Type theoretic semantics for semantic networks: an application to natural language engineering

Semantic Networks have long been recognised as an important tool for natural language processing. This research has been a formal analysis of a semantic network using constructive type theory. The particular net studied is SemNet, the internal knowledge representation for LOLITA(^1): a large scale natural language engineering system. SemNet has been designed with large scale, efficiency, integration and expressiveness in mind. It supports many different forms of plausible and valid reasoning, including: epistemic reasoning, causal reasoning and inheritance. The unified theory of types (UTT) integrates two well known type theories, Coquand-Huet's (impredicative) calculus of constructions and Martin-Lof's (predicative) type theory. The result is a strong and expressive language which has been used for formalization of mathematics, program specification and natural language. Motivated by the computational and richly expressive nature of UTT, this research has used it for formalization and semantic analysis of SemNet. Moreover, because of applications to software engineering, type checkers/proof assistants have been built. These tools are ideal for organising and managing the analysis of SemNet. The contribution of the work is twofold. First the semantic model built has led to improved and deeper understanding of SemNet. This is important as many researchers that work on different aspects of LOLITA, now have a clear and un- ambigious interpertation of the meaning of SemNet constructs. The model has also been used to show soundess of the valid reasoning and to give a reasonable semantic account of epistemic reasoning. Secondly the research contributes to NLE generally, both because it demonstrates that UTT is a useful formalization tool and that the good aspects of SemNet have been formally presented

Models and evaluation of human-machine systems

"September 1993.""Prepared for: International Atomic Energy Association [sic], Wagramerstrasse 5, P. 0. Box 100 A-1400 Vienna, Austria."Part of appendix A and bibliography missingIncludes bibliographical referencesThe field of human-machine systems and human-machine interfaces is very multidisciplinary. We have to navigate between the knowledge waves brought by several areas of the human learning: cognitive psychology, artificial intelligence, philosophy, linguistics, ergonomy, control systems engineering, neurophysiology, sociology, computer sciences, among others. At the present moment, all these disciplines seek to be close each other to generate synergy. It is necessary to homogenize the different nomenclatures and to make that each one can benefit from the results and advances found in the other. Accidents like TMI, Chernobyl, Challenger, Bhopal, and others demonstrated that the human beings shall deal with complex systems that are created by the technological evolution more carefully. The great American writer Allan Bloom died recently wrote in his book 'The Closing of the American Mind' (1987) about the universities curriculum that are commonly separated in tight departments. This was a necessity of the industrial revolution that put emphasis in practical courses in order to graduate specialists in many fields. However, due the great complexity of our technological world, we feel the necessity to integrate again those disciplines that one day were separated to make possible their fast development. This Report is a modest trial to do this integration in a holistic way, trying to capture the best tendencies in those areas of the human learning mentioned in the first lines above. I expect that it can be useful to those professionals who, like me, would desire to build better human-machine systems in order to avoid those accidents also mentioned above

The Machine as Art/ The Machine as Artist

The articles collected in this volume from the two companion Arts Special Issues, “The Machine as Art (in the 20th Century)” and “The Machine as Artist (in the 21st Century)”, represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerne

Critical Programming: Toward a Philosophy of Computing

Beliefs about the relationship between human beings and computing machines and their destinies have alternated from heroic counterparts to conspirators of automated genocide, from apocalyptic extinction events to evolutionary cyborg convergences. Many fear that people are losing key intellectual and social abilities as tasks are offloaded to the everywhere of the built environment, which is developing a mind of its own. If digital technologies have contributed to forming a dumbest generation and ushering in a robotic moment, we all have a stake in addressing this collective intelligence problem. While digital humanities continue to flourish and introduce new uses for computer technologies, the basic modes of philosophical inquiry remain in the grip of print media, and default philosophies of computing prevail, or experimental ones propagate false hopes. I cast this as-is situation as the post-postmodern network dividual cyborg, recognizing that the rational enlightenment of modernism and regressive subjectivity of postmodernism now operate in an empire of extended mind cybernetics combined with techno-capitalist networks forming societies of control. Recent critical theorists identify a justificatory scheme foregrounding participation in projects, valorizing social network linkages over heroic individualism, and commending flexibility and adaptability through life long learning over stable career paths. It seems to reify one possible, contingent configuration of global capitalism as if it was the reflection of a deterministic evolution of commingled technogenesis and synaptogenesis. To counter this trend I offer a theoretical framework to focus on the phenomenology of software and code, joining social critiques with textuality and media studies, the former proposing that theory be done through practice, and the latter seeking to understand their schematism of perceptibility by taking into account engineering techniques like time axis manipulation. The social construction of technology makes additional theoretical contributions dispelling closed world, deterministic historical narratives and requiring voices be given to the engineers and technologists that best know their subject area. This theoretical slate has been recently deployed to produce rich histories of computing, networking, and software, inform the nascent disciplines of software studies and code studies, as well as guide ethnographers of software development communities. I call my syncretism of these approaches the procedural rhetoric of diachrony in synchrony, recognizing that multiple explanatory layers operating in their individual temporal and physical orders of magnitude simultaneously undergird post-postmodern network phenomena. Its touchstone is that the human-machine situation is best contemplated by doing, which as a methodology for digital humanities research I call critical programming. Philosophers of computing explore working code places by designing, coding, and executing complex software projects as an integral part of their intellectual activity, reflecting on how developing theoretical understanding necessitates iterative development of code as it does other texts, and how resolving coding dilemmas may clarify or modify provisional theories as our minds struggle to intuit the alien temporalities of machine processes

Artist-Programmers and Programming Languages for the Arts

We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art