” archetype “My dog ate my homework” are analysed. We do so by considering textual accounts of events from real life filteredthrough the media, and we resort to formalisms (episodic formulae, Wigmore Charts) to capture some aspects of their gist. We also analyse several gag cartoons,either one-panel or multi-panel, and either as produced by others, or ones authored by this writer for the very purpose of probing into potential uses of the archetype. Sometimes the archetype (...) can even be used other than as standing for a pretext, but this is only possible when the ‘homework’ metaphor is somewhat overstretched, or then when different idioms are hybridized. Other important topics we consider are intertextuality (textual and possibly also visual); observation levels from Negrotti’s naturoid theory; and ALIBI, an automated inventor of pretexts. (shrink)

Sometimes, technological solutions to practical problems are devised that conspicuously take into account the constraints to which a given culture is subjecting the particular task or the manner in which it is carried out. The culture may be a professional culture (e.g., the practice of law), or an ethnic-cum-professional culture (e.g., dance in given ethnic cultures from South-East Asia), or, again, a denominational culture prescribing an orthopraxy impinging on everyday life through, for example, prescribed abstinence from given categories of workday (...) activities, or dietary laws. (shrink)

We use a graphic formalism to make explicit differences in the interpretation of temporal relations in natural-language text. Out of the panoply of computational representation methods for time or tense, we select Petri nets, and discuss why. We illustrate their potential for semantics and for sign theorists, by analyzing how some late antique and medieval exegeses understood the narrative of Moses and Pharaoh's magicians, and the former's rod swallowing up the rods of the other ones, once these rods had been (...) turned into crocodiles or snakes. We extend the treatment to another situation concerning the semantics of eating and being eaten. (shrink)