Automated Reasoning

This volume, LNAI 13385, constitutes the refereed proceedings of the 11th International Joint Conference on Automated Reasoning, IJCAR 2022, held in Haifa, Israel, in August 2022. The 32 full research papers and 9 short papers presented together with two invited talks were carefully reviewed and selected from 85 submissions. The papers focus on the following topics: Satisfiability, SMT Solving,Arithmetic; Calculi and Orderings; Knowledge Representation and Jutsification; Choices, Invariance, Substitutions and Formalization; Modal Logics; Proofs System and Proofs Search; Evolution, Termination and Decision Prolems. This is an open access book

Root systems, spectral curves, and analysis of a Chern-Simons matrix model for Seifert fibered spaces

92 pages, 20 figures. Section 9 by Alexander WeisseWe study a class of scalar, linear, non-local Riemann-Hilbert problems (RHP) involving finite subgroups of PSL(2,C). We associate to such problems a (maybe infinite) root system and describe the relevance of the orbits of the Weyl group in the construction of its solutions. As an application, we study in detail the large N expansion of SU(N) or SO(N) or Sp(2N) Chern-Simons partition function Z_N(M) of 3-manifolds M that are either rational homology spheres or more generally Seifert fibered spaces. It has a matrix model-like representation, whose spectral curve can be characterized in terms of a RHP as above. When pi_1(M) is finite (i.e. for manifolds M that are quotients of \mathbb{S}_{3} by a finite isometry group of type ADE), the Weyl group associated to the RHP is finite and the spectral curve is algebraic and can be in principle computed. We then show that the large N expansion of Z_N(M) is computed by the topological recursion. This has consequences for the analyticity properties of SU/SO/Sp perturbative invariants of knots along fibers in M

Quantum AdS/CFT: Black Holes and Wilson Loops

One of the important successes of string theory has been the AdS/CFT correspondence which conjectures a mathematical equivalence between string theories (containing gravity) and field theories. The main focus of this thesis is to understand AdS/CFT correspondence more deeply, at the quantum level, in the context of Black Hole Entropy and Holographic Wilson loops. It has been recently shown that the topologically twisted index for 3d supersymmetric Chern-Simons-matter theory (known as ABJM theory) in a certain limit reproduces the Bekenstein-Hawking entropy of magnetically charged asymptotically AdS4 black holes. In the first part of thesis, we investigate sub-leading logarithmic corrections in the large N limit to the topologically twisted index in ABJM theory and black hole entropy in the dual one-loop quantum supergravity, focusing on both the near horizon geometry and the full AdS4 black hole background. We explicitly focus on understanding the quantum aspects of microstate counting of the black hole entropy, which provides an invaluable benchmark for quantum gravity theories. Another aspect of this thesis is precision holography with supersymmetric Wilson loops. The main idea of precision holography is to better understand string perturbation theory in curved spaces beyond the semi-classical approximation, given exact results from localization. The expectation value of Wilson loop operators can be computed exactly via supersymmetric localization. Holographically, these operators are mapped to string configurations in the gravity dual. In the large N limit, the on-shell string action reproduces the large coupling limit of the gauge theory expectation value. There should be a precise match between the sub-leading corrections to these limits as guided by AdS/CFT correspondence. Such precision tests have been done in the literature in the context of N=4 SYM theory revealing various subtleties in the choice of regularization scheme for one-loop computations. In the second part of thesis, we perform a test of this match at next-to-leading order in string theory by computing the ratio between one-loop determinants of the quadratic fluctuations around the classical string configurations dual to BPS latitude and circular Wilson loops in both N=4 SYM and ABJM theory. We find a match for sub-leading corrections in the limit of small latitude angle, using zeta function regularization scheme. Another crucial result of this calculation is that the string partition function is determined entirely by some special modes, which points to a potential bulk localization.PHDPhysicsUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/149916/1/vimalr_1.pd

The Second International Workshop on Squeezed States and Uncertainty Relations

This conference publication contains the proceedings of the Second International Workshop on Squeezed States and Uncertainty Relations held in Moscow, Russia, on 25-29 May 1992. The purpose of this workshop was to study possible applications of squeezed states of light. The Workshop brought together many active researchers in squeezed states of light and those who may find the concept of squeezed states useful in their research, particularly in understanding the uncertainty relations. It was found at this workshop that the squeezed state has a much broader implication than the two-photon coherent states in quantum optics, since the squeeze transformation is one of the most fundamental transformations in physics

Fluid Books, Fluid Borders Modern Greek and Turkish Book Networks in a Shifting Sea

This dissertation tells the stories of a half dozen Greek and Turkish books that refused to “stay put”: books that, despite their appearance of stability today, moved across multiple media, editions, alphabets, bindings and geographies, taken apart and reassembled in deeply transformative ways during a period of momentous change in the Eastern Mediterranean, roughly 1910-1960. The signal event of this change was the Ottoman Empire’s collapse in 1923, after which the Greek and Turkish nation-states pushed to radically reshape the region through a series of partitions. Book networks too were being reassembled along national lines, a process whose ultimate aim was the production of a fixed national corpus, purified of linguistic and typographic variation. Nonetheless, careful examination suggests that many of the region’s textual networks were anything but stable or pure. The books of my study often blurred the boundaries between production, circulation and consumption, between writer and reader, and, at times, between Greek and Turkish. They behaved in many ways more like pre-modern manuscripts than modern books. I argue, in fact, that “the book has never been modern”—not even in the twentieth century, when it had supposedly been fixed in place by international copyright, national philology departments and commercial standardization. The narrative of twentieth-century fixity, frequently implicit and occasionally explicit in Book History, derives in part from the field’s Eurocentric origins. In the Greco-Turkish Mediterranean, a different story emerges. Building an innovative bridge between Book History and Mediterranean studies, I view the Greco-Turkish book as a “middle space”: a semi-fluid medium that, resisting the nation-state’s partitions, continued to be assembled and reassembled by a heterogeneous webwork of hands and materials. Methodologically, how does one approach such a “middle space”? Adapting Bruno Latour’s Actor-Network Theory and Deleuze and Guattari’s notion of “assemblage,” I treat the book as a network, one whose ongoing assemblage we can spread out across a flat and open plane. Since these assemblages are nested, in something close to a mathematical fractal, I trace similar patterns on several scales, ranging from the typographic to the aesthetic to the geographic. On every scale, I follow the fluid “border-crossings” of books, facilitated by their several handlers. To conceptualize these crossings, the concept of the metaphor is particularly useful. In both ancient and modern Greek, a metaphora is an act not only of (1) moving an aesthetic conceit between linguistic symbols (as in English); but, more fundamentally, of (2) physically moving an object from point A to B. As the books of my study aesthetically moved their handlers, so too did the handlers physically move the books forward in time and space, preserving them only by transformatively transmitting them through a series of hands and forms. Ultimately, I work my way towards the ideal of the “commons-place” book, which combines the commonplace book with notions of the political commons, asking how a material medium might become the site of collective, un-authorized literary production. The philologist’s role here, I argue, is nothing more or less than the “curation” of this book-network, reassembling both its literary objects and their human handlers in a shared space—one that will allow each actor to speak, to hear and be heard. Through such a curation, which necessarily invites the agencies of a heterogeneous (and contentious) multiplicity of handlers, we can begin to reassemble the commons.PHDComparative LiteratureUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/140801/1/stroebel_2.pdfhttps://deepblue.lib.umich.edu/bitstream/2027.42/140801/2/stroebel_1.pd

Cervantes, Poet: Lyric Subjectivity as Practice in the Rise of the Novel in Sixteenth-Century Spain

The novel--as a literary genre--is a lyric in prose. It may be differentiated from the allegory, the romance, the epic, the satire, the tragedy, the history, the comedy, etc, by way of its unique form of novelistic character development. Drawn from explorations of individual subjectivity fostered and voiced in lyric art forms during the sixteenth century, the novel's defining literary model is the lyric. Having taken the Don Quijote as a point of reference, this dissertation returns to the first thirty years of Miguel de Cervantes' literary career in order to examine the rise of the novel in sixteenth-century Spain. Through a recovery and analysis of the literary milieu which bore most strongly on this first modern novelist, this dissertation resituates the rise of the novel in the author's own work as primarily--though not exclusively--a lyrical phenomenon. Chapter 1 reconstructs the lyrical and philosophical history in vogue amongst court poets whom Cervantes joined, befriended, and imitated during his first authorial experiences as a young conceptual poet writing in the court of Isabel de Valois (1560-1568). Particular attention is paid to the court poets, Francisco de Figueroa and Pedro Laynez, who exerted a considerable influence on Cervantes, and whom he later included as the exemplary shepherd-poets, Tirsi and Damón, in his first novel, the Galatea (1585). Chapter 2 expands upon this analysis through a close examination of the ways in which Cervantes' friend and fellow poet, Luis Gálvez de Montalvo, pursued a literature of immediacy by drawing directly on personal experience and private histories of court practice in order to explore individual subjectivities within the space of novelistic fiction. This lyrical focus is then brought to bare on a close reading of Cervantes' earliest lyric verse, particularly his 1567 sonnet to Isabel de Valois. Chapter 3 turns to the Italian context with which Cervantes met as a young poet in the service of Giulio Acquaviva in Rome (1569-1571). By examining cultural practices in the private gardens of Roman noblemen, such as Vicino Orsini, this chapter demonstrates how the lyrical and imaginative practices of the court of Isabel de Valois were pervasive in Renaissance Mediterranean culture. It thereby draws a line of continuity between Cervantes' earliest experiences in Madrid and the milieu which he subsequently joined in Rome. Here again explorations of subjectivity are brought to bare on the ways in which literary art forms were conceptualized and cultivated in the author's context. Chapter 4 reconstructs and examines the friendship which Cervantes cultivated with the Sicilian poet, Antonio Veneziano, while the two poets were captive in Algiers. This chapter recovers Veneziano's prominence as a lyric author of the sixteenth century and the formative influence which he exercised over Cervantes' lyrical works--both in verse, prose, and dramaturgical formats. This chapter concludes with a close reading of Cervantes' own lyric verse composed at this time. I examine Veneziano's influence, the ways in which these early works appear in Cervantes' later novelistic fiction, and indications of an early and fully developed conceptual and literary outlook. These octaves are, among Cervantes oeuvre, the most explicitly claimed reflections of the author's lyric "I", and therefore are indispensable to treatments of Cervantes' authorial subjectivity. Chapter 5 returns to the literary milieu of Madrid in the 1580s which Cervantes rejoined shortly after his release from Algiers. Particular attention is paid to the ways in which subjectivity was voiced in lyric art forms both in verse and prose formats. This chapter resituates Cervantes' composition of his first novel, the Galatea, amidst this literary milieu, and offers new reading clues and identifications for the novel as a roman à clef deeply grounded in a lyrical literature of immediacy. I also examine the transition from verse to prose formats in the lyrical works of his contemporaries. Chapter 6 undertakes an unprecedented and thorough close reading of the Galatea as an indispensable and heretofore missing component for both studies of the novel and studies of Cervantes' conceptual outlook and narrative theory. This chapter pays special attention to the cosmos in which lyric subjectivity was fostered and voiced towards the realization of novelistic characters. The author's own lyric subjectivity is highlighted and discussed by way of his fictional persona, Lauso. Correlations between the Galatea and the Don Quijote are noted at length. By looking past anachronistic judgment-calls against the pastoral and the Galatea, this chapter provides the first coherent close reading of this eclogue in prose as modern novelistic fiction, and as a phenomenal development in lyric art forms. In the Introduction and Conclusion of this dissertation I situate the present study in relation to discourse on the novel, the Don Quijote, and Cervantes' oeuvre. In the Introduction I offer a new reading of the Don Quijote informed by the present study. In the Conclusion I recapitulate the present study in relation to Cervantes' oeuvre