Material Symmetry to Partition Endgame Tables

Many games display some kind of material symmetry . That is, some sets of game elements can be exchanged for another set of game elements, so that the resulting position will be equivalent to the original one, no matter how the elements were arranged on the board. Material symmetry is routinely used in card game engines when they normalize their internal representation of the cards. Other games such as chinese dark chess also feature some form of material symmetry, but it is much less clear what the normal form of a position should be. We propose a principled approach to detect material symmetry. Our approach is generic and is based on solving multiple rel- atively small sub-graph isomorphism problems. We show how it can be applied to chinese dark chess , dominoes , and skat . In the latter case, the mappings we obtain are equivalent to the ones resulting from the standard normalization process. In the two former cases, we show that the material symmetry allows for impressive savings in memory requirements when building endgame tables. We also show that those savings are relatively independent of the representation of the tables

Reliability and Validity of International Large-Scale Assessment

This open access book describes and reviews the development of the quality control mechanisms and methodologies associated with IEA’s extensive program of educational research. A group of renowned international researchers, directly involved in the design and execution of IEA’s international large-scale assessments (ILSAs), describe the operational and quality control procedures that are employed to address the challenges associated with providing high-quality, comparable data. Throughout the now considerable history of IEA’s international large-scale assessments, establishing the quality of the data has been paramount. Research in the complex multinational context in which IEA studies operate imposes significant burdens and challenges in terms of the methodologies and technologies that have been developed to achieve the stated study goals. The demands of the twin imperatives of validity and reliability must be satisfied in the context of multiple and diverse cultures, languages, orthographies, educational structures, educational histories, and traditions. Readers will learn about IEA’s approach to such challenges, and the methods used to ensure that the quality of the data provided to policymakers and researchers can be trusted. An often neglected area of investigation, namely the consequential validity of ILSAs, is also explored, examining issues related to reporting, dissemination, and impact, including discussion of the limits of interpretation. The final chapters address the question of the influence of ILSAs on policy and reform in education, including a case study from Singapore, a country known for its outstanding levels of achievement, but which nevertheless seeks the means of continual improvement, illustrating best practice use of ILSA data

T.S. Eliot : a bibliography of T.S. Eliot criticism, 1987-2013.

This bibliography of scholarship related to the writer T.S. Eliot is arranged chronologically by year and alphabetically within each year. This bibliography contains 1624 entries. Select entries have been annotated. Where available, annotations have been taken from the research database and are enclosed in brackets ([ ]). Annotations that have been taken from the works themselves are enclosed by asterisks. Annotations written by the author of this thesis have no special characters to distinguish them from other annotations. An annotated bibliography of Eliot criticism is essential to keep up with the recent resurgence in Eliot studies. The last bibliography published regarding Eliot's works was Sebastian Knowles and Scott A. Leonard's T.S. Eliot: Man and Poet, Volume 2: An Annotated Bibliography of a Decade of T.S. Eliot Criticism, 1977-1986. This new bibliography creates a central location for Eliot research for the years of 1987-2013

Ising Graphical Model

The Ising model is an important model in statistical physics, with over 10,000 papers published on the topic. This model assumes binary variables and only local pairwise interactions between neighbouring nodes. Inference for the general Ising model is NP-hard; this includes tasks such as calculating the partition function, finding a lowest-energy (ground) state and computing marginal probabilities. Past approaches have proceeded by working with classes of tractable Ising models, such as Ising models defined on a planar graph. For such models, the partition function and ground state can be computed exactly in polynomial time by establishing a correspondence with perfect matchings in a related graph. In this thesis we continue this line of research. In particular we simplify previous inference algorithms for the planar Ising model. The key to our construction is the complementary correspondence between graph cuts of the model graph and perfect matchings of its expanded dual. We show that our exact algorithms are effective and efficient on a number of real-world machine learning problems. We also investigate heuristic methods for approximating ground states of non-planar Ising models. We show that in this setting our approximative algorithms are superior than current state-of-the-art methods

The heuristics of narrativity in the works of Jean-Philippe Toussaint

This thesis analyses nine novels and two films by Jean-Philippe Toussaint, spanning the period from La Salle de bain (1985) to Nue (2013). Drawing on the hermeneutic phenomenology of Paul Ricoeur, it argues that Toussaint's texts can be fruitfully understood as representing fictionalised forms of reflexive narrativity. Through the close readings of the texts developed in this thesis, it is argued that Toussaint's anonymous fictional narrators are presented as both the readers and writers of their own lives, engaged in reimagining their own past experiences in ways which are heuristically motivated towards future possibilities for action, and that these reimaginings are represented both as and through the formal variations of the texts themselves. Also emphasised, however, is the way in which such refigurative narrative engagements are frequently depicted as deceptive or problematic. The first chapter, Self in the World, analyses La Salle de bain (1985), L'Appareil-photo (1988) and La Réticence (1991), focusing on the ways in which Toussaint's novels engage with thematic issues of subjectivity, identity, agency and the human capacity for reflexive narrativity. The second chapter, The Other in the Self, analyses two novels, Monsieur (1986) and La Télévision (1997), and two films, La Sévillane (1992) and La Patinoire (1999), focusing on the ways in which Toussaint's texts deploy various forms of ironic discourse in the critical mediation of the relationship between individual subjectivity and the exigencies of society, the workplace, and problems related to creative agency. The final chapter, Selfhood in the Other, analyses the novels of Toussaint's Marie tetralogy, Faire l’amour (2002), Fuir (2005), La Vérité sur Marie (2009), and Nue (2013), focusing on how this series interrogates philosophical questions of intersubjectivity by drawing on a number of historical conceptualisations of the aesthetic concept of the sublime

Towards an Aesthetics of the (in)formel: Time, Space and the Dialectical Image in the Music of Varèse, Feldman and Xenakis

This thesis addresses the issue of the modernist musical artwork, specifically in terms of the spatialization of musical time, in aesthetic and music-analytic terms. Firstly, it focuses on the notion of musique informelle as it was expounded in Adorno’s essay ‘Vers une musique informelle,’ (1961) and its place in Gianmario Borio’s elaboration of this in terms of an aesthetics of the informel. Secondly, it proposes a further expansion of these aesthetics via a double strategy: a comparative reading of Walter Benjamin’s critique of philosophies of time (including the work of Henri Bergson), language and objects, and furthermore a reconceptualization of both Adorno’s and Borio’s aesthetics in terms of a new theory of the object (as sound-object) in light of a new reading strategy. This reading is based on Walter Benjamin’s notion of the dialectical image, which proposes a new form of philosophical interpretation. The theorizations of the sound-object and the dialectical image furnish a basis for a re-conceptalization of the (in)formel, allowing for the interpretative reading of the music of three composers in particular: Edgard Varèse, Morton Feldman and Iannis Xenakis. Particularly, the study of a number of their works, including Intégrales (Varèse), On Time and the Instrumental Factor and Words and Music (Feldman), and Duel (Xenakis), reveals what Adorno terms their (truth) content, in their mediation of rationalization and intuition. Finally, it is argued that these modernist works can in turn bring new insights into Adorno’s aesthetics of the modernist work of art

Obiter Dicta

"Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno’s Minima Moralia, this unschooled exercise in aesthetic thought—gleefully dilettantish, oftentimes dangerously close to the epigrammatic—interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran’s approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines. Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what’s granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird’s-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic.

The British War Film, 1939-1980: Culture, History, and Genre

This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. Chapter One traces competing representational modes between 1939 and 1945, arguing that films about war and wartime during this period trouble the traditional binarism in British film historiography between realism and fantasy. Chapter Two looks at historical intersections of comedy and war, arguing that the embrace of irony as a argumentative position allows war comedies to engage with the idea of failure, a notion all but missing from dominant strands of war representation. Chapter Three describes a post-1956 brand of war tragedy that embraces cynicism, tonal bleakness, and the cultural vogue for existentialism as another affront to triumphalist war narratives. Chapter Four shifts from bigger conceptual categories to a specific, historically embedded interest in technology and strategy that intensifies after 1945. This chapter argues that many films turn away from war as historically grounded fact, and towards a conception of war that is overtly simulated and virtual. Chapter Five examines the representational challenge of the nuclear bomb for British cinema, arguing that beyond similarities to international trends that align these weapons with panic and horror, the specter of atomic energy encapsulates a larger geopolitical visioning of the nation’s loss of control. A Conclusion examines the reception of many of the films analyzed and acknowledges the influence and legacy of these alternative approaches to war