A Unifying Field in Logics: Neutrosophic Logic.

The author makes an introduction to non-standard analysis, then extends the dialectics to “neutrosophy” – which became a new branch of philosophy. This new concept helps in generalizing the intuitionistic, paraconsistent, dialetheism, fuzzy logic to “neutrosophic logic” – which is the first logic that comprises paradoxes and distinguishes between relative and absolute truth. Similarly, the fuzzy set is generalized to “neutrosophic set”. Also, the classical and imprecise probabilities are generalized to “neutrosophic probability”

A UNIFYING FIELD IN LOGICS: NEUTROSOPHIC LOGIC. NEUTROSOPHY, NEUTROSOPHIC SET, NEUTROSOPHIC PROBABILITY AND STATISTICS

In 1960s Abraham Robinson has developed the non-standard analysis, a formalization of analysis and a branch of mathematical logic, which rigorously defines the infinitesimals

A UNIFYING FIELD IN LOGICS: NEUTROSOPHIC LOGIC. NEUTROSOPHY, NEUTROSOPHIC SET, NEUTROSOPHIC PROBABILITY AND STATISTICS - 6th ed.

It was a surprise for me when in 1995 I received a manuscript from the mathematician, experimental writer and innovative painter Florentin Smarandache, especially because the treated subject was of philosophy - revealing paradoxes - and logics. He had generalized the fuzzy logic, and introduced two new concepts: a) “neutrosophy” – study of neutralities as an extension of dialectics; b) and its derivative “neutrosophic”, such as “neutrosophic logic”, “neutrosophic set”, “neutrosophic probability”, and “neutrosophic statistics” and thus opening new ways of research in four fields: philosophy, logics, set theory, and probability/statistics. It was known to me his setting up in 1980’s of a new literary and artistic avant-garde movement that he called “paradoxism”, because I received some books and papers dealing with it in order to review them for the German journal “Zentralblatt fur Mathematik”. It was an inspired connection he made between literature/arts and science, philosophy. We started a long correspondence with questions and answers. Because paradoxism supposes multiple value sentences and procedures in creation, antisense and non-sense, paradoxes and contradictions, and it’s tight with neutrosophic logic, I would like to make a small presentation

'Slow Cinema': Temporality and Style in Contemporary Art and Experimental Film

This thesis explores a stylistic current within contemporary art and experimental film that will be referred to here as 'slow cinema'. This type of cinema privileges a number of distinct and recognisable tropes: the application of the long take, an undramatic narrative or non-narrative structure, a tendency toward realist or hyperrealist representation, and a pronounced stillness of composition and visual content. This thesis details the evolution of slow cinema over the course of the last three decades (in line with both dominant and marginal cultural transitions under neoliberalism), and places its aesthetics in the context of relevant innovations in post-war modern and experimental film. The first chapter outlines the contemporary shape of 'slow cinema' by describing its most typical characteristics (in relation to narrativity and modes of realism); the second chapter focuses on the device of the sequence shot and the continuing relevance of the criticism of André Bazin in relation to contemporary durational film; the third chapter situates slow cinema in the context of an opposition to the compression of temporality in neoliberal culture; and the fourth chapter encompasses a study of two recent tributes to the cinema of Yasujiro Ozu, followed by an extended reflection on the digital regime of contemporary film production. As a whole, this thesis aims to map a set of unique aesthetic strategies across a number of post-war and contemporary durational films, and to place the field of 'slow cinema' within a suitably broad framework of related film-historical, cultural and socioeconomic trends.AHR

The Reifying Center Archive Process: Sustainable Writing Center Archive Practice for Praxis, Research, And Continuity

A structured process to capture, sort, digitize, and curate a researchable history of a writing center has the potential to improve writing center administration with greater recall at both the local and global level. Maintaining a standard of practice from year to year with effective training, stable institutional partnerships, and evidence-based practice is already challenging. This is compounded by the continual erosion of accumulated memory and context for numerous administrative choices through the regular departure of tutors and administrators, posing further challenge to consistent practice, pedagogy, and policy. To preserve the programmatic memory informing countless decisions, relationships, and administrative expediencies, writing center administrators must establish a regular process to curate a researchable archive of the history produced by a center’s operation. Failure to do so risks the atrophy of critical memory every time a staff member leaves the writing center. Adoption of the proposed Reifying Center Archive Process, or ReCAP, provides a robust archive for programmatic recall. Creating an archive will enable writing center administrators to delve into the history of how a center has operated in the past; as a result, the center is better insulated against operational missteps or retreading in the future. Beyond the clear benefit to individual centers, the eventual standardization of such an archive process has long-term potential to improve historically challenging efforts to collect and synthesize the work done in centers across multiple institutions at the regional, national, and global levels. To promote the necessity of the ReCAP, this dissertation: reviews the scholarship that establishes the necessity of an archive-supported writing center; presents a case study of a large public university writing center; prescribes the literature-based archivist practices that will best sustain a writing center’s materials for future research; outlines the ReCAP as a tool to digitally present the physical holdings of the writing center’s archive; establishes a new standard for the organization of writing center materials within the ReCAP; and finally, tests these proposed practices by creating a prototype ReCAP archive for the case study center, the Georgia State University Writing Studio

Pictorial space in relationship to beliefs and cognitive structures : the Ixion room, the Bardi chapel, the Nymphéas

Ma recherche consiste à examiner l'espace pictural de trois œuvres provenant de trois périodes distinctes de l'histoire de l'art afin de démontrer que l'art participe, d'une part, d'un modèle culturel spécifique et, d'autre part, de données perceptivo-spatiales universellement partagées qui relient entre eux des individus soumis à des expériences historiquement très distinctes. Le corpus se compose de la salle dédiée à Ixion datant de la fin de l'empire romain, vers le premier siècle après Jésus-Christ; des fresques de Giotto exécutées pour la chapelle Bardi au début du XIVe siècle, donc à la fin du Moyen-Âge et au début de la Renaissance; et des Nymphéas de Monet, œuvre commencée à la fin du XIXe et terminée au début du XXe siècle. La méthodologie utilisée dans la présente thèse pourrait être qualifiée d'analyse multiple niveau des éléments suivants de la perception : 1) les catégories de croyances de premier ordre, ou croyances primaires, qui sont sous-jacentes à toutes les autres croyances et jouent un rôle important dans la production de toutes les œuvres d'art. Les croyances primaires comprennent les croyances physiologiques et perceptuelles, et la sous-catégorie des croyances multi-sensorielles; 2) les catégories de croyances de second ordre ou croyances conceptuelles; les croyances philosophiques, spirituelles et religieuses, les croyances scientifiques (relativement au système optique), les croyances mathématiques et les croyances médicales (relativement au corps humain) sont des croyances conceptuelles. Les croyances conceptuelles peuvent englober un domaine de la connaissance, ce qui est le cas pour les cinq croyances qui servent ici d'arrière-plan à l'analyse des trois œuvres d'art choisies. J'avance que la production et la réception des œuvres d'art, et dans ce cas particulier de l'espace pictural, supposent non seulement un rapport multi-sensoriel, mais qu'elles sont également liées à l'acquisition de croyances qui influent sur la formation et la réception des représentations de l'espace pictural qui s'opèrent conjointement avec la navigation du corps humain dans l'espace du réel. Les représentations étudiées ici ont été intentionnellement choisies parce qu'elles étreignent de façon manifeste la structure architecturale qui les soutient, et à cause de leur intégration dans cette structure de soutien aux fins d'étendre la dimension spatiale et les processus par lesquels nous nous situons dans cette dimension. La présente thèse vise à démontrer que perception et conception sont, dans un sens, le miroir l'une de l'autre, un miroir qui existe chez l'artiste et chez le spectateur. C'est la base même de leur cohérence, ou commensurabilité, et le moyen par lequel la signification que nous pouvons attribuer à une œuvre donnée réussit à nous convaincre de son autorité. J'ai cherché à démontrer que la représentation de l'espace pictural n'est pas une simple affaire de conventions, ni une histoire quelconque de progrès, et certainement pas une question de style. Elle repose en fait sur les croyances, ces fragiles mais tenaces éléments qui s'associent à l'occasion à ce que nous considérons comme un savoir convaincant. L'artiste et le spectateur fusionnent sur l'axe de la croyance, et un acte de persuasion devient un acte d'interprétation.\ud ______________________________________________________________________________ \ud MOTS-CLÉS DE L’AUTEUR : histoire de l'art, peinture, espace pictural, perception, conception, croyances