Intelligibility and interpretability related to artificial intelligence (AI) are crucial for enabling explicability, which is vital for establishing constructive communication and agreement among various stakeholders, including users and designers of AI. It is essential to overcome the challenges of sharing an understanding of the details of the various structures of diverse AI systems, to facilitate effective communication and collaboration. In this paper, we propose four fundamental terms: “I/O,” “Constraints,” “Objectives,” and “Architecture.” These terms help mitigate the challenges associated with intelligibility (...) and interpretability in AI by providing appropriate levels of abstraction to describe structure of AI systems generally, thereby facilitating the sharing of understanding among various stakeholders. The relationship between the Objective of AI designers and the Purpose of AI users is linked to the issues of AI alignment. (shrink)

In the monograph [1] of Chang and Keisler, a considerable extent of model theory of the first order continuous logic is ingeniously developed without using any notion of provability.In this paper we shall define the notion of provability in continuous logic as well as the notion of matrix, which is a natural extension of one in finite-valued logic in [2], and develop the syntax and semantics of it mostly along the line in the preceding paper [2]. Fundamental theorems of model (...) theory in continuous logic, which have been proved with purely model-theoretic proofs in [1], will be proved with proofs which are natural extensions of those in two-valued logic. (shrink)

Within the last decade, several approaches using quaternion numbers to handle and model multiband images in a holistic manner were introduced. The quaternion Fourier transform can be efficiently used to model texture in multidimensional data such as color images. For practical application, multispectral satellite data appear as a primary source for measuring past trends and monitoring changes in forest carbon stocks. In this work, we propose a texture-color descriptor based on the quaternion Fourier transform to extract relevant information from multiband (...) satellite images. We propose a new multiband image texture model extraction, called FOTO++, in order to address biomass estimation issues. The first stage consists in removing noise from the multispectral data while preserving the edges of canopies. Afterward, color texture descriptors are extracted thanks to a discrete form of the quaternion Fourier transform, and finally the support vector regression method is used to deduce biomass estimation from texture indices. Our texture features are modeled using a vector composed with the radial spectrum coming from the amplitude of the quaternion Fourier transform. We conduct several experiments in order to study the sensitivity of our model to acquisition parameters. We also assess its performance both on synthetic images and on real multispectral images of Cameroonian forest. The results show that our model is more robust to acquisition parameters than the classical Fourier Texture Ordination model. Our scheme is also more accurate for aboveground biomass estimation. We stress that a similar methodology could be implemented using quaternion wavelets. These results highlight the potential of the quaternion-based approach to study multispectral satellite images. (shrink)

The increasing presence of women, especially university women, in risky alcohol consumption such as Binge Drinking, which is associated with gender-specific biopsychosocial problems, makes it necessary to analyze the variables underlying BD in order to adjust possible interventions more in line with their reality. The motives and expectancies of this pattern of consumption, as well as the consequences derived from it, are some of the variables that are shown to have the greatest weight in the prediction of BD. In the (...) present study we analyze, on the one hand, the performance of these variables among college women with alcohol use, and on the other hand, which of these variables allow us to classify BD. A total of 501 female university consumers of alcohol were assessed. Specifically, they completed a self-report of alcohol consumption, the Expectancy Questionnaire, the Drinking Motives Questionnaire and the Alcohol Consumption Consequences Evaluation. BD female students scored significantly higher on these instruments, except for compliance motives. The logistic regression analysis carried out to estimate the probability of performing BD using the social and conformity motives, the ACCE and positive expectancies correctly estimated have a 3.55-fold increase in the probability of having BD, compared to women classified as low risk by the ACCE. On the other hand, women classified as moderate risk by the ACCE have a 4.77-fold increase in the probability of having BD. In the case of social motives and positive expectancies, their increase multiplies by 1.165 and 1.024, respectively, the probability of having BD. The results of this study highlight the importance of adapting preventive measures to the consequences experienced by BD university students, especially in relation to the social motives and positive expectancies that modulate decision-making when engaging in this pattern of consumption. (shrink)

Questo lavoro segue la vicenda di una legge dalla formulazione ad opera di Torricelli alle prime risposte che ebbe in sede di fondazione dinamica. La velocità dell’acqua in efflusso da un serbatoio costantemente pieno è proporzionale alla radice quadrata dell’altezza di carico. Forte della concettualizzazione galileiana, Torricelli introdusse la legge all’interno di un ammirevole assetto geometrico.

No paradox exists in the fact that, in the Special Relativity, for the mass of a material body, considered in motion at constant speed, whose measure is u, the formula: m = m0/√ can be written, while for a photon the same formula holds, when between its source and the observer a state of relative motion at constant speed, whose measure is u, exists and it is observed along the direction perpendicular to the direction of his speed.

Given the explanatory stalemate between ‘embedded’ (EMB) and ‘extended’ (EXT) cognition, various authors have proposed normative and moral arguments in favour of EXT. According to what we call the “extended cognition moral narrative” (EXT-MN) (Cassinadri, 2022), we should embrace EXT and dismiss EMB, because the former leads to morally preferable consequences with respect to the latter. In this article we argue that two arguments following the EXT moral narrative are flawed. In Sect. 2.1 and 2.2, we present respectively King (2016) (...) and Vold’s (2018) ‘argument from assessment of capacities’ (AAC) and Clowes (2013), Farina and Lavazza’s (2022a) ‘cognitive diminishment argument’ (CDA). The AAC states that we should embrace EXT over EMB since the former is better at attributing cognitive credit to individuals with learning disabilities who use assistive tools to complete their learning tasks, thus avoiding their marginalisation. The CDA states that EMB implies a morally undesirable picture of the agent in terms of cognitive diminishment. In Sect. 3, we clarify and criticise the underlying assumptions of the AAC and CDA: the “cognitive credit assumption”, the “marginalisation assumption” and, more generally, an ableist conception of disabled agency. In Sect. 3.1, we discuss the role of moto-perceptual skills and metacognitive credit involved in complex cases of tool-use, to demonstrate that the EXT-MN is uninformative in addressing these cases. To conclude, in Sect. 4 we argue that AAC and CDA fail to present EXT as descriptively and normatively superior to EMB. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Questo studio ha per oggetto il nesso tra l’orexis e la facoltà locomotoria che Aristotele stabilisce nel De anima. Egli, attraverso un’argomentazione complessa, indica nella sfera dell’appetizione, la causa della capacità che hanno alcuni animali di muoversi localmente. L’analisi che propongo si articola, quindi, in due momenti principali: 1. un inquadramento della facoltà locomotoria e di quella appetitiva all’interno della fondamentale tripartizione dell’anima proposta da Aristotele nel De anima (facoltà nutritiva; facoltà sensitiva; facoltà intellettiva); 2. la ricostruzione del ragionamento attraverso (...) cui Aristotele riconduce la dynamis del moto locale principalmente (ma non unicamente) alla facoltà appetitiva. (shrink)

Body image and body schema are two phenomenological concepts which generated a revival of Maurice Merleau-Ponty’s philosophical heritage. In the present text I intend to inquire on the relation between these two concepts and that of Logos of life, another challenging point in the Merleau-Pontyan thought.In order to delineate the correlation between body schema, body image and my understanding of a logic of life, I will first explore how what I term “schematism of the body” is connected to an inherent (...) model of life and living and how this schematism is reflected in the body image. I will turn further to the relation between body and world and highlight how the life of the body defines itself as meaningful in the context of both the surrounding world and the lifeworld. In a third part of my analysis I shall point out how the relation between body schematism and motile intentionality redefines corporeal inten-tionality. I shall conclude by noting the role of the Logos of life, through which corporeity, in its position of meaning project, is instituted as body schematism.Los conceptos fenomenológicos de imagen corporal y esquema corporal han dado lugar a un resurgimiento del legado filosófico de Maurice Merleau-Ponty. En este texto pretendo investigar la relación entre estos dos conceptos y el de Logos de la vida, otro elemento estimulante del pensamiento Merleau-Pontiano.Con el fin de trazar la correlación entre es-quema corporal, imagen corporal y mi interpretación de la lógica de la vida, exploraré en pri-mer lugar cómo el término “esquematismo del cuerpo” está conectado con un modelo inheren-te de vida y de vivir, y cómo este esquematis-mo se refleja en la imagen corporal. Consideraré después la relación entre cuerpo y mundo y remarcaré cómo la vida del cuerpo se define como significativa en el contexto tanto del mundo circundante como del mundo de la vida. En la tercera parte de mi análisis señalaré cómo la relación entre esquematismo corporal e intencionalidad moto-ra redefine la intencionalidad corporal. Concluiré destacando el papel del Logos de la vida, a través del cual la corporeidad, en su posición de proyecto significativo, se instituye como esquematismo corpora. (shrink)

Lorsque nous avons affaire à des objets ou des états de choses complexes, il est difficile de réduire ces objets, ces états de choses, à la somme de leurs parties. Le holisme est la thèse selon laquelle un objet ou un état de choses ne se réduit pas à la somme de ses parties. On retrouve ce phénomène partout : en sciences (les états mentaux ne semblent pas se réduire à des activations de neurones même s’ ils surviennent sur eux), (...) en sociologie (l’ OM est plus que la somme des joueurs, c’ est pourquoi l’ OM existe même après un changement de joueur), en ontologie (le tout constitué par une moto est plus que l’ ensemble de ses parties, encore faut-il qu’ elles soient assemblées correctement) et en gastronomie (dans une fondue les parties et le tout sont indistinguables). -/- Dans cet article, je vais considérer une forme particulière de holisme, peut-être la plus mystérieuse puisqu’ il s’ agit d’ un holisme de valeurs. Soit la thèse suivante : la valeur d’ un tout n’ est pas égale à la somme des valeurs de ses parties. (shrink)

Movement is crucial to Merleau-Ponty’s effort to comprehend sense, meaning as generated within being. This requires a new concept of movement, not as a dislocation within an already determinate space- or time- frame, but as a deeper, more fundamental change that first engenders space and time as determinate contexts in which movement can follow a sensible course. This poses a novel challenge: conceptualizing determinate space and time as contingently arising from a deeper sort of change, which I call templacement. I (...) address this challenge by turning to the Mexica/Aztecs because the most basic term of their ontology is motion-change, and it is obvious to them that motion-change does not occur in an abstract space-time container. Instead, time-place is woven out of ‘prior’ motion-change. This study leads to a deeper lesson for phenomenology, regarding ‘obvious’ presuppositions about what time and philosophy obviously are – and how these presuppositions go hand in hand.La question du mouvement est cruciale dans l’effort de Merleau-Ponty pour comprendre le sens, la signification telle qu’elle se produit dans l’être. Cela requiert un nouveau concept du mouvement, qui n’est pas compris comme un déplacement dans un cadre spatial – ou temporel – prédéterminé, mais plutôt comme un changement plus profond et fondamental, qui, avant tout, produit l’espace et le temps comme des contextes déterminés dans lesquels le mouvement peut suivre un cours sensible. Cela pose un nouveau défi : conceptualiser un espace et un temps déterminés qui résulteraient, de manière contingente, d’un type de changement plus profond, que j’appellerai templacement. Je lance ce défi en me tournant vers les Mexicas/Aztèques parce que le terme le plus élémentaire de leur ontologie est le mouvement-changement, et il est naturel pour eux que le mouvement-changement n’ait pas lieu dans un conteneur spatio-temporel abstrait. Au contraire, le temps-lieu est tissé sans mouvement-changement « préalable ». Cette recherche conduit à un enseignement encore plus profond pour la phénoménologie, concernant au sujet des présupposition “évidentes” sur le temps et sur la philosophie, et elle nous montre aussi comment ces présuppositions sont étroitement liées.Il movimento è un elemento cruciale nello sforzo di Merleau-Ponty di comprendere il senso, il significato in quanto generato all’interno dell’essere. Questo sforzo richiede un nuovo concetto di movimento, da intendere non come movimento-spostamento nell’ambito di una cornice spazio-temporale predefinita, ma come più profondo e più fondamentale mutamento che inaugura lo spazio e il tempo, in quanto contesti nei quali il movimento stesso può esprimere una traiettoria dotata di senso. Si pone quindi una nuova sfida: quella di concettualizzare lo spazio e il tempo come generati da una forma più radicale di mutamento, che propongo di definire templacement. Per affrontare questa sfida, mi rivolgo ai Mexica/Aztechi poiché il termine più basilare della loro ontologia è quello del moto-mutamento, e poiché essi ritengono ovvio che questo moto-mutamento non si verifichi all’interno di un contenitore spazio-temporale astratto: al contrario, lo spazio-tempo è per loro un intreccio che risulta da un moto-mutamento “precedente”. Questo studio permette di ricavare una lezione più profonda per la fenomenologia, che concerne le sue “ovvie” presupposizioni riguardo a che cosa siano “ovviamente” il tempo e la filosofia – e a come queste presupposizioni siano strettamente connesse. (shrink)

Emotional contagion is a phenomenon that has attracted much interest in recent times. However, the main approach on offer, the mimicry theory, fails to properly account for its many facets. In particular, we focus on two shortcomings: the elicitation of emotional contagion is not context-independent, and there can be cases of emotional contagion without motor mimicry. We contend that a general theory of emotion elicitation is better suited to account for these features, because of its multi-level appraisal component. From this (...) standpoint, emotional contagion is viewed as a particular kind of emotional response that involves the same components and processes of emotional responses in general. (shrink)

Il termineha cominciato a essere impiegato nel nostro paese con riferimento all'integrazione sociale di gruppi minoritari solo a partire dagli anni sessanta, per sostituire il concetto ormai logoro di. Prendendo in esame le piů recenti normative italiane ed europee l'articolo mostra come le nuove politiche disegnino un ritorno, al di sotto di una terminologia rimasta immutata, alla concettualitÀ assimilazionista. Questo ritorno, in controtendenza rispetto alla progressiva giuridificazione e proceduralizzazione dell'appartenenza messa in moto dall'emergere nel secondo dopoguerra della politica dei (...) diritti umani, sembra spingere le nostre societÀ politiche indietro verso una pericolosa ri-sostanzializzazione del concetto di cittadinanza in un processo che, lungi dall'aprire spazi di convivenza culturalmente plurali, sembra condurre concretamente verso una sempre piů spregiudicata e discriminante selezione migratoria funzionale a perpetuare quella sistematica inferiorizzazione economica e simbolica degli immigrati in cui consiste e di cui si nutre il razzismo istituzionale europeo. (shrink)