Tariamas L-klaidingumas ir tikrosios loginės struktūros

In 2012, Orenes and Johnson-Laird found interesting results from the cognitive point of view but problematic if analyzed under methods such as the semantic one of extension and intension presented by Carnap. The main difficulty in this way is that Orenes and Johnson-Laird showed that people tend to accept, in the case of certain inferences, conclusions that, by themselves, are, according to the aforementioned semantic method, false in absolutely all of the state-descriptions that can be imagined. However, in this paper, a way to overcome that difficulty is proposed. That way is based upon the idea that the real logical forms of the conclusions accepted by the participants in Orenes and Johnson-Laird’s experiments were not the apparent ones, but they corresponded to other very different structures that can be true in some state-descriptions.2012 metais atlikę tyrimą Orenes ir Johnsonas-Lairdas pasiekė tokių rezultatų, kurie buvo įdomūs žvelgiant iš kognityvinės perspektyvos, tačiau problemiški analizuojant tokiais metodais kaip Carnapo ekstensijos ir intensijos semantinis metodas. Esminė kliūtis kyla iš to, kad, anot Orenes ir Johnsono-Lairdo, žmonės yra linkę tam tikrais atvejais priimti tokias išvadas, kurios yra klaidingos esant bet kokiam įmanomam dalykų padėties aprašui. Straipsnyje siūlomas būdas įveikti šią kliūtį. Šis būdas remiasi mintimi, kad Orenes ir Johnsono-Lairdo eksperimento dalyvių priimtų išvadų tikroji loginė forma buvo ne tokia, kaip atrodė iš pirmo žvilgsnio, o atitiko kitokią, labai skirtingą struktūrą, kuri gali būti teisinga pagal kai kuriuos dalykų padėties aprašus

‘Evolutionary Stories’: Narratives as Evolutionary Tools to Describe and Analyse Animal Behaviour and Animal Signals

Animal communication studies, and Ethology itself, deal with the analysis of behaviour in a way that can be understood as an analysis of signal sequences, mainly from a qualitative point of view. Thus, the main goal of behavioural analysis is to interpret the ‘semantic’ content of behavioural sequences and communicative signals. Considering these analyses as narratives to be interpreted, then hermeneutics, narrative schemas and structuralist techniques could be applied. Here, I propose that in fact when exploring and decoding animal behaviour sequences, we should use narrative analysis and biosemiotic techniques to interpret a type of information processing most effective in evolution, which could be called the analysis of ‘evolutionary stories’. Moreover, I think we do exactly that, but do not acknowledge it because is not considered ‘hard science’ (no maths involved). Nevertheless, this type of analysis seems to be the more flexible and appropriate way to interpret animal communication signals and systems, and also to interpret any general behavioural sequence, because it is mostly based on the cognitive capabilities of the involved species. This chapter will argue about the need for a re-evaluation of a cognitive and biosemiotic interpretation of behaviour and communication signals as central to biological behavioural analysis

Experience as cognition: musical sense-making and the ‘in-time/ outside-of-time’ dichotomy

Musical sense-making relies on two distinctive strategies: tracking the moment-to-moment history of the actual unfolding and recollecting actual and previous sounding events in a kind of synoptic overview. Both positions are not opposed but complement each other. The aim of this contribution, therefore, is to provide a comprehensive framework that provides both conceptual and operational tools for coping with the sounds. Five major possibilities are proposed in this regard: (i) the concepts of perspective and resolution, which refer to the distance the listener takes with respect to the sounding music and the fine-grainedness of his/her discriminative abilities; (ii) the continuous/discrete dichotomy which conceives of the music as one continuous flow as against a division in separate and distinct elements; (iii) the in time/outside-of-time distinction, with the former proceeding in real time and the latter proceeding outside of the time of unfolding; (iv) the deictic approach to musical sense-making, which conceives of an act of mental pointing to the music, and (v) the levels of processing, which span a continuum between primitive sensory reactivity to actual sounding stimuli and high-level symbolic processing

An Experience of Using Cinemascience Format for 3D Scientific Visualization

To visualize any new entity, a visualization algorithm should be designed and programmed. Investigating approaches for programming new scientific visualizations, we come with the following technique: utilize CinemaScience format to describe 3D scenes. CinemaScience is developed for storing and visualizing supercomputer and physical modelling results, and differs with simplicity both for human and machine. It has a set of interesting features, for example it allows to specify dynamics in views dependent on parameters. However, the technique currently known applications are 2D graphics, and in this paper we extend it for 3D case. The main feature of the approach is treating of Cinema artifacts as visual objects of explicit type. We successfully used the suggested approach in various visualization tasks, examples are presented in the paper. We developed the open-source web application that implements the suggested approach. It is open-source and its main features are also described in the paper. © 2021 National Research Nuclear University. All rights reserved

The Sound of Paintings: Using Citizen Curation to Explore the Cross-Modal Personalization of Museum Experiences

This paper describes the use of Citizen Curation to explore ways in which cross-modal experiences can be used and created by museum visitors. Citizen Curation can be defined as individuals and groups from outside the museum profession engaging in curatorial activities to communicate their own ideas and stories. Previous work has explored how Citizen Curation can be used to broaden the range of voices reflected in the museum, thereby widening its appeal and relevance to new audiences. Recent research suggests that cross-modal experiences, combining visual art with music, can enhance the cultural experience as the visitor simultaneously draws on both what they see and hear. Citizen Curation provides a potential method through which visitors can create and share cross-modal experiences for each other, combining visual art and music. In this paper, we introduce the Deep Viewpoints web ap- plication that has previously been used for the Citizen Curation of looking at visual art. We then describe how the application was extended to support two further contexts (i) a musicologist curating experiences that link music to visual art in a museum collection, and (ii) visitors to a museum exhibition experiencing and creating cross-modal experiences. Finally, we reflect on different ways in which technology could be used to support cross-modal museum experiences

A REPEATABLE THREAT-BASED REQUIREMENTS GENERATION PROCESS LEVERAGING MODEL-BASED SYSTEMS ENGINEERING FOR JOINT EXPLOSIVE ORDNANCE DISPOSAL AND AN ANALYSIS OF RAPID LARGE AREA CLEARANCE

The mission of the Joint Explosive Ordnance Disposal (JEOD) program is to reduce or eliminate explosive hazards that jeopardize personnel, operations, installations, or materiel. The JEOD program develops equipment in support of this mission. The equipment development begins with identification of a threat. JEOD has a defined process for threat analysis and capability gap assessment but lacks a process for the generation of system requirements for the Joint Capabilities Integration and Development System (JCIDS). This thesis studied the shortcomings of the current JEOD requirements generation process and developed a new repeatable threat-based process based on a comprehensive review of systems engineering requirements processes. The new JEOD requirements process incorporates model-based systems engineering (MBSE) to analyze the threat and capability gaps and translate them into quantifiable requirements. The thesis applied this new process using MBSE tools and Monterey Phoenix behavior modeling to the JEOD mission of Rapid Large Area Clearance (RLAC) as a case study to identify common mission scenarios and stakeholder requirements that can be used to develop system requirements. The new process can be used for future JEOD requirements development to reduce the burden on JEOD technicians, shorten the requirements development timeline, and produce more comprehensive and accurate requirements. The new process is extensible to the broader DOD requirements generation community.Civilian, Department of the NavyApproved for public release. Distribution is unlimited

End-user action-sound mapping design for mid-air music performance

How to design the relationship between a performer’s actions and an instrument’s sound response has been a consistent theme in Digital Musical Instrument (DMI) research. Previously, mapping was seen purely as an activity for DMI creators, but more recent work has exposed mapping design to DMI musicians, with many in the field introducing soware to facilitate end-user mapping, democratising this aspect of the DMI design process. This end-user mapping process provides musicians with a novel avenue for creative expression, and offers a unique opportunity to examine how practising musicians approach mapping design.Most DMIs suffer from a lack of practitioners beyond their initial designer, and there are few that are used by professional musicians over extended periods. The Mi.Mu Gloves are one of the few examples of a DMI that is used by a dedicated group of practising musicians, many of whom use the instrument in their professional practice, with a significant aspect of creative practice with the gloves being end-user mapping design. The research presented in this dissertation investigates end-user mapping practice with the Mi.Mu Gloves, and what influences glove musicians’ design decisions based on the context of their music performance practice, examining the question: How do end-users of a glove-based mid-air DMI design action–sound mapping strategies for musical performance?In the first study, the mapping practice of existing members of the Mi.Mu Glove community is examined. Glove musicians performed a mapping design task, which revealed marked differences in the mapping designs of expert and novice glove musicians, with novices designing mappings that evoked conceptual metaphors of spatial relationships between movement and music, while more experienced musicians focused on designing ergonomic mappings that minimised performer error.The second study examined the initial development period of glove mapping practice. A group of novice glove musicians were tracked in a longitudinal study. The findings supported the previous observation that novices designed mappings using established conceptual metaphors, and revealed that transparency and the audience’s ability to perceive their mappings was important to novice glove musicians. However, creative mapping was hindered by system reliability and the novices’ poorly trained posture recognition.The third study examined the mapping practice of expert glove musicians, who took part in a series of interviews. Findings from this study supported earlier observations that expert glove musicians focus on error minimisation and ergonomic, simple controls, but also revealed that the expert musicians embellished these simple controls with performative ancillary gestures to communicate aesthetic meaning. The expert musicians also suffered from system reliability, and had developed a series of gestural techniques to mitigate accidental triggering.The fourth study examined the effects of system-related error in depth. A laboratory study was used to investigate how system-related errors impacted a musician’s ability to acquire skill with the gloves, finding that a 5% rate of system error had a significant effect on skill acquisition.Learning from these findings, a series of design heuristics are presented, applicable for use in the fields of DMI design, mid-air interaction design and end-user mapping design

Strategies Project Managers Use That Reduce Information Technology Project Failures in the Insurance Industry

The worldwide failure rate of information technology (IT) projects is approximately 65%. Insurance project managers who fail to successfully implement IT projects negatively impact organizational performance and profitability. Grounded in the management by objectives theory, the purpose of this qualitative multiple case study was to explore strategies project managers use to reduce IT project failures in the insurance industry. The participants comprised four IT project managers in Alabama who successfully used strategies to reduce IT project failures in the insurance industry. Data were collected from virtual semistructured interviews, company documents, existing literature, and journal notes. Thematic analysis was used to analyze the data. Three themes emerged: scope management, effective communication, and managing priorities. A key recommendation for IT project managers is to develop a change control process for scope management. The implications for positive social change include the potential for IT project managers to create jobs and stimulate the local economy

Gangsta Rap - A Practice-led Autoethnographic Study in the Audiovisual Arts

Gangsta Rap: A Practice-led Autoethnographic Study in the Audiovisual Arts is formed from the original perspective, and combined role of an academic, artist, designer and practising musician. The study is based on the unique combination of the author’s lived experience and academic research which consolidates the limited international scholarship in the field and significantly extends this, thereby offering important new findings. The emergence of gangsta rap is one of the consequences from the loss of factories and jobs in America, the reduction of public investment in the poorer areas and the lack of support of workers’ rights during the 1970s and 1980s in major American cities. As a music genre, it is mostly a product of black culture, although Latinos and other minorities have contributed to its development due to the similarities for these groups in living conditions and aspirations. As this music deals with issues of space and identity of poor working-class youth, it reached several countries in the world that were in a similar position to the USA. Minority youth in rap music has often been perceived as a danger by public institutions, including police and schools. In this doctoral study, the author questions this perception and, moreover, how excessive criticism and in some cases legal actions against rappers have limited their creative practice, undermined their freedom of speech, and criminalised their artistic outputs. Furthermore, the thesis questions what positive outcomes can come out of the production of gangsta rap music and if these outcomes justify its creation. Methodologically, this research undertakes an extensive comparison between the different theoretical works around gangsta rap, where different authors argue that gangsta rap can either promote negative attitudes towards police, women and traditional family values or promote racial harmony between listeners from all backgrounds as well as a platform to those in disadvantaged positions that are not usually heard. The historical context leads to the practice-led ethnographic research wherein the author uses himself as a case study to map the relationship between his childhood, living conditions and artistry. Finally, an extensive body of practical work by the author and artist in the arena of gangsta rap accompanies the thesis to showcase not just the final product (such as music videos, songs, and exhibitions), but also to reveal the tensions behind the artist’s creative process. Based on the author’s autoethnographic research, which consolidates the cited views of other artists and scholars, rap music inspired him to express his feelings, ideas and worldview where no other place permitted the discussion of such topics. Urban culture helped him to develop certain skills that later on in life allowed him to make friends, gain a job and, most importantly, accept who he is and where he comes from. The findings from the research conclude and propose that rap music is more a reaction to social issues, inequalities, or violence than the originator of these factors