Persuasive argumentation and epistemic attitudes

These slides present the main notions and results of a work under construction that was presented in the 2nd DaLí Workshop, Dynamic Logic: New Trends and Applications in Porto, 9 October, 2019 and later published in the Lectures Notes in Computer Science (vol 12005). The work develops a formal study of persuasive dialogues among individuals, taking into account the epistemic attitudes of the involved agents. Abstract argumentation and dynamic epistemic logic provide the necessary tools for such an analysis. The interested reader is referred to the paper for further detailsUniversidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Art and the unconscious : a semiotic case study of the painting process

This dissertation is an attempt to design an interpretation model for the comprehension of unconscious content in artworks, as well as to find painting techniques to free the unconscious mind, allowing it to be expressed through artwork. The interpretation model, still in its infancy, is ripe for further development. The unconscious mind is a fascinating subject—in art production as well as in many scientific fields. This hidden part of the mind, being the source of creativity, constitutes an important foundation for many possible and valuable inquiries in multiple areas of knowledge. In the present study, the unconscious is approached from an art-educational perspective. The nature of the unconscious is addressed through the theories of Carl Gustav Jung and Charles Sanders Peirce, as well as through the information gained from data the author produced herself during the experimental painting process she devised for this study. For psychological distinctions not addressed by Jung, the theories of Sigmund Freud are used to forward this inquiry into the unconscious mind. A research method was created to bring Peirce’s theories into consonance with Jung’s amplification method. Since Peirce’s theories are challenging to read, to avoid misinterpretation, the author used Phyllis Chiasson’s 2001 book Peirce’s Pragmatism: The Design for Thinking as a secondary source. Peirce’s three modes of reality—firstness, secondness, and thirdness—were utilized to interpret artworks. This three-mode reality allows interpreters to reflect on their subjective feelings and then to compare them to collected data. The interpreters’ intuitive self-interpretations often correlate well with the more objective data. In this approach to interpretation, the work of art is seen as a sign, in the Jungian as well as in the Peircean sense, and interpretation seeks to discover a sign’s objects—icon, index, and symbol. Additionally, the objects are studied in combination with Peirce’s designation of the sign’s character elements—sinsign, qualisign, and legisign. Peirce’s theory offers a logical and productive structure for approaching a variety of signs and reaching a multiplicity of interpretations. Jungian theories inculcated a combined psychological and artistic perspective for the interpretation of artworks. Jung’s method of amplification is an effort to bring a symbol to life, and it is used as a technique to discover—through the seeking of parallels—a possible context for any unconscious content that an image might have. In amplification, a word or element—from a fantasy, dream, or, in this study, artwork—is associated, through use of what Jung called the active imagination, with another context where it also occurs. It must be remembered that unconscious images in artworks do not easily open themselves up for interpretation. One way to interpret possibly unconscious images is for the interpreter to become vulnerable by employing his or her own unconscious mind to interpret an artwork; such use of the active imagination can enable a subjective experience of the artwork on the part of the interpreter, who might thereby uncover unconscious content. Moreover, in this study, Jung’s theory of archetypes is employed, in parallel with Peirce’s and Jung’s theories of the sign, to illuminate an artwork’s images by connecting them with collective unconscious archetypes. The author relied upon The Book of Symbols: Reflections on Archetypal Images (Ronnberg and Martin 2010) as the main source for interpreting possibly unconscious elements in the artworks. This approach is especially powerful when artists interpret their own artwork—possibly leading to a galvanizing self-discovery as they revisit past encounters, personal highlights, and other pieces of unconscious content that might reveal previously unknown meaning important to their life. By comparing archetypes to the unconscious content in their own lives, people can discover themselves. Unconscious phenomena were approached on both the theoretical and empirical levels. Different methods and ideas were used to stimulate the author’s unconscious thinking while performing artwork analyses of three paintings: surrealist Salvador Dalí’s (1904–1989) Assumpta Corpuscularia Lapislazulina; abstract expressionist Jackson Pollock’s (1912-1956) The Deep; and one painting by the author herself, and for which the process of painting is videorecorded (www.astagallery.com/academic.html). With regard to the third painting interpreted, the author is the study subject, and her artistic production is used as an opportunity to explore the unconscious mind. During the act of painting, an attempt is made to free unconscious thinking by fusing Dalí’s and Pollock’s methods as well as by testing multiple other methods. The author’s artistic production was conjoined with use of a technique that is called the verbal protocol method, which generates additional data not necessarily visible in the final artwork. This method unseals the artist’s tacit knowledge, which in normal circumstances remains silent. In the verbal protocol method, the author, while engaged in the act of painting, speaks aloud the stream of consciousness that accompanies and guides the art-making activity; the recorded and transcribed monologue from the artistic production is supplied, in both Finnish and English, in appendices. This thinking-aloud technique allows a person to become more self-aware and to create more solutions while struggling with emergent artistic problems. Such narratives can reveal more about the painting than the completed artwork alone can convey. Along with the artist’s finished painting and the videorecorded material, narratives produced during the painting activity were interpreted. Moreover, the discoveries arising from the author’s interpretation of her own artwork are correlated with some of the latest research on the unconscious. This study allows the reader-viewer an intimate glimpse into the author’s subjective painting experience and demonstrates the participation of the unconscious in an artwork’s creation. The interpretations methodology constitutes an interpretation model suitable for other artists and art educators to follow. Keywords: unconscious, art, archetype, mandal

Dealing with Unreliable Agents in Dynamic Gossip

International audienceGossip describes the spread of information throughout a network of agents. It investigates how agents, each starting with a unique secret, can efficiently make peer-to-peer calls so that ultimately everyone knows all secrets. In Dynamic Gossip, agents share phone numbers in addition to secrets, which allows the network to grow at run-time. Most gossip protocols assume that all agents are reliable, but this is not given for many practical applications. We drop this assumption and study Dynamic Gossip with unreliable agents. The aim is then for agents to learn all secrets of the reliable agents and to identify the unreliable agents. We show that with unreliable agents classic results on Dynamic Gossip no longer hold. Specifically, the Learn New Secrets protocol is no longer characterised by the same class of graphs, so-called sun graphs. In addition, we show that unreliable agents that do not initiate communication are harder to identify than agents that do. This has paradoxical consequences for measures against unreliability, for example to combat the spread of fake news in social networks

A Tour on Ecumenical Systems

Ecumenism can be understood as a pursuit of unity, where diverse thoughts, ideas, or points of view coexist harmoniously. In logic, ecumenical systems refer, in a broad sense, to proof systems for combining logics. One captivating area of research over the past few decades has been the exploration of seamlessly merging classical and intuitionistic connectives, allowing them to coexist peacefully. In this paper, we will embark on a journey through ecumenical systems, drawing inspiration from Prawitz' seminal work [35]. We will begin by elucidating Prawitz' concept of “ecumenism” and present a pure sequent calculus version of his system. Building upon this foundation, we will expand our discussion to incorporate alethic modalities, leveraging Simpson's meta-logical characterization. This will enable us to propose several proof systems for ecumenical modal logics. We will conclude our tour with some discussion towards a term calculus proposal for the implicational propositional fragment of the ecumenical logic, the quest of automation using a framework based in rewriting logic, and an ecumenical view of proof-theoretic semantics

Detecting bots with temporal logic

Social bots are computer programs that act like human users on social media platforms. Social bot detection is a rapidly growing field dominated by machine learning approaches. In this paper, we propose a complementary method to machine learning by exploring bot detection as a model checking problem. We introduce Temporal Network Logic (TNL) which we use to specify social networks where agents can post and follow each other. Using this logic, we formalize different types of social bot behavior with formulas that are satisfied in a model of a network with bots. We also consider an extension of the logic where we explore the expressive power of including elements from hybrid logic in our framework. We give model checking algorithms for TNL and its hybrid extension, and show that the complexity of the former is in P and the latter in PSPACE.publishedVersio

Nostalgia and iPhone Camera Apps: An Ethnographic Visual Approach to iPhoneography

The iPhone is the most popular smartphone and camera on social media. iPhoneography, the photography taken or edited with the iPhone, has set the trend of nostalgic photography on social media during the 2010s; thus, the iPhone, a high-tech camera, produces low-tech-looking images. This dissertation attempts to find out why iPhone photographers (iPhoneographers) take, edit, and share images that mimic photographs taken with analog photographic equipment. I argue that nostalgia allows iPhoneographers to use the iPhone as a creative tool and to belong to a community. Based on the arguments of Vilém Flusser—who suggested that photographers are more interested in the camera and the process of taking pictures than in the photographs produced—this work focuses first on the iPhone camera and the camera apps. (This work also considers the writings of Roland Barthes, Susan Sontag, and W. J. T. Mitchell, as they pertain to photography and iPhoneography.) It traces the beginning of the nostalgic photograph style to 2008, when the Apple App Store offered apps that behaved like toy cameras and rendered images similar to those produced by toy and Polaroid cameras. The Hipstamatic app set the trend in 2009, and Instagram made it mainstream. Nostalgia is more a source of inspiration and creativity than a source of melancholy and longing for the past. The iPhoneography community on Facebook tends to form small groups that share and curate specific topics, such as clouds, portraits, flowers, and images produced with Hipstamatic. A small survey of the iPhoneography community shows that the community considers iPhoneography an art

Culturas, Identidades e Litero-Línguas Estrangeiras; atas do I Colóquio Internacional de Línguas Estrangeiras (CILE)

Num mundo indubitavelmente global, a aprendizagem de línguas estrangeiras (LE) revela-se cada vez mais imprescindível e urgente. A crescente mobilidade internacional a par da consequente cidadania europeia e mundial concorrem para a promoção inevitável da diversidade linguística e para o desenvolvimento de competências comunicativas e interculturais, tão apregoadas pelos órgãos de governação educativa europeus. Neste contexto, o Conselho da Europa, com a criação do Portefólio Europeu de Línguas, incentiva a aprendizagem de várias línguas estrangeiras não só dentro e fora do sistema escolar, mas também como meio de facilitar a mobilidade global, implicando inevitáveis e necessárias adaptações linguísticas ao país de acolhimento. Neste sentido, o processo ensino/aprendizagem das línguas estrangeiras deve ter também em conta a necessidade de incorporar elementos culturais e literários na prática letiva pela sua pertinência no desenvolvimento de competências linguísticas. Também o Quadro Comum Europeu de Referência para as Línguas (QECR) veio impor transparência, uniformidade e coerência nos níveis de competência a alcançar nas línguas estrangeiras com vista a uma aprendizagem cada vez mais próxima de contextos reais de comunicação, sustentada por uma abordagem comunicativa. Além disso, novos métodos de ensino pretendem melhorar eficazmente a relação dos aprendentes com as línguas estrangeiras. Desta forma, colocam-se novos desafios ao ensino das línguas estrangeiras não apenas em Portugal, mas também a nível europeu, visando potenciar a relação sociolinguística e cultural que subjaz à aprendizagem das línguas estrangeiras. Neste contexto, o Colóquio Internacional de Línguas Estrangeiras (CILE) foi pensado e organizado no sentido de se constituir como uma visão abrangente sobre as múltiplas facetas das línguas estrangeiras, que vai para além de questões meramente linguísticas. “De uma língua para a outra: perceções culturais e linguísticas” constituiu, portanto a grande linha orientadora do Colóquio. As expressões culturais, literárias e artísticas fluem natural e inevitavelmente das línguas, daí a facilidade em atribuir um duplo sentido à sigla CILE que pode também simbolizar culturas e identidades, assim como a fusão das literaturas e línguas estrangeiras, consubstanciada no neologismo litero-línguas. Este volume resulta, portanto, das comunicações apresentadas no I CILE (2015) e norteia-se pelos seguintes objetivos: reunir investigação no sentido de discutir questões da atualidade no domínio das línguas e nas suas diversas manifestações; dar voz a tendências recentes no ensino das línguas; partilhar experiências de ensino; refletir sobre os desafios do ensino das línguas estrangeiras não apenas em Portugal, como a nível internacional; debater o uso da LE como ferramenta de sobrevivência para uma integração no mundo novo, problematizando, nesta sequência, a questão identitária. Pelas razões infra expostas, organizamos o presente volume tendo em conta as diferentes áreas interdisciplinares que guiam a prática das LE. Assim, os artigos obedecem à seguinte disposição temática: Cultura e literatura: • “Jorge Semprun et Elie Wiesel: le choix du français pour témoigner une expérience concentrationnaire”, Ana Maria Alves • “Estudios Culturales y ELE: ¿matrimonio de conveniencia?”, Blanca Ripoll Sintes • “George Orwell’s “Politics and the English Language”. Euphemisms and metaphors in wartime Britain”, Elisabete Mendes Silva Didática das línguas: • “Mindful (Re)Considerations for Young Learner English Classes”, María del Carmen Arau Ribeiro • “Terminologie et didactique des langues : le mariage est-il possible pour un meilleur enseignement de la traduction?”, Christine Deschamps Estudos de caso no ensino de Línguas Estrangeiras: • “The ReCLes.pt CLIL Project in Practice: Teaching with results in Higher Education”, María del Carmen Arau Ribeiro, Margarida Morgado, Isabel Chumbo, Ana Gonçalves, Manuel Moreira da Silva e Margarida Coelho, • “Evaluating Projects involving ICT and Task-Based Language Teaching”, María del Carmen Arau Ribeiro, Maria Paula Martins das Neves, Luísa Queiroz de Campos e Walter Best • “Needs of Higher Education Students as regards Language Examinations”, Cristina Perez-Guillot e Julia Zabala-Delgado Novas tecnologias na sala de aula: • “Las Nuevas Tecnologías para el Desarrollo de la Expresión Oral Fuera del Aula”, Tamara Aller Carrera • “Twitter in the Language Learning classroom at the university: an experimentation for Dynamic and Authentic Assessment”, Annamaria Cacchioneinfo:eu-repo/semantics/publishedVersio