Analysis and modeling a distributed co-operative multi agent system for scaling-up business intelligence

Modeling A Distributed Co-Operative Multi Agent System in the area of Business Intelligence is the newer topic. During the work carried out a software Integrated Intelligent Advisory Model (IIAM) has been develop, which is a personal finance portfolio ma

Semantic feature dissociation: a new hypothesis concerning autism

This thesis introduces and defends a new hypothesis concerning autism: Semantic Feature Dissociation (SFD). The claim is that some autistic people only store information about strong correlations in semantic memory. I begin by arguing the most promising theories of autism currently on offer are Bayesian theories. However, these omit important details, especially about the underlying format of world knowledge, and its role in social cognition. The SFD hypothesis bridges this gap, linking autism traits explicitly to research on concept structure. After critically reviewing key literature, I defend the hypothesis in two ways. First, I report a methodologically novel qualitative study of autism autobiographies, from which the hypothesis was abducted. This reveals that it can potentially account for many real-world autism traits. Crucially, most social and language differences can be attributed to general changes in the structure of world knowledge, without implicating a specialised mechanism for identifying mental states. Second, I show SFD is better than other accounts at predicting important lines of experimental evidence concerning social cognition, language and perception in autism. I conclude by tentatively suggesting SFD might reconcile the two leading Bayesian accounts of autism: HIPPEA and weak priors

History and Philosophy of Neural Networks

This chapter conceives the history of neural networks emerging from two millennia of attempts to rationalise and formalise the operation of mind. It begins with a brief review of early classical conceptions of the soul, seating the mind in the heart; then discusses the subsequent Cartesian split of mind and body, before moving to analyse in more depth the twentieth century hegemony identifying mind with brain; the identity that gave birth to the formal abstractions of brain and intelligence we know as ‘neural networks’. The chapter concludes by analysing this identity - of intelligence and mind with mere abstractions of neural behaviour - by reviewing various philosophical critiques of formal connectionist explanations of ‘human understanding’, ‘mathematical insight’ and ‘consciousness’; critiques which, if correct, in an echo of Aristotelian insight, sug- gest that cognition may be more profitably understood not just as a result of [mere abstractions of] neural firings, but as a consequence of real, embodied neural behaviour, emerging in a brain, seated in a body, embedded in a culture and rooted in our world; the so called 4Es approach to cognitive science: the Embodied, Embedded, Enactive, and Ecological conceptions of mind

Twelfth Annual Conference on Manual Control

Main topics discussed cover multi-task decision making, attention allocation and workload measurement, displays and controls, nonvisual displays, tracking and other psychomotor tasks, automobile driving, handling qualities and pilot ratings, remote manipulation, system identification, control models, and motion and visual cues. Sixty-five papers are included with presentations on results of analytical studies to develop and evaluate human operator models for a range of control task, vehicle dynamics and display situations; results of tests of physiological control systems and applications to medical problems; and on results of simulator and flight tests to determine display, control and dynamics effects on operator performance and workload for aircraft, automobile, and remote control systems

Digital Light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Digital light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu