Well over a century after its introduction, Frege's two-dimensional Begriffsschrift notation is still considered mainly a curiosity that stands out more for its clumsiness than anything else. This paper focuses mainly on the propositional fragment of the Begriffsschrift, because it embodies the characteristic features that distinguish it from other expressively equivalent notations. In the first part, I argue for the perspicuity and readability of the Begriffsschrift by discussing several idiosyncrasies of the notation, which allow an easy conversion of logically equivalent (...) formulas, and presenting the notation's close connection to syntax trees. In the second part, Frege's considerations regarding the design principles underlying the Begriffsschrift are presented. Frege was quite explicit about these in his replies to early criticisms and unfavorable comparisons with Boole's notation for propositional logic. This discussion reveals that the Begriffsschrift is in fact a well thought-out and carefully crafted notation that intentionally exploits the possibilities afforded by the two-dimensional medium of writing like none other. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from (...) modernity: Kant’s transcendental logic of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

"Offering integrated coverage of both digital and computer design, this text offers well-organized, concise, yet comprehensive content, presented from a contemporary engineering viewpoint. Understanding of the material is supported by clear explanations and a progressive development of examples ranging from sample combinatorial applications to a CISC architecture built upon a RISC core. A thorough coverage of traditional topics is combined with increased attention to computer-aided design, problem formulation, solution verification, and the building of problem-solving skills."--BOOK JACKET.

Luciano Floridi presents an innovative approach to philosophy, conceived as conceptual design. His starting-point is that reality provides the data which we transform into information. He explores how we make, transform, refine, and improve the objects of our knowledge, and defends the radical idea that knowledge is design.

Design research programs attempt to bring together the properties of available materials and the demands derived from intended applications. The logic of problem states and state transitions in such programs, including assessment criteria and heuristic principles, is described in settheoretic terms, starting with a naive model comprising an intended profile and the operational profile of a prototype. In a first concretization the useful distinction between structural and functional properties is built into the model. In two further concretizations the (...) inclusion of potential applications is motivated and described for the case of drug research as well as the inclusion of potential realizations for the case of complex products. Next, another line of concretization of the naive model, the incorporation of potentially relevant properties, is sketched. Then the partial analogy between product- and truth-approximation is indicated. We conclude with some remarks about the usefulness of our models for products reaching the market in comparison to the the so-called social construction of technology approach. (shrink)

In most modal logics, atomic propositional symbols are directly representing the meaning of sentences (such as sets of possible worlds). In other words, they use only rigid propositional designators. This means they are not able to handle uncertainty in meaning directly at the sentential level. In this paper, we offer a modal language involving non-rigid propositional designators which can also carefully distinguish de re and de dicto use of these designators. Then, we axiomatize the logics in this language with respect (...) to all Kripke models with multiple modalities and with respect to S5 Kripke models with a single modality. (shrink)

Semantic networks were developed in cognitive science and artificial intelligence studies as graphical knowledge representation and inference tools emulating human thought processes. Formal analysis of the representation and inference capabilities of the networks modeled them as subsets of standard first-order logic (FOL), restricted in the operations allowed in order to ensure the tractability that seemed to characterize human reasoning capabilities. The graphical network representations were modeled as providing a visual language for the logic. Sub-sets of FOL targeted on (...) knowledge representation came to be called description logics, and research on these logics has focused on issues of tractability of subsets with differing representation capabilities, and on the implementation of practical inference systems achieving the best possible performance. Semantic network research has kept pace with these developments, providing visual languages for knowledge entry, editing, and presenting the results of inference, that translate unambiguously to the underlying description logics. This paper discusses the design issues for such semantic network formalisms, and illustrates them through detailed examples of significant generic knowledge structures analyzed in the literature, including determinables, contrast sets, genus/differentiae, taxonomies, faceted taxonomies, cluster concepts, family resemblances, graded concepts, frames, definitions, rules, rules with exceptions, essence and state assertions, opposites and contraries, relevance, and so on. Such examples provide important test material for any visual language formalism for logic. (shrink)

In an English article (‘On Expressions’) Professor Shen Youding writes, ‘the meaning of a name is not the object which is mentioned by means of it’ (Shen 1992: 11). This remark touches on a big issue that has divided contemporary philosophers of language. On the one side is the Millian (after J.S. Mill), who maintains that the semantic value of a name is the object which it designates, denotes, or refers to (as I use them here, these three terms are (...) interchangeable). [1] On the other side is the Fregean (after Gottlob Frege), who thinks that a name has a sense in addition to a reference. [2] Though Professor Sheng’s remark is too brief for us to claim that he would have been prepared to endorse the Fregean idea, it is clear that he was not a Millian. (shrink)

For many natural scientists, design, conceived as the action of an intelligent agent, is not a fundamental creative force in nature. Rather, material mechanisms, characterized by chance and necessity and ruled by unbroken laws, are thought sufficient to do all nature’s creating. Darwin’s theory epitomizes this rejection of design.

Twisted Logic: Navigating Life's Puzzles, Paradoxes, and Big Questions draws upon an array of popular and novel puzzles and paradoxes to help us understand and navigate our everyday world, as well as engaging with the big questions beyond. It will appeal to all those interested in learning about twisted logic and the ways in which intuition and common sense can sometimes lead us astray. The book is designed for everyone and is accessible to the layman and student alike. (...) No prior mathematical skill or technical knowledge is required. (shrink)

An examination of Carnap's Aufbau in the context of Schlick's Allgemeine Erkenntnislehre of ten years earlier, suggests that Carnap's focus there on the sign-relation (Zeichenbeziehung) is an effort to retrieve a verificationist account of the meaning of individual scientific statements from the abyss of meaning-holism entailed by Schlick's proposal that scientific concepts be implicitly defined. The Aufbau's antipodal aspects, its reductive phenomenalism and quasi-Kantian concern with the constitution of objectivity, are seen as complementary moments of the marriage of empiricism and (...) a new emphasis on scientific concepts as "free creations of the human mind". (shrink)

We have yet to fully understand the mariner or the measure to which logical empiricism emerged as a conventionalist response to both traditional Kantian and empiricist epistemology and to the apparent triumphs of “conventionalist stratagems” (in Popper’s aspersive locution) in the foundations of science. By “conventionalism”, however, is here understood a broader sense than customary, an extrapolation of views on the foundations of geometry and physics (associated in the first instance with Poincaré“) to an encompassing epistemological consideration of the development (...) and validity of scientific concepts generally. In this new construal, the concepts of science are neither derivable from sense experience, nor are they transcendentally valid a priori conditions of its possibility. Rather they are “free creations of the human mind” whose provenance is “logically arbitrary”, as Poincare’ and (subsequently) Einstein put it. (shrink)

Focused on the field of knowledge lying between digital and analog circuit theory, this new text will help engineers working with digital systems shorten their product development cycles and help fix their latest design problems. The scope of the material covered includes signal reflection, crosstalk, and noise problems which occur in high speed digital machines (above 10 megahertz). This volume will be of practical use to digital logic designers, staff and senior communications scientists, and all those interested in (...) digital design. (shrink)

"In recent years, design has grown in importance for economic and technical development projects. This increase is in turn associated with very topical social issues. Yet, how can this dimension of design, i.e. "social design", be researched and made visible? This was the question that was tackled by the authors of this book to shed light on the specific rationalities of the processes and methods of design. Based on eight selected projects of applied design at (...) the Zurich University of the Arts, from the areas of Industrial design, Interaction design and Game design, various networks of heterogeneous actors are described and discussed from various academic perspectives. The investigated design productions represent an intrinsic logic than can neither be limited to standardized sets of methods within the discipline nor to established methods outside it. At the same time, decoding the complexity of singular design processes contributes to the advancement of the formulation of design theory."--Site Web de l'éditeur. (shrink)