In search of Cork's collecting traditions: from Kilcrea's Library to the Boole Library of today

The objective of this essay is not a description of the presently unresearched, unstated and unquantified tradition of collectors, collecting and collectables in Cork; it is rather one of signposting what survives in terms of influences which coalesced into what became the bibliographical and museological resources of the Queen's College and ultimately University College, Cork (UCC).

Identifying sources of global contention in constraint satisfaction search

Much work has been done on learning from failure in search to boost solving of combinatorial problems, such as clause-learning and clause-weighting in boolean satisfiability (SAT), nogood and explanation-based learning, and constraint weighting in constraint satisfaction problems (CSPs). Many of the top solvers in SAT use clause learning to good effect. A similar approach (nogood learning) has not had as large an impact in CSPs. Constraint weighting is a less fine-grained approach where the information learnt gives an approximation as to which variables may be the sources of greatest contention. In this work we present two methods for learning from search using restarts, in order to identify these critical variables prior to solving. Both methods are based on the conflict-directed heuristic (weighted-degree heuristic) introduced by Boussemart et al. and are aimed at producing a better-informed version of the heuristic by gathering information through restarting and probing of the search space prior to solving, while minimizing the overhead of these restarts. We further examine the impact of different sampling strategies and different measurements of contention, and assess different restarting strategies for the heuristic. Finally, two applications for constraint weighting are considered in detail: dynamic constraint satisfaction problems and unary resource scheduling problems.

The endless search for SA: spiritual ideology in Hindustāni music

This dissertation centres on philosophical attitudes presented by North Indian classical musicians in relation to the concept and experience of rāga improvisation. In Hindustāni music, there is a dynamic tension ideology and pragmatism, devotion and entertainment, fixity and improvisational freedom, and cognition and visceral experience. On one hand, rāga is an embodied methodological template for the creation of music. On the other hand, rāga improvisation is conceptualised as a path to metaphysical experience and as an evocation of an ineffable divine presence. A masterful rendition of rāga is both a re-enactment of a systematic prescribed formula and a spontaneous flow of consciousness. This study presents these apparent dichotomies to highlight ideological concerns, while simultaneously contextualising philosophical idealism in relation to pragmatic realities. A central paradigm is the manner in which pragmatic concerns are elevated in status and given spiritual significance. The dissertation begins with a view into historical and religious context. The discussion continues with a speculative investigation positing co-relations between Hindustāni music and central tenets of Indian philosophy, considering how rāga improvisation may manifest as a philosophy of sound. The study then explores the concept of rāga, a modal and conceptual construct that forms the heart of Indian classical music. The final three sections ground the subject of spiritual ideology within the life experience of Hindustāni musicians: ‘Transmission’ looks at the learning and enculturation process, which encapsulates values intrinsic to the ethos of Hindustāni music culture. ‘Practice’ explores the discipline, science and experience of musical practice, revealing core ideological concerns connecting spirituality to musical experience; and ‘Performance’ examines the live presentation of rāga improvisation, and the relationship between music as ‘entertainment’ and music as ‘devotion’. Both ethnographic and musicological, this research is the culmination of various fieldtrips to India, extensive interviews with Hindustāni musicians, fifteen year’s sitār training, and the study of relevant musicological and philosophical texts.