Wyniki wyszukiwania - Biblioteka Nauki

1

Slicing Abstractions

100%

Brückner I. , Dräger K. , Finkbeiner B. , Wehrheim H.

Fundamenta Informaticae

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2008

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tom Vol. 89, nr 4

369-392

EN

Abstraction and slicing are both techniques for reducing the size of the state space to be inspected during verification. In this paper, we present a new model checking procedure for infinite-state concurrent systems that interleaves automatic abstraction refinement, which splits states according to new predicates obtained by Craig interpolation, with slicing, which removes irrelevant states and transitions from the abstraction. The effects of abstraction and slicing complement each other. As the refinement progresses, the increasing accuracy of the abstract model allows for a more precise slice; the resulting smaller representation gives room for additional predicates in the abstraction. The procedure terminates when an error path in the abstraction can be concretized, which proves that the system is erroneous, or when the slice becomes empty, which proves that the system is correct.

2

Przystanek Miłosz

100%

Gutorow J.

Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ

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2011

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nr 25

102-120

EN

This paper undertakes a critical examination of Czesław Miłosz’s negative responses to contemporary art in general, and American modernist poetry in particular. It focuses on Miłosz’s interpretations of Cézanne’s statements and Wallace Stevens’s poems, and concludes that the Polish poet’s inability and unwillingness to appreciate contemporary art results from his recognition and approval of mimetic representation as the only strategy which guarantees rationality, certainty, a sense of metaphysical hierarchy and which is informed by them. Quoted are Miłosz’s somewhat angry reactions to the concepts of abstract, non-fi gurative art as well as his words of admiration for the representational moment apparently inherent in both poetry and painting. Parenthetically, the paper points to Miłosz’s repressed feelings of existential and epistemological ambivalence, arguably the most valuable aspect of his work.

3

Multistrategy Operators for Relational Learning and Their Cooperation

100%

Esposito F. , Fanizzi N. , Ferilli S. , Basile T. M. A. , Di Mauro N.

Fundamenta Informaticae

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2006

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tom Vol. 69, nr 4

389-409

EN

Traditional Machine Learning approaches based on single inference mechanisms have reached their limits. This causes the need for a framework that integrates approaches based on abduction and abstraction capabilities in the inductive learning paradigm, in the light of Michalski's Inferential Theory of Learning (ITL). This work is intended as a survey of the most significant contributions that are present in the literature, concerning single reasoning strategies and practical ways for bringing them together and making them cooperate in order to improve the effectiveness and efficiency of the learning process. The elicited role of an abductive proof procedure is tackling the problem of incomplete relevance in the incoming examples. Moreover, the employment of abstraction operators based on (direct and inverse) resolution to reduce the complexity of the learning problem is discussed. Lastly, a case study that implements the combined framework into a real multistrategy learning system is briefly presented.

4

An extended Relational Algebra on Abstract Objects for summarizing answers to queries

100%

Demolombe R.

Fundamenta Informaticae

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2003

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tom Vol. 57, nr 1

1--15

EN

Answers to queries in terms of abstract objects are defined in the logical framework of first order predicate calculus. A partial algebraic characterisation of the supremum and of the infimum of abstract answers is given in an extended Relational Algebra of the Cylindric Algebra kind. Then, the form of queries is restricted in order to be able to compute answers without the cylindrification operator. For these restricted queries we give a technique to compute an upper bound and a lower bound of abstract answers using only the operators of the standard Relational Algebra.

5

Nuances expressionnistes dans "La Folle" de Chaillot de Giraudoux

89%

Ziółkowski S.

Cahiers ERTA

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2022

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nr 31

112-130

EN

The aim of this paper is to highlight the use of some expressionist motifs and patterns in The Madwoman of Chaillot [La Folle de Chaillot] by Giraudoux. In the analysed drama we can see realisation of such expressionist process as antinaturalistic desobjectivization of the world, developed monologism, social middle-class revolt, rehabilitation of a marginal protagonist, abstraction, antinaturalism, or subjectivism inducing the “irradiation” of the author’s I.

6

Sensing the Present: “Conceptual Art of the Senses”

88%

Bal M. , Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

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2017

|

nr 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

7

Attention for Distraction: Modernity, Modernism and Perception

88%

van Alphen E.

Text Matters: A Journal of Literature, Theory and Culture

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2017

|

nr 7

87-97

EN

Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed.

8

Abstraction Made Flesh – Immediacy of the Body and Religious Experience. Derrida, Hegel and Georges de La Tour

88%

Olesik M.

Eidos. A Journal for Philosophy of Culture

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2021

|

tom 5

|

nr 3

50-63

EN

The text juxtaposes two different understandings of religion, the first: Hegelian, where it functions as an imaginary representation of the concept, and the second: Derridean, which confronts and radicalizes the idea of the death of God. At the center of their juxtaposition is the process of abstraction and the religious figure of the “desert” which both authors use to illustrate it. Central to Derrida’s thinking of religion, understood as a figure of relentless negativity in search of difference, a “desert” can also be found in Hegel’s exploration of “unhappy consciousness,” where it is used in reference to the crusaders and serves as a metonymy of the futile imaginary association of Christ’s divinity with his actual, individual body. The text sets out to complicate what Hegel understands as the abstract nature of Christ’s body and body in general with reference to Derridean gesture of religious purification and through the analysis of Saint Thomas, a work by a baroque painter, Georges de La Tour which is analyzed as an embodiment of the complex relations between religious abstraction and image.

9

The Physical Platonism of Galileo Galilei: Ernst Cassirer’s Interpretation in His Published and Unpublished Writings

88%

Borbone G.

Filozofia i nauka. Studia filozoficzne i interdyscyplinarne

|

2023

|

tom 11

161-178

EN

The struggle undertaken by Galileo Galilei against Aristotelian physics—and his subsequent defense of Nicolaus Copernicus’s theories—led the Pisan scientist to bring about the so-called modern scientific revolution and to lay the foundations of the experimental method, the fundamental result of which was to deprive the natural world of subjective qualities and to reconfigure it in purely quantitative terms. On the purely historical level, agreement among historians of science and philosophy is almost unanimous, while the same cannot be said for questions concerning interpretations of Galilei’s modus operandi and the basic philosophical options adopted by Galilei during his demolition of the entire Aristotelian-scholastic framework. Not all experts in the Galilean thought or of science, in fact, agree in tracing the Galilean reflection within the Platonic tradition, but one authoritative voice that has instead argued for its deep intertwining between Plato and Galilei is the German philosopher Ernst Cassirer. In this contribution I will attempt to demonstrate, partly considering two unpublished manuscripts of Cassirer, the plausibility of the Cassirerian thesis about Galilei’s physical Platonism.

10

Beyond the realism of mainstream economic theory. Phenomenology in economics

88%

Galbács P.

Economics and Business Review

|

2016

|

tom 2(16)

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nr 4

3-24

EN

In this paper some special features of phenomenology which enable them to be a possible ground for a research program in economics, complementing previous mainstream results, are reviewed. The potential fruits and their importance will also be highlighted. The direct purpose is to study what scientific problems have been hidden beyond the territory of mainstream economics and what scientific methods are available for economists to scrutinize an area mainly ignored, that is, the unquestioned aspects of our socio-economic reality. Along these lines we can get to findings that can complement the traditional research directions of mainstream economics. In this paper some special features of phenomenology which enable them to be a possible ground for a research program in economics, complementing previous mainstream results, are reviewed. The potential fruits and their importance will also be highlighted. The direct purpose is to study what scientific problems have been hidden beyond the territory of mainstream economics and what scientific methods are available for economists to scrutinize an area mainly ignored, that is, the unquestioned aspects of our socio-economic reality. Along these lines we can get to findings that can complement the traditional research directions of mainstream economics.

11

Abstraction layer for development and deployment of cloud services

88%

Nguyen Minh B. , Tran V. , Hluchy L.

Computer Science

|

2012

|

tom Vol. 13 (3)

79-88

EN

In this paper, we will present an abstraction layer for cloud computing, which intends to simplify the manipulation with virtual machines in clouds for easy and controlled development and deployment of cloud services. It also ensures interoperability between different cloud infrastructures and allows developers to create cloud appliances easily via inheritance mechanisms.

12

Attention for Distraction: Modernity, Modernism and Perception

88%

van Alphen E.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

nr 7

87-97

EN

Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed.

13

Sensing the Present: “Conceptual Art of the Senses”

88%

Bal M. , Burke R. E.

Text Matters: A Journal of Literature, Theory and Culture

|

2017

|

nr 7

27-54

EN

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness.

14

Legal Interpretation: Towards a New Paradigm?

88%

Brożek B.

Teoria Polityki

|

2020

|

tom 4

79-92

EN

This paper considers the foundations of legal interpretation against the background of the theory of embodied cognition and mental simulation. It is argued that interpretation has a double, concrete-abstract nature. The understanding of concrete language is made possible by the mechanism of mental simulation. In turn, the interpretation of abstract language (and hence of most of legal language) requires to apply the procedures of exemplification, paraphrase and embedding. The relationship between these two modes of language comprehension is analyzed and the thesis is defended that they represent two extremes of a continuous spectrum rather than isolated mechanisms. Finally, the significance of such a conception of interpretation for legal methodology is considered. It is argued that the conception provides a unifying, foundational framework for any theory of legal interpretation, as well as generates fresh insights into the nature of understanding legal statutes. cancelcancel

15

Sztuka i mistyka. Ekspresja jako artystyczne doświadczenie absolutu

75%

Prusik W.

Analiza i Egzystencja. Czasopismo Filozoficzne

|

2013

|

nr nr 21

131-147

EN

Theory of art as so called the theory of intuition-expression extremely and clearlydemonstrates the way of a mystic experience as a experience of the Absolute. Croce’sconcept of the Absolute is a sign of being spiritual, no diverse in itself, what is morefully given in an emotional (feeling)artistic expression (artwork). Imagination asan appropriate representational power expressively became, in this context, thesphere of the Absolute (indifferent intuition, totality of Being) in which the Absolute realizes – through creation of art – the material world. An artist, because ofhis creative imagination, appears for Croce as a complete, perfect man and fulfillsa creative and demiurge function for the world. According to Kandinsky, inspiredby Steiner’s antroposophy, art doesn’t present concrete thingsbut using a maximumsimplistic concrete form, expresses and shows things in itself, as an ideal, spiritual,absolute but compared to the world of concretes, the mentioned thingsare internal,substantial, essential and “abstractive”. Abstraction as a “true reality” demands ofgiving up the empirical world and looking continuously at the sphere of absolute“necessity”. Art is a specific, inspired knowledge of the Absolute and an abstractartist inspired by this knowledge and expressing it in his artworks must be understoodin a way characteristic of mysticism (an inspired visionary-prophet, perfect man).In Adorno’s aesthetic theory art actualizes the nature in aspect of beauty and thisactualization consists in changing towards the lack of identity. An individual (eachone ) artwork is the “epiphany” of “spirit” of art, that is an aesthetically Absolute.As a result an artwork presents itself as a kind of “mystic event”, but an artist expressing the sphere of the Absolute still be an inspired visionary going beyond thenatural (empirical) order.All of these theories of art are based on the old neoplato-arabian theory of “creativeimagination” which determinates their quasi- or pseudo-mystic aspiration. Theyare not go beyond tradition, that is “natural mysticism” (characteristic of pantheism). This kind of mysticism differs from revelation mysticism on the grounds ofTranscendence (aspect of a object) and classical moment ofcontemplatio (aspectof a subject).

16

O domach radykalnych

75%

Mielnik A.

Pretekst

|

2017

|

tom Nr 7

96--100

PL

Inspiracją do zawartych w tekście rozważań jest twórczość Oswalda Mathiasa Ungersa, architekta, który szczególnie podkreślał potrzebę poszukiwania porządku w architekturze. Dwa projekty domów w mieście jego autorstwa to przykłady architektury podporządkowanej ścisłym zasadom geometrii. Geometrii traktowanej jako siły porządkującej rzeczywistość. Wyobrażony, abstrakcyjny świat Ungersa zmaterializowany w fizycznych budowlach jest dowodem na nieprzemijalną wartość architektury odwołującej się do rygorystycznych zasad kompozycyjnych.

EN

The inspiration for the following considerations is the architectural and theoretical output of Oswald Mathias Ungers, an architect who specifically emphasized the need for order in architecture. Two projects for housing in the city by him have been chosen examples of architecture subjected to strict rules of geometry. Geometry is treated as the force organizing reality. This imaginary, abstract world of Ungers’ is materialized in physical structures, and can be considered as proof of long-lasting value of architecture adhering to the stringent rules of composition.

17

The Religion (without Religion) of the Living (without Life): Re-reading Derrida’s “Faith and Knowledge”

75%

Leung K.-H.

Eidos. A Journal for Philosophy of Culture

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2021

|

tom 5

|

nr 3

35-49

EN

This article offers a reading of Jacques Derrida’s account of “religion” and “life” in his seminal essay “Faith and Knowledge.” Applying Derrida’s aporetic structure of “X without X” to his remarks on religion and life in “Faith and Knowledge,” this article suggests that underlying Derrida’s endeavor to “think religion abstractly” is a radical re-conception not only of religion as “religion without religion” but moreover a re-imagination of life as “life without life” that breaks away from the traditional metaphysical understandings of life and religion.

18

K filozofickým předpokladům hledání výchovy k autenticitě. Úvaha o antinomiích a abstrakcích v pedagogickém myšlení

75%

Strouhal M.

Studia paedagogica

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2013

|

nr 2-3

11-29

EN

The paper examines the problematic nature of making generalisation ambivalent or, in other words, abstraction in pedagogical consequences. The paper adds to the discussion of good and evil in education by answering two questions. The fi rst question stems from the antinomous nature of educational aims (i.e. education is to servethe society but also to develop an individual): can educational antinomies be eliminated or is education an antinomous activity and hence it is necessary to take into account its ambivalence? The second question inquires to which extent do we understand what it means to be an authentic personality and the degree to which we can educate for authenticity. The paper proposes Kierkegaard’s and Blondel’s motive of authenticity as a partial way out of contradictions which result from the mentioned antinomies. The paper also shows that looking for education for authenticity is complicated by attempts at formulating a generally acceptable principle of education and that education suffers the most when it forgets about its antinomous nature. For its attempts to avoid contradictions lead to unacceptable abstractions and formalism. The paper then introduces the problem of making generalisation ambivalent in relation to educational competencies and concludes with describing the irrevocable yet restorative nature of antinomies.

19

MUZYKA I MORALNOŚĆ: W stronę nowoczesnej kalokagatii

75%

Lipka K.

Miscellanea Anthropologica et Sociologica

|

2015

|

tom 16(3)

162-170

PL

Etyczne zagadnienia muzyki należy podzielić na dwie warstwy. Warstwa zewnętrzna etykimuzycznej (1) dotyczyć będzie spraw interdyscyplinarnych, czyli związków między muzykąa innymi dziedzinami kultury i cywilizacji. W tej bogatej warstwie można znaleźć odpowiedźna pytanie o przesiąkanie treści etycznie negatywnych dzisiejszej rzeczywistości nateren muzyki; jednak ten kompleks zagadnień dotyczy w gruncie rzeczy typowych tendencjiszeroko pojętego życia społecznego, jest zatem dla czystej muzyki nieswoisty. Warstwa wewnętrznaetyki muzycznej (2) odnosić się natomiast będzie do tej muzyki, która nie ma kontaktuz pozamuzycznymi treściami, do muzyki autonomicznej. Wydaje się, że wzruszenie,które dzieła muzyczne wywołują u słuchaczy w stopniu przerastającym analogiczne zjawiskow wypadku innych sztuk, świadczy o obecności pierwiastków etycznych w samym jądrzemuzyki autonomicznej. Wola, siła praktyczna, której muzyka jest – według Schopenhauera– bezpośrednim przedstawieniem, mogłaby przyczynić się do rozważenia tego wciąż niezbadanegoproblemu. Niepowtarzalny status etyczny muzyki wielokrotnie skłaniał do zastanowieniasię nad nim wielu filozofów XX wieku, w tym T.W. Adorna, E. Blocha, E. Ciorana,N. Hartmanna, K.R. Poppera. Te liczne wypowiedzi trzeba odczytać jako nawoływanie dozwrotu w stronę ponownego platońskiego połączenia muzyki z pięknem, dobrem i prawdą.

20

FROM TEXTILE TO PLASTIC: ARCHITECTURE, EXHIBITION DESIGN, AND ABSTRACTION (1930–1955)

75%

Ottenhausen C.

Artium Quaestiones

|

2021

|

nr 32

89-112

EN

This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.