Kant, le philosophe parodié: “mauvais usage” de la Critique de la raison pure dans le Saint Genet de Sartre

Aachen

Automatic relative debugging of OpenMP programs

In this work we show how automatic relative debugging can be used to find differences in computation between a correct serial program and an OpenMP parallel version of that program that does not yield correct results. Backtracking and re-execution are used to determine the first OpenMP parallel region that produces a difference in computation that may lead to an incorrect value the user has indicated. Our approach also lends itself to finding differences between parallel computations, where executing with M threads produces expected results but an N thread execution does not (M, N > 1, M ≠ N). OpenMP programs created using a parallelization tool are addressed by utilizing static analysis and directive information from the tool. Hand-parallelized programs, where OpenMP directives are inserted by the user, are addressed by performing data dependence and directive analysis.

Deriving explanations from partial temporal information

The representation and manipulation of natural human understanding of temporal phenomena is a fundamental field of study in Computer Science, which aims both to emulate human thinking, and to use the methods of human intelligence to underpin engineering solutions. In particular, in the domain of Artificial Intelligence, temporal knowledge may be uncertain and incomplete due to the unavailability of complete and absolute temporal information. This paper introduces an inferential framework for deriving logical explanations from partial temporal information. Based on a graphical representation which allows expression of both absolute and relative temporal knowledge in incomplete forms, the system can deliver a verdict to the question if a given set of statements is temporally consistent or not, and provide understandable logical explanation of analysis by simplified contradiction and rule based reasoning.

An architecture of multiple heterogeneous case-based reasoning employing agent technologies

This paper presents an investigation into applying Case-Based Reasoning to Multiple Heterogeneous Case Bases using agents. The adaptive CBR process and the architecture of the system are presented. A case study is presented to illustrate and evaluate the approach. The process of creating and maintaining the dynamic data structures is discussed. The similarity metrics employed by the system are used to support the process of optimisation of the collaboration between the agents which is based on the use of a blackboard architecture. The blackboard architecture is shown to support the efficient collaboration between the agents to achieve an efficient overall CBR solution, while using case-based reasoning methods to allow the overall system to adapt and “learn” new collaborative strategies for achieving the aims of the overall CBR problem solving process.

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.