Oxidatively drying coating composition

coating composition comprising an oxidatively drying coating binder and a chelate comprising at least one group according to the following formula (I): forming a complex with a metal ion, A1 and A2 both being an aromatic residue, R1 and R3 being covalently bonded groups, and R2 being a divalent organic radical, wherein at least one solubilizing group is coivalently bonded to the chelating compound. The solubilizing group is a non-polar group, preferable an aliphatic group having at least four carbon atoms, covalently bonded to A1 and/or A2. The metal ion is a divalent ion of a metal selected from the group of manganese, cobalt, copper, lead, zirconium, iron, lanthanium, cerium, vanadium, and clacium or a trivalent ion of a metal selected from the group of manganese, cobalt, lead, zirconium, iron, lanthanium, cerium, and vanadium, combined with a monovalent counterion.

Hidden interlocutor misidentification in practical Turing Tests

Based on insufficient evidence, and inadequate research, Floridi and his students report inaccuracies and draw false conclusions in their Minds and Machines evaluation, which this paper aims to clarify. Acting as invited judges, Floridi et al. participated in nine, of the ninety-six, Turing tests staged in the finals of the 18th Loebner Prize for Artificial Intelligence in October 2008. From the transcripts it appears that they used power over solidarity as an interrogation technique. As a result, they were fooled on several occasions into believing that a machine was a human and that a human was a machine. Worse still, they did not realise their mistake. This resulted in a combined correct identification rate of less than 56%. In their paper they assumed that they had made correct identifications when they in fact had been incorrect.

Testing Turing's five minutes, parallel-paired imitation game

Purpose – The purpose of this paper is to consider Turing's two tests for machine intelligence: the parallel-paired, three-participants game presented in his 1950 paper, and the “jury-service” one-to-one measure described two years later in a radio broadcast. Both versions were instantiated in practical Turing tests during the 18th Loebner Prize for artificial intelligence hosted at the University of Reading, UK, in October 2008. This involved jury-service tests in the preliminary phase and parallel-paired in the final phase. Design/methodology/approach – Almost 100 test results from the final have been evaluated and this paper reports some intriguing nuances which arose as a result of the unique contest. Findings – In the 2008 competition, Turing's 30 per cent pass rate is not achieved by any machine in the parallel-paired tests but Turing's modified prediction: “at least in a hundred years time” is remembered. Originality/value – The paper presents actual responses from “modern Elizas” to human interrogators during contest dialogues that show considerable improvement in artificial conversational entities (ACE). Unlike their ancestor – Weizenbaum's natural language understanding system – ACE are now able to recall, share information and disclose personal interests.

Deception-detection and machine intelligence in practical Turing tests

Deception-detection is the crux of Turing’s experiment to examine machine thinking conveyed through a capacity to respond with sustained and satisfactory answers to unrestricted questions put by a human interrogator. However, in 60 years to the month since the publication of Computing Machinery and Intelligence little agreement exists for a canonical format for Turing’s textual game of imitation, deception and machine intelligence. This research raises from the trapped mine of philosophical claims, counter-claims and rebuttals Turing’s own distinct five minutes question-answer imitation game, which he envisioned practicalised in two different ways: a) A two-participant, interrogator-witness viva voce, b) A three-participant, comparison of a machine with a human both questioned simultaneously by a human interrogator. Using Loebner’s 18th Prize for Artificial Intelligence contest, and Colby et al.’s 1972 transcript analysis paradigm, this research practicalised Turing’s imitation game with over 400 human participants and 13 machines across three original experiments. Results show that, at the current state of technology, a deception rate of 8.33% was achieved by machines in 60 human-machine simultaneous comparison tests. Results also show more than 1 in 3 Reviewers succumbed to hidden interlocutor misidentification after reading transcripts from experiment 2. Deception-detection is essential to uncover the increasing number of malfeasant programmes, such as CyberLover, developed to steal identity and financially defraud users in chatrooms across the Internet. Practicalising Turing’s two tests can assist in understanding natural dialogue and mitigate the risk from cybercrime.

Designer buildings: an evaluation of the price impacts of signature architects

This study investigates whether commercial offices designed by signature architects in the United States achieve rental premiums compared to commercial offices designed by nonsignature architects. Focusing on buildings designed by winners of the Prizker Prize and the Gold Medal awarded by the American Institute of Architects, we create a sample of commercial office buildings designed by signature architects drawing on CoStar's national database. We use a combination of hedonic regression model and a logit model to estimate the various rent determinants. While the first stage measures the typical rental price differential above the typical building in a particular sub-market over a specific timeframe, the second stage identifies a potential price differential over a set of buildings closely matched on important characteristics (such as age, size, location etc.). We find that in both stages offices design by signature architects exhibit a premium. However these results are preliminary. The premium could be indeed an effect of the name of the architect, but others factors such as micro-market conditions might be the cause. Further tests are needed to confirm the validity of our results.

Lorrie Moore: Mo(o)re than an interim assessment

Lorrie Moore has long shed the image of the precocious talent who won the Seventeen story prize with her first submission as a nineteen-year-old undergraduate, but there is still a sense that her best work may be yet to come. In that respect, this mini special issue represents by no means the final word on Moore, but rather an interim assessment of a career that is already substantial and that promises much more to come. Together these three essays (and introduction) offer a coherent and striking exploration of Moore's work that develops new directions for future criticism and will help cement her growing reputation as one of the most original and distinctive contemporary writers. They sometimes circle around the same stories, even the same quotations, reading them in a variety of frames and picking up (and at) the nuances of Moore's sustained wordplay and careful documenting of space, of identity, of gender. Thus these essays work together rather than separately, layering over multiple understandings of Moore's incisive American literature.

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

Aksel Wiin-Nielsen (1924–2010)

Aksel Christopher Wiin-Nielsen, professor emeritus of geophysics at the University of Copenhagen, Denmark, died on 26 April 2010 at the age of 85. He was an honorary member of the American Meteorological Society, the former European Geophysical Society, and the Royal Meteorological Society. He received several awards including the 1982 Buys Ballot Medal, given by the Royal Netherlands Academy of Arts and Sciences, and the 1983 Wihuri International Prize, given by the Wihuri Foundation for International Prizes. He will be remembered for his impressive and outstanding leadership in meteorology.

Galactic cosmic rays in the heliosphere

Simon R Thomas, Mathew J Owens and Mike Lockwood discuss how neutron monitor counts can help map space weather. This won the 2014 Rishbeth Prize for the best student talk at the Hot Spring MIST Meeting in Bath, April 2014.