This paper contains a survey of the main definitions and results obtained to date related to Temporal Equilibrium Logic, a nonmonotonic hybrid approach that combines Equilibrium Logic (the best-known logical characterisation for the stable models semantics of logic programs) with Linear-Time Temporal Logic.

In this paper, we study the introduction of modal past temporal operators in Temporal Equilibrium Logic, an hybrid formalism that mixes linear-time modalities and logic programs interpreted under stable models and their characterisation in terms of Equilibrium Logic. We show that Kamp’s translation can also be used to translate the new extension of TEL with past operators into Quantified Equilibrium Logic. Additionally, we provide a method for removing past operators that consists in replacing past-time subformulas by fresh auxiliary atoms, obtaining (...) an equivalent formula, modulo the original alphabet. (shrink)

Cinema is commonly hailed as "the universal language," but how does it communicate so effortlessly across cultural and linguistic borders? Drawing on a lifetime's worth of viewing an reviewing, influential critic Gilberto Perez invokes a dizzying array of masters past and present includin Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard--to explore the transaction between filmmaker and audience. The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points (...) of view are brought into clear focus.". (shrink)

"Tough, smart, superbly engaging, The Material Ghost is a terrific book." -- Edward W. Said In The Material Ghost , Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form. For Perez, film is complex and richly contradictory, lifelike and dreamlike at once, a peculiar mix of reality and imagination. "The images on the (...) screen," he writes, "carry in them something of the world itself, something material, and yet something transposed, transformed into another world: the material ghost." "Dazzling... The sheer intelligence at work in these lucid pages is exhilarating." -- Alfred Guzzetti, Boston Book Review "A pleasure. Gilberto Perez is one of the smartest film critics writing anywhere." -- Jonathan Rosenbaum "Strikes an ideal balance between insightful analysis and graceful writing... A model of thoughtful criticism." -- David Sterritt, Christian Science Monitor "Brilliantly polemical in his critique of cynical reason ('the official philosophy of late capitalism'), no less passionate in defending the truth-value of cinema, Perez seems to be the clearest heir to the great humanist critic André Bazin." -- Sight & amp Sound "The chapters on Keaton and Renoir are stunning, full of perceptive remarks the chapter on Godard is a persuasive rehabilitation none of the chapters is without memorable insights." -- Michael Wood, London Review of Books "Gilberto Perez's ambitious, abundant, and cultivated book--the fruit of decades of thinking and teaching -- accompanies readers on a journey of discovery into the wonder of film." -- Stanley Cavell "Few books of film criticism in the past twenty-five years have been so enjoyable or instructive... [Perez] has excellent things to say about authorship, about documentaries, about popular genres, about cinematic point of view and narrative technique, about actors, and above all about camera style... He makes us want to look once more at the remarkable pictures he discusses." -- James Naremore, Cineaste. (shrink)