Interval bias in 2AFC detection tasks: sorting out the artifacts

Proportion correct in two-alternative forcedchoice (2AFC) detection tasks often varies when the stimulus is presented in the first or in the second interval.Reanalysis of published data reveals that these order effects (or interval bias) are strong and prevalent, refuting the standard difference model of signal detection theory. Order effects are commonly regarded as evidence that observers use an off-center criterion under the difference model with bias. We consider an alternative difference model with indecision whereby observers are occasionally undecided and guess with some bias toward one of the response options. Whether or not the data show order effects, the two models fit 2AFC data indistinguishably, but they yield meaningfully different estimates of sensory parameters. Under indeterminacy as to which model governs 2AFC performance, parameter estimates are suspect and potentially misleading. The indeterminacy can be circumvented by modifying the response format so that observers can express indecision when needed. Reanalysis of published data collected in this way lends support to the indecision model. We illustrate alternative approaches to fitting psychometric functions under the indecision model and discuss designs for 2AFC experiments that improve the accuracy of parameter estimates, whether or not order effects are apparent in the data.

Paired structures in knowledge representation.

In this position paper we propose a consistent and unifying view to all those basic knowledge representation models that are based on the existence of two somehow opposite fuzzy concepts. A number of these basic models can be found in fuzzy logic and multi-valued logic literature. Here it is claimed that it is the semantic relationship between two paired concepts what determines the emergence of different types of neutrality, namely indeterminacy, ambivalence and conflict, widely used under different frameworks (possibly under different names). It will be shown the potential relevance of paired structures, generated from two paired concepts together with their associated neutrality, all of them to be modeled as fuzzy sets. In this way, paired structures can be viewed as a standard basic model from which different models arise. This unifying view should therefore allow a deeper analysis of the relationships between several existing knowledge representation formalisms, providing a basis from which more expressive models can be later developed.

Technology Language and Frankenstein Strategy

Teaching architecture is experiencing a moment of opportunity. New methods, like constructivist pedagogy, based on complexity and integration are yet to be explored. In this context of opportunity teaching architecture has a duty to integrate complexity in their curriculum. Teaching methods should also assume inherent indeterminacy and contingency of all complex process. If we accept this condition as part of any teaching method, the notion of truth or falsehood it becomes irrelevant. In this regard it could focus on teaching to contingency of language. Traditionally, technology is defined as the language of science. If we assume contingency as one of the characteristics of language, we could say that technology is also contingent. Therefore we could focus technology teaching to redefine its own vocabulary. So, redefining technological vocabulary could be an area of opportunity for education in architecture. The student could redefine their own tools, technology, to later innovate with them. First redefine the vocabulary, the technology, and then construct the new language, the technique. In the case of Building Technology subjects, it should also incorporate a more holistic approach for enhancing interdisciplinary transfer. Technical transfer, either from nature or other technologies to the field of architecture, is considered as a field of great educational possibilities. Evenmore, student get much broader technical approach that transgresses the boundaries of architectural discipline.

Proximité à distance : les fonctions critiques de la mimêsis dans la pensée de Theodor W. Adorno

La présente thèse entend donner sens à un concept qui occupe une place centrale au sein de la pensée de Theodor W. Adorno mais qui, parce que notoirement difficile à définir, n’a pas reçu l’attention qu’il mérite : la mimêsis (Mimesis). Il s’agira, plus exactement, de comprendre la mimêsis comme un point nodal de la critique adornienne, qui nous permet de comprendre au nom et en vue de quoi elle se déploie. Car sous toutes ses acceptions – et nous verrons qu’elles sont fort variées – la mimêsis adornienne est toujours invoquée dans le but de contrecarrer les tendances hétéronomes (c’est-à-dire : déshumanisantes) propres aux sociétés capitalistes avancées. Surtout, elle est constamment présentée comme un correctif matérialiste au type de rationalité abstraite qui sous-tend ces sociétés. Cette tâche s’avère d’autant plus lourde que, malgré son important poids normatif, la mimêsis ne fait pas l’objet, chez Adorno, d’une théorisation explicite. Il nous faudra pallier cette indétermination, en identifiant d’abord les assises normatives les plus premières de la critique adornienne (0.0. Introduction : les fondements normatifs de la critique adornienne), pour ensuite rendre compte des fonctions particulières qu’occupe la mimêsis au sein de cette critique (1.0. Les fonctions critiques de la mimêsis adornienne). Ce travail de débroussaillage exégétique et interprétatif nous permettra de constater que la mimêsis adornienne recèle trois types de potentiels critiques distincts. D’abord, en ce qu’elle est présentée – dans les travaux des années 1930 et 1940 surtout – comme une impulsion psychosomatique à même de trahir, l’instant d’une brève résistance, la violence infligée à la nature intérieure et extérieure de l’homme par les forces réificatrices de la rationalité instrumentale (Instrumentelle Vernunft), la mimêsis adornienne peut être comprise comme un mimétisme (Mimikry) bioanthropologique dont la valeur est principalement expressive (2.O. Mimikry : le potentiel bioanthropologique de la mimêsis). Ensuite, lorsqu’elle sera pensée – à partir de la fin des années 50 surtout – comme une compétence proprement épistémique qui permet au sujet connaissant de rencontrer à nouveau puis de redéterminer les objets de son expérience, la mimêsis adornienne peut être comprise comme un correctif critique à la logique appropriative de la pensée identifiante (identifizierendes Denken) (3.O. Affinität et Entäusserung : le potentiel épistémique de la mimêsis). Enfin, dans la mesure où elle informe le modus operandi de l’oeuvre d’art d’avant-garde telle que défendue par Adorno dans la Théorie esthétique, et qui consiste à détourner, en les retournant contre elles-mêmes, les contraintes imposées par le monde totalement administré (total verwaltete Welt), la mimêsis peut être comprise comme une Methexis subversive, c’est-à-dire comme une stratégie séditieuse à même de conjurer l’hétéronomie sociale en l’anticipant et en l’incorporant (4.0. Methexis subversive : le potentiel stratégique de la mimêsis). Ainsi, tout en voulant rendre justice à la très grande polysémie du concept, nous aimerions démontrer que la mimêsis adornienne pointe constamment vers une forme ou une autre de résistance : comme expression, comme extériorisation ou comme subversion.

Proximité à distance : les fonctions critiques de la mimêsis dans la pensée de Theodor W. Adorno

La présente thèse entend donner sens à un concept qui occupe une place centrale au sein de la pensée de Theodor W. Adorno mais qui, parce que notoirement difficile à définir, n’a pas reçu l’attention qu’il mérite : la mimêsis (Mimesis). Il s’agira, plus exactement, de comprendre la mimêsis comme un point nodal de la critique adornienne, qui nous permet de comprendre au nom et en vue de quoi elle se déploie. Car sous toutes ses acceptions – et nous verrons qu’elles sont fort variées – la mimêsis adornienne est toujours invoquée dans le but de contrecarrer les tendances hétéronomes (c’est-à-dire : déshumanisantes) propres aux sociétés capitalistes avancées. Surtout, elle est constamment présentée comme un correctif matérialiste au type de rationalité abstraite qui sous-tend ces sociétés. Cette tâche s’avère d’autant plus lourde que, malgré son important poids normatif, la mimêsis ne fait pas l’objet, chez Adorno, d’une théorisation explicite. Il nous faudra pallier cette indétermination, en identifiant d’abord les assises normatives les plus premières de la critique adornienne (0.0. Introduction : les fondements normatifs de la critique adornienne), pour ensuite rendre compte des fonctions particulières qu’occupe la mimêsis au sein de cette critique (1.0. Les fonctions critiques de la mimêsis adornienne). Ce travail de débroussaillage exégétique et interprétatif nous permettra de constater que la mimêsis adornienne recèle trois types de potentiels critiques distincts. D’abord, en ce qu’elle est présentée – dans les travaux des années 1930 et 1940 surtout – comme une impulsion psychosomatique à même de trahir, l’instant d’une brève résistance, la violence infligée à la nature intérieure et extérieure de l’homme par les forces réificatrices de la rationalité instrumentale (Instrumentelle Vernunft), la mimêsis adornienne peut être comprise comme un mimétisme (Mimikry) bioanthropologique dont la valeur est principalement expressive (2.O. Mimikry : le potentiel bioanthropologique de la mimêsis). Ensuite, lorsqu’elle sera pensée – à partir de la fin des années 50 surtout – comme une compétence proprement épistémique qui permet au sujet connaissant de rencontrer à nouveau puis de redéterminer les objets de son expérience, la mimêsis adornienne peut être comprise comme un correctif critique à la logique appropriative de la pensée identifiante (identifizierendes Denken) (3.O. Affinität et Entäusserung : le potentiel épistémique de la mimêsis). Enfin, dans la mesure où elle informe le modus operandi de l’oeuvre d’art d’avant-garde telle que défendue par Adorno dans la Théorie esthétique, et qui consiste à détourner, en les retournant contre elles-mêmes, les contraintes imposées par le monde totalement administré (total verwaltete Welt), la mimêsis peut être comprise comme une Methexis subversive, c’est-à-dire comme une stratégie séditieuse à même de conjurer l’hétéronomie sociale en l’anticipant et en l’incorporant (4.0. Methexis subversive : le potentiel stratégique de la mimêsis). Ainsi, tout en voulant rendre justice à la très grande polysémie du concept, nous aimerions démontrer que la mimêsis adornienne pointe constamment vers une forme ou une autre de résistance : comme expression, comme extériorisation ou comme subversion.

Blocking the path from vagueness to four dimensionalism

There is a general form of an argument which I call the 'argument from vagueness' which attempts to show that objects persist by perduring, via the claim that vagueness is never ontological in nature and thus that composition is unrestricted. I argue that even if we grant that vagueness is always the result of semantic indeterminacy rather than ontological vagueness, and thus also grant that composition is unrestricted, it does not follow that objects persist by perduring. Unrestricted mereological composition lacks the power to ensure that there exist instantaneous objects that wholly overlap persisting objects at times, and thus lacks the power to ensure that there exists anything that could be called a temporal part. Even if we grant that such instantaneous objects exist, however, I argue that it does not follow that objects perdure. To show this I briefly outline a coherent version of three dimensionalism that grants just such an assumption. Thus considerations pertaining to the nature of vagueness need not lead us inevitably to accept perdurantism.

Non-mereological universalism

In this paper I develop a version of universalism that is non-mereological. Broadly speaking, non-mereological universalism is the thesis that for any arbitrary set of objects and times, there is a persisting object which, at each of those times, will be constituted by those of the objects that exist at that time. I consider two general versions of non-mereological universalism, one which takes basic simples to be enduring objects, and the other which takes simples to be instantaneous objects. This yields three versions of endurantism, of which I ultimately defend the version I call universalist endurantism. Universalist endurantism is the thesis that (i) for any arbitrary set S of instantaneous simples that exist at the same instant, there exists a fusion of the members of S, and (ii) for any arbitrary set S* of instantaneous fusions each of which exist at a different instant, there exists an enduring object O that is constituted by those fusions at those instants. Universalist endurantism is ‘non-mereological’ in that the relation that holds between instantaneous fusions and persisting objects is not the part/whole relation, but rather, is the relation of constitution, thus allowing that the persisting objects are three rather than four dimensional. I argue that universalist endurantism not only has the various benefits of mereological universalism in allowing vagueness to be explicated as semantic indeterminacy, but in addition allows the endurantist to hold that some properties are genuinely intrinsic and are exemplified simpliciter.

The discourse of biology lectures : aspects of its mode and text structure

The present thesis investigates mode related aspects in biology lecture discourse and attempts to identify the position of this variety along the spontaneous spoken versus planned written language continuum. Nine lectures (of 43,000 words) consisting of three sets of three lectures each, given by the three lecturers at Aston University, make up the corpus. The indeterminacy of the results obtained from the investigation of grammatical complexity as measured in subordination motivates the need to take the analysis beyond sentence level to the study of mode related aspects in the use of sentence-initial connectives, sub-topic shifting and paraphrase. It is found that biology lecture discourse combines features typical of speech and writing at sentence as well as discourse level: thus, subordination is more used than co-ordination, but one degree complexity sentence is favoured; some sentence initial connectives are only found in uses typical of spoken language but sub-topic shift signalling (generally introduced by a connective) typical of planned written language is a major feature of the lectures; syntactic and lexical revision and repetition, interrupted structures are found in the sub-topic shift signalling utterance and paraphrase, but the text is also amenable to analysis into sentence like units. On the other hand, it is also found that: (1) while there are some differences in the use of a given feature, inter-speaker variation is on the whole not significant; (2) mode related aspects are often motivated by the didactic function of the variety; and (3) the structuring of the text follows a sequencing whose boundaries are marked by sub-topic shifting and the summary paraphrase. This study enables us to draw four theoretical conclusions: (1) mode related aspects cannot be approached as a simple dichotomy since a combination of aspects of both speech and writing are found in a given feature. It is necessary to go to the level of textual features to identify mode related aspects; (2) homogeneity is dominant in this sample of lectures which suggests that there is a high level of standardization in this variety; (3) the didactic function of the variety is manifested in some mode related aspects; (4) the features studied play a role in the structuring of the text.

Using SAT for Combinational Implementation Checking

The problem of checking whether a system of incompletely specified Boolean functions is implemented by the given combinational circuit is considered. The task is reduced to testing out if two given logical descriptions are equivalent on the domain of one of them having functional indeterminacy. We present a novel SAT-based verification method that is used for testing whether the given circuit satisfies all the conditions represented by the system of incompletely specified Boolean functions.

Understanding the dynamics of information technology implementation: The case of clinical information systems

The ultimate intent of this dissertation was to broaden and strengthen our understanding of IT implementation by emphasizing research efforts on the dynamic nature of the implementation process. More specifically, efforts were directed toward opening the "black box" and providing the story that explains how and why contextual conditions and implementation tactics interact to produce project outcomes. In pursuit of this objective, the dissertation was aimed at theory building and adopted a case study methodology combining qualitative and quantitative evidence. Precisely, it examined the implementation process, use and consequences of three clinical information systems at Jackson Memorial Hospital, a large tertiary care teaching hospital.^ As a preliminary step toward the development of a more realistic model of system implementation, the study proposes a new set of research propositions reflecting the dynamic nature of the implementation process.^ Findings clearly reveal that successful implementation projects are likely to be those where key actors envision end goals, anticipate challenges ahead, and recognize the presence of and seize opportunities. It was also found that IT implementation is characterized by the systems theory of equifinality, that is, there are likely several equally effective ways to achieve a given end goal. The selection of a particular implementation strategy appears to be a rational process where actions and decisions are largely influenced by the degree to which key actors recognize the mediating role of each tactic and are motivated to action. The nature of the implementation process is also characterized by the concept of "duality of structure," that is, context and actions mutually influence each other. Another key finding suggests that there is no underlying program that regulates the process of change and moves it form one given point toward a subsequent and already prefigured end. For this reason, the implementation process cannot be thought of as a series of activities performed in a sequential manner such as conceived in stage models. Finally, it was found that IT implementation is punctuated by a certain indeterminacy. Results suggest that only when substantial efforts are focused on what to look for and think about, it is less likely that unfavorable and undesirable consequences will occur. ^

Tom Stoppard: Humanizing chaos

The purpose of this study was to critically evaluate Tom Stoppard’s application of chaos theory and quantum science in ROSENCRANTZ AND GUILDENSTERN ARE DEAD, HAPGOOD and ARCADIA; and determine the extent to which Stoppard argues for the importance of human action and choice. ^ Through critical analysis this study examined how Stoppard applies the quantum aspects of: (1) indeterminacy to human epistemology in ROSENCRANTZ AND GUILDENSTERN ARE DEAD; (2) complementarity to human identity in HAPGOOD; and (3) recursive symmetry to human history in ARCADIA. It also examined how Stoppard excavates the complexities of human action, choice and identity through the lens of chaos theory and quantum science. ^ These findings demonstrated that Tom Stoppard is not merely juxtaposing quantum science and human interactions for the sake of drama; rather, by excavating the complexities of human action, choice and identity through the lens of chaos theory and quantum science, Stoppard demonstrates the fundamental connection between individuals and the post-Newtonian universe.^

Dulce Maria Loynaz' Jardin: Subversive tropological discourse

The purpose of this dissertation is to analyze how the tropes or figurative discourse in Loynaz’s novel, Jardín, becomes a means by which she involves the reader within a text that subverts socio-cultural conventions. Through textual analysis, it explains how the poet communicates her views of the world as a conflictive space where existence is the will to live, life being a human construction like a garden, and a woman’s decision –often frustrated by men– to seek self-realization.^ By tracing some critical studies focused on polarities allegedly present in Jardín, such as: poetry/prose, lyric poetry/novel, word/silence, life/death, character novel/space novel, civilization/barbarism, posmodernismo/vanguardismo, and femininity/feminism, this essay explores Loynaz’s esthetic and ideological codes to demonstrate how opposition can be seen in her novel as part of her arrangement of an artistic philosophy.^ This research refers to three main sources: the semiotician Umberto Eco’s notion of the text’s indeterminacy as an opera aperta, reception theory, and Mikhail Bakhtin’s concept of dialogism. By applying these theories to the analysis of this novel, I seek to show Loynaz’s literary modus (tropological language) and ideological dictum , which correlate oppositions and transform them as a point of departure to reconsider civilized life. The poet is presented as an esthetic force that compels the reader to question some false values, by creating an implicit but intelligent dialogue between him/her and a lyrical text. To describe such literary procedure, I coin in this study the term dialirismo (dialyricism). ^ My essay is centered on the tropes through which Loynaz creates her dialyrical text. By focusing on metaphor, symbol, synecdoche, and metonymy, I examine Jardín as a convergence of the following conceptual aspects: intertextuality, primitivism, and feminist discourse. I argue that Loynaz’s novel is a creative response to the literary tradition, as well as a proposal to understand writing –and reading– as an open, interactive process in search not only of artistic values but also of critical knowledge.^ This exploration shows how the novelist faces a so-called civilized world through the eyes of her fictional character, Bárbara, who confronts patriarchal discourse. It celebrates Loynaz’s poetic representation of this inquisitive woman, in her fenced garden, as a human being who can see, above and beyond an iron curtain, the possibility to overcome an aggressive male-centered civilization.^

The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

Nine for ones in nine: a schizophrenic cyborg love story.

By appropriating the images of the schizophrenic and the cyborg from Deleuze and Guattari, and from Donna Haraway respectively, this paper seeks to discuss the relationship between human and computer, composer and performer in a way that undermines and subverts the normal binaries commonly employed, and even implied in the descriptions of these relationships in this paper. “Nine for ones in nine”, despite employing the use of the OpenMusic software in its composition, retains a degree of choice and indeterminacy for the performers; despite employing the use of precise just harmony in its design and intent, the work depends upon the imprecision of human control rather than ceding to the precision of a synthesiser. Given the vast possibilities opened up to composers by the use of computers to calculate and create sound, why then do composers continue to employ performers in the realisation of their designs, and rely on sometimes hundreds of years-old technology to articulate them in real time? The very social and imprecise aspect of the act of performance is key to the messy, compromised, and complicit product that scores such as Nine for ones in nine aim to produce.

Teolog fundamentalny wobec ataku Przypadku, Nieokreśloności, Prawdopodobieństwa, Dwuznaczności, Wieloznaczności?

Postmodernizm prezentuje postawę akceptacji Nieładu, Chaosu i Przypadku. Czy istnieje moż- liwość dialogu z taką postawą? Postmodernizm powstaje jako bunt na pograniczu filozofii i estetyki. Kontestuje zastany Ład. Sprzeciwia się kartezjańskiemu Cogito ergo sum oraz podziałowi na res cogitans i res extensa. Jest to ruch kulturowy, który nie ma jeszcze swojego ostatecznego wyrazu. Jest on ciągle postrzegany jako proces przechodzenia od starego do nowego Ładu. Taki brak dookreślenia budzi niepokój i sprzeciw. Teologia fundamentalna jest badaniem granic i dialogu. Stoi na progu, więc ma obowiązek rozeznać ludzki niepokój w akceptacji otaczającego świata. Musimy zapytać, dlaczego człowiek akceptuje ten Nieład?