Using SVG as the Rendering Model for Structured and Graphically Complex Web Material

This paper reports some experiments in using SVG (Scalable Vector Graphics), rather than the browser default of (X)HTML/CSS, as a potential Web-based rendering technology, in an attempt to create an approach that integrates the structural and display aspects of a Web document in a single XML-compliant envelope. Although the syntax of SVG is XML based, the semantics of the primitive graphic operations more closely resemble those of page description languages such as PostScript or PDF. The principal usage of SVG, so far, is for inserting complex graphic material into Web pages that are predominantly controlled via (X)HTML and CSS. The conversion of structured and unstructured PDF into SVG is discussed. It is found that unstructured PDF converts into pages of SVG with few problems, but difficulties arise when one attempts to map the structural components of a Tagged PDF into an XML skeleton underlying the corresponding SVG. These difficulties are not fundamentally syntactic; they arise largely because browsers are innately bound to (X)HTML/CSS as their default rendering model. Some suggestions are made for ways in which SVG could be more totally integrated into browser functionality, with the possibility that future browsers might be able to use SVG as their default rendering paradigm.

Monadic Parsing in Haskell

This paper is a tutorial on defining recursive descent parsers in Haskell. In the spirit of one-stop shopping, the paper combines material from three areas into a single source. The three areas are functional parsers, the use of monads to structure functional programs, and the use of special syntax for monadic programs in Haskell. More specifically, the paper shows how to define monadic parsers using do notation in Haskell. The paper is targeted at the level of a good undergraduate student who is familiar with Haskell, and has completed a grammars and parsing course. Some knowledge of functional parsers would be useful, but no experience with monads is assumed.

Maude Object-Oriented Action Tool

MAIDL, André Murbach; CARVILHE, Claudio; MUSICANTE, Martin A. Maude Object-Oriented Action Tool. Electronic Notes in Theoretical Computer Science. [S.l:s.n], 2008.

Ordinal Arithmetic: A Case Study for Rippling in a Higher Order Domain

This paper reports a case study in the use of proof planning in the context of higher order syntax. Rippling is a heuristic for guiding rewriting steps in induction that has been used successfully in proof planning inductive proofs using first order representations. Ordinal arithmetic provides a natural set of higher order examples on which transfinite induction may be attempted using rippling. Previously Boyer-Moore style automation could not be applied to such domains. We demonstrate that a higher-order extension of the rippling heuristic is sufficient to plan such proofs automatically. Accordingly, ordinal arithmetic has been implemented in lambda-clam, a higher order proof planning system for induction, and standard undergraduate text book problems have been successfully planned. We show the synthesis of a fixpoint for normal ordinal functions which demonstrates how our automation could be extended to produce more interesting results than the textbook examples tried so far.

Obrazy muzyki w twórczości Janiny Kraupe-Świderskiej

Filologii Polskiej i Klasycznej: Zakład Dydaktyki Literatury i Języka Polskiego

Wokół składni „Rozmyślań dominikańskich”

Wydział Filologii Polskiej i Klasycznej

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.

Reading Pitscottie's Cronicles: a case study on the history of literacy in Scotland, 1575-1814

This thesis addresses a range of research questions regarding literacy in early modern Scotland. Using the early modern manuscripts and printed editions of Robert Lindsay of Pitscottie’s late sixteenth-century 'Cronicles of Scotland' as a case study on literacy history, this thesis poses the complementary questions of how and why early modern Scottish reading communities were encountering Pitscottie’s 'Cronicles', and how features of the material page can be interpreted as indicators of contemporary literacy practices. The answers to these questions then provide the basis for the thesis to ask broader socio-cultural and theoretical questions regarding the overall literacy environment in Scotland between 1575 and 1814, and how theorists conceptualise the history of literacy. Positioned within the theoretical groundings of historical pragmatics and ‘new philology’ – and the related approach of pragmaphilology – this thesis returns to the earlier philological practice of close textual analysis, and engages with the theoretical concept of mouvance, in order to analyse how the changing ‘form’ of Pitscottie’s 'Cronicles', as it was reproduced in manuscript and print throughout the early modern period, indicates its changing ‘function’. More specifically, it suggests that the punctuation practices and paratextual features of individual witnesses of the text function to aid the highly-nuanced reading practices and purposes of the discrete reading communities for which they were produced. This thesis includes extensive descriptive material which presents previously unrecorded data regarding twenty manuscripts and printed witnesses of Pitscottie’s 'Cronicles', contributing to a gap in Scotland’s literary/historiographical canon. It then analyses this material using a transferable methodological framework which combines the quantitative analysis of micro-data with qualitative analysis of this data within its socio-cultural context, in order to conduct diachronic comparative analysis of copy-specific information. The principal findings of this thesis suggest that Pitscottie’s 'Cronicles' were being read for a combination of devotional and didactic purposes, and that multiple reading communities, employing highly nuanced reading practices, were encountering the text near-contemporaneously. This thesis further suggests that early modern literacy practices, and the specific reading communities which employ them, should be described as existing within a spectrum of available practices (i.e. more or less oral/aural or silent, and intensive or extensive in practice) rather than as dichotomous entities. As such, this thesis argues for the rejection of evolutionary theories of the history of literacy, suggesting that rather than being described antithetically, historical reading practices and purposes must be recognised as complex, coexisting socio-cultural practices, and the multiplicity of reading communities within a single society must be acknowledged and analysed as such, as opposed to being interpreted as universal entities.

The 1999 BFA Graduating Class: Department of Visual Arts

One of the Highlights of our academic year is the exhibition of the works of the graduating class in our visual arts degree program. Of course it is very Satisfying to see such an unambiguous evidence of accomplishments of our students.But i also find the exhibition invariably inspiring because of the works themselves,which stimulate us to see again as children, with wide-eyed curiosity and wonder, without the need to explain or reduce, with delight, with horror, with recognition. In enabling us to see again in this way, the students have learned a very demanding craft and educated themselves inthe history, vocabulary and syntax of visual expression.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

INTELLECTUAL PROPERTY AND UNIVERSALITY OF READING: CONFLICT OF INTEREST?

It seeks to clarify the issue about the relationship between intellectual property and universality of reading, to understand if it exists or not a conflict of interest. From a synchronic axis crossing, historical, with a diachronic axis, of philosophical: is tracked to explain the deep forces that have shaped the problem arises here. It also explains the legal issue of copyright and property which is closely related to the issue treated here. From all this it follows that underlie the problem of intellectual property is the construction of the Western historical figure of subjectivity, which has led to the role of "author." The author who is credited with authorship of a speech only (work) is a product of social discourse situation that historically has been obscured what has contributed the legal apparatus that protects copyright. What has led to the establishment of an antagonism to the universality of reading. In this paper therefore has not sought to respond to the problem but to make it clear to potential solutions.

Percorrendo antigos [e recentes] trilhos do Megalitismo Alentejano

The archaeological excavation carried out in the last two decades by the author, as well as the study of data resulting from early works, allows us to understand that the megalithic monuments after being built have, in some cases, a long diachronic of reuses. Here is presented a brief summary of monuments, contexts and archaeological artefacts.

La déconstruction de l'onto-théologie par Jacques Derrida : détour littéraire et mise en relief de la matrice langagière comme "différance"

Le mouvement derridien de la différance marque la rupture avec l'affirmation de la métaphysique de la présence, avec l'autorité du signifié transcendantal. Dans cet univers mouvant de signifiants qui se renvoient perpétuellement les uns aux autres, la logique d'univocité se disloque. La "présence" n'est que fantomatique, s'esquissant au sein d'une chaîne ininterrompue de signifiants et se laissant toujours creuser par la marque d'un irréductible manque. Face au logocentrisme, corollaire de l'affirmation de la présence, l'écriture se veut siège et articulation de la trace, d'une origine qui ne peut être que raturée, véhicule d'une irrémédiable fêlure. La volet littéraire de la déconstruction a pour but de mettre en évidence le fonctionnement de l'"indécidabilité" du discours, soit une certaine ambivalence dans la signification qui caractérise tout texte. L'objectif principal de la présente recherche est de fournir une compréhension plus approfondie de la déconstruction en insistant sur l'ancrage langagier de tout texte. Le discours philosophique n'échappe ainsi pas au mécanisme différentiel du langage et de la dérive métaphorique. La parenté entre la perspective déconstructiviste derridienne et la conception mallarméenne du langage poétique semble frappante. La mise en oeuvre, par Mallarmé, d'une dislocation de l'espace textuel, son minutieux "creusement" du vers après renoncement à toute quête d'"Idéal", la mise en relief du leurre de l'appropriation langagière, voilà qui trouve un écho particulier dans les thèses derridiennes. La "mimésis" platonicienne se voit au travers du prisme de la "mimique" mallarméenne. La déconstruction poursuit son travail de "luxation" de l'oreille philosophique, insérant les philosophèmes dans la matrice langagière, les livrant ainsi au hasard du cheminement textuel et les confrontant à l'aporie. La philosophie n'a alors d'autre choix que d'abandonner ses prétentions transcendantales. La marche de la "différance" instaure une inexorable distance qui prive le sujet de tout rapport direct avec une origine assurée et lui ôte toute possibilité de maîtrise sur le monde. Au travers de la langue, se profile la question de l'altérité, de la relation dissymétrique qui nous lie à cet "autre", ce "tout-autre" qui nous fonde et nous constitue. L'accueil inconditionnel de cette altérité nous mènera à l'étude de la "religion", la déconstruction se tournant vers le "religieux" tout en effectuant un "retournement" habile de tout credo essentialiste.

Motion compensation with minimal residue dispersion matching criteria

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Tecnoloigia, 2016.

Extraposition in English and Spanish: A comparative study

451 p.