A Formal Model of Metaphor in Frame Semantics

A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a wave function in Hilbert space. The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered. A series of formal definitions is deduced from this for: “representation”, “reality”, “language”, “ontology”, etc. All are based on Hilbert space. A few statements about a quantum computer are implied: The sodefined reality is inherent and internal to it. It can report a result only “metaphorically”. It will demolish transmitting the result “literally”, i.e. absolutely exactly. A new and different formal definition of metaphor is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above. The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought. Four areas of cognition are unified as different but isomorphic interpretations of the mathematical model based on Hilbert space. These are: quantum mechanics, frame semantics, formal semantics by means of quantum computer, and the theory of metaphor in linguistics

Group emotion modelling and the use of middleware for virtual crowds in video-games

In this paper we discuss the use of crowd simulation in video-games to augment their realism. Using previous works on emotion modelling and virtual crowds we define a game world in an urban context. To achieve that, we explore a biologically inspired human emotion model, investigate the formation of groups in crowds, and examine the use of physics middleware for crowds. Furthermore, we assess the realism and computational performance of the proposed approach. Our system runs at interactive frame-rate and can generate large crowds which demonstrate complex behaviour

Four PPPPerspectives on Computational Creativity

From what perspective should creativity of a system be considered? Are we interested in the creativity of the system’s out- put? The creativity of the system itself? Or of its creative processes? Creativity as measured by internal features or by external feedback? Traditionally within computational creativity the focus had been on the creativity of the system’s Products or of its Processes, though this focus has widened recently regarding the role of the audience or the field surrounding the creative system. In the wider creativity research community a broader take is prevalent: the creative Person is considered as well as the environment or Press within which the creative entity operates in. Here we have the Four Ps of creativity: Person, Product, Process and Press. This paper presents the Four Ps, explaining each of the Four Ps in the context of creativity research and how it relates to computational creativity. To illustrate how useful the Four Ps can be in taking a fuller perspective on creativity, the concepts of novelty and value explored from each of the Four P perspectives, uncovering aspects that may otherwise be overlooked. This paper argues that the broader view of creativity afforded by the Four Ps is vital in guiding us towards more encompassing and comprehensive computational investigations of creativity

The AISB’08 Symposium on Multimodal Output Generation (MOG 2008)

Welcome to Aberdeen at the Symposium on Multimodal Output Generation (MOG 2008)! In this volume the papers presented at the MOG 2008 international symposium are collected

The body in Renaissance arithmetic: from mnemonics to embodied cognition

In Medieval and Renaissance arithmetic we find several instances of references to body parts or actions involving body parts. In this paper we will address the question on the historical functions of body parts in mathematics and discuss its relation to the currently prevailing practice of symbolic mathematics.1

Gordon Pask’s ‘Cybernetic Theatre’: beyond tinkering with Architecture

Written in the year of Gordon Pask’s 90th anniversary of his birth, “Beyond tinkering with Architecture” presents the Philosopher Mechanics’ proposal for a Cybernetic Theatre, conceived in 1964; and projects it into today’s digital and analogue networked systems of operation. A performance machine, a space to allow communication, interaction and learning between a theatre audience and actors of a play; a space celebrating the control of control regulated through algorithmic calculation and an active actor inter-actor network. [14, 22] The idea was to integrate members of an audience into a performance to steer plots of a given play and to allow adaption of a pre-set script. Communication would happen by interfacing through a computational communicator in the form and beauty of a Paskian colourful light display. Conceptually, technically and chronologically, the project locates itself between Musicolour (1953-58), The Fun Palace (core design phase 1961–64) and the Colloquy of Mobiles (1968). The rather unknown project is exemplary for Gordon Pask’s influential research and work for architecture and architectural digital theory in the 21st century. At this point in history the incorporation of machine (artificial) intelligence in the human environment, and emergent interaction between them is in the process of naturalizing. The ‘Proposal for a Cybernetic Theatre’ prescribes an organization designed by Gordon Pask. The organization integrates structure, material, mechanics, function, individual goals and randomness in one coherent system. Actors of all kinds become participants, inter- actors with the environment and themselves. The paper concludes with the suggestion that the principles of control and indirect conversation between users and artefacts Pask used in his Cybernetic Theatre are akin to the principles of exchange in Cyberspace.Beyond Basteln an Architektur", geschrieben im Jahr von Gordon Pasks 90. Geburtstag, präsentiert den 1964 entstandenen Vorschlag der Philosophischen Mechanik für ein Kybernetisches Theater und projiziert es in die heutigen digitalen und analogen vernetzten Betriebssysteme. Eine Performance-Maschine, ein Raum, um Kommunikation, Interaktion und Lernen zwischen einem Theaterpublikum und Schauspielern eines Theaterstücks zu ermöglichen; ein Raum, der die Kontrolle der Kontrolle über die Kontrolle feiert, die durch algorithmische Berechnungen und ein aktives Akteurs-Interakteursnetzwerk reguliert wird. Die Idee war, die Mitglieder eines Publikums in eine Performance zu integrieren, um die Handlung eines bestimmten Stückes zu steuern und die Adaption eines voreingestellten Skripts zu ermöglichen. Die Kommunikation würde durch die Verbindung über einen Computermittler in Form und Schönheit eines paskianischen farbenfrohen Lichtdisplays erfolgen. Konzeptionell, technisch und chronologisch bewegt sich das Projekt zwischen Musicolour (1953-58), The Fun Palace (Kerndesignphase 1961-64) und dem Colloquy of Mobiles (1968). Das eher unbekannte Projekt ist exemplarisch für Gordon Pasks einflussreiche Forschung und Arbeit für Architektur und architektonische digitale Theorie im 21. Jahrhundert. An diesem Punkt in der Geschichte ist die Einbeziehung der maschinellen (künstlichen) Intelligenz in die menschliche Umgebung und die aufkommende Interaktion zwischen ihnen im Begriff, sich zu naturalisieren. Der "Vorschlag für ein kybernetisches Theater" schreibt eine von Gordon Pask entworfene Organisation vor. Das Unternehmen integriert Struktur, Material, Mechanik, Funktion, individuelle Ziele und Zufälligkeit in einem kohärenten System. Akteure aller Art werden zu Beteiligten, zu Interakteuren mit der Umwelt und sich selbst. Das Papier schließt mit dem Vorschlag, dass die Prinzipien der Kontrolle und der indirekten Konversation zwischen Benutzern und Artefakten, die Pask in seinem Kybernetischen Theater verwendet, den Prinzipien des Austauschs im Cyberspace ähneln

The ForMaRE Project - Formal Mathematical Reasoning in Economics

The ForMaRE project applies formal mathematical reasoning to economics. We seek to increase confidence in economics' theoretical results, to aid in discovering new results, and to foster interest in formal methods, i.e. computer-aided reasoning, within economics. To formal methods, we seek to contribute user experience feedback from new audiences, as well as new challenge problems. In the first project year, we continued earlier game theory studies but then focused on auctions, where we are building a toolbox of formalisations, and have started to study matching and financial risk. In parallel to conducting research that connects economics and formal methods, we organise events and provide infrastructure to connect both communities, from fostering mutual awareness to targeted matchmaking. These efforts extend beyond economics, towards generally enabling domain experts to use mechanised reasoning.Comment: Conference on Intelligent Computer Mathematics, 8--12 July, Bath, UK. Published as number 7961 in Lecture Notes in Artificial Intelligence, Springe