The complexity of theorem proving in circumscription and minimal entailment

We provide the first comprehensive proof-complexity analysis of different proof systems for propositional circumscription. In particular, we investigate two sequent-style calculi: MLK defined by Olivetti [28] and CIRC introduced by Bonatti and Olivetti [8], and the tableaux calculus NTAB suggested by Niemelä [26]. In our analysis we obtain exponential lower bounds for the proof size in NTAB and CIRC and show a polynomial simulation of CIRC by MLK. This yields a chain NTAB < CIRC < MLK of proof systems for circumscription of strictly increasing strength with respect to lengths of proofs

Recent studies on signs: Commentary and perspectives

In this commentary, I reply to the fourteen papers published in the Sign Systems Studies special issue on Peirce’s Theory of Signs, with a view on connecting some of their central themes and theses and in putting some of the key points in those papers into a wider perspective of Peirce’s logic and philosophy

Communication and the Origins of Personhood

This thesis presents a communicative account of personhood that argues for the inseparability of the metaphysical and the practical concepts of a person. It connects these two concepts by coupling the question “what is a person” (concerning the necessary conditions of personhood) with the question "how does one become a person"(concerning its genetic conditions). It argues that participation in social interactions that are characterized by mutual recognition and giving-and-taking reasons implied by the practical concept of a person is in fact an ecological and developmental condition for an entity to possess the kind of characteristics and capacities such as reflexive self-consciousness addressed by the metaphysical concept. The chief theoretical contribution of the dissertation research lies, accordingly, in demonstrating that an adequate metaphysical concept of a person has to make reference to the kind of social processes that are necessary for the emergence and development of the distinguishing attributes of persons among other moving, perceiving, desiring and cognizing agents. Methodologically, it undertakes an original philosophical analysis that is enriched by an interdisciplinary investigation of several notions and insights from semiotics, comparative and developmental psychology, cognitive science and anthropology. The main argument of the thesis is that one becomes a person through internally recreating a social, communicative process; namely, that of dialogical transformation of habits. We find the paradigmatic case of this social process in mutual persuasion. The internalization of this process in the form of an inner dialogue cultivates a social self that is in ongoing communication with the embodied, organismic self of uncritically habituated attitudes, convictions and desires. This inner dialogue can be conceived as a temporally extended process of self-persuasion, which is characterized by an ongoing strive for attaining higher degrees of self-control; that is, for achieving a more coherent alignment between our habits and the kind of person we would like to be. It starts with self-interpretation and self-evaluation, and culminates in the formation of higher-order desires that facilitate habit-change and novel habit formation in accordance with certain social, moral, aesthetical or intellectual categories and norms one comes to endorse. For this reason, self-induced, deliberate habit-change is also a process of appropriation or self-appropriation, through which we strive to cultivate habits of feeling, thinking, acting that we can deem more truly ours. The thesis demonstrates that the capacity for engaging in this kind of self-persuasion consists chiefly in the capacities for metasemiosis, perspective-taking, and for cultivating habits of reflexivity. It explicates how all these capacities have a social origin and ultimately a social function by showing that they all presuppose certain higher-order communicative patterns that arose through an evolutionary and cultural history, and develop through the internal reconstruction of these patterns as cognitive-semiotic processes. The thesis concludes that becoming a kind of being who can engage in self-persuasion, thus a person, consists ultimately in internalizing the patterns of communicative social interactions in the form of an ongoing auto-communication.  Väitöskirjassa käsitellään persoonuuden kommunikatiivista prosessia ja osoitetaan, että persoonan metafyysiset ja käytännölliset käsitteet ovat erottamattomat. Nämä kaksi käsitettä yhdistetään tarkastelemalla kysymyksiä ”mikä on persoona” ja ”miten tullaan persoonaksi”. Väitöskirjassa osoitetaan, että osallistuminen sosiaaliseen kanssakäymiseen, johon kuuluu persoonan käytännön käsitteeseen kuuluva vastavuoroinen tunnustaminen sekä kompromissi, on itse asiassa entiteetin ekologinen ja kehityksellinen olotila, jossa se saavuttaa piirteitä ja taitoja, kuten persoonan metafyysisen käsitteen mukainen refleksiivinen itsetietoisuus. Väitöskirjan keskeinen teoreettinen tavoite on osoittaa, että persoonan onnistuneessa metafyysisessä käsitteessä on otettava huomioon sosiaaliset prosessit, jotka ovat välttämättömiä persoonan erityisten attribuuttien kehittymiselle, kuten liikkuminen, havaitseminen, haluaminen sekä kognitiiviset agentit. Väitöskirjan metodologia koostuu filosofisesta analyysista, jota monitieteisesti rikastutetaan semiotiikan, vertailevan ja kehityspsykologian, kognitiivisten tieteiden ja antropologian lähestymistavoilla. Väitöskirjan keskeinen teesi on, että agentista tulee persoona, kun se luo uudestaan sisäisesti sosiaalisen, kommunikatiivisen prosessin, toisin sanoen tapojen dialogisen transformaation kautta. Tämän sosiaalisen prosessin paradigmaattinen esimerkki on molemminpuolinen vakuuttaminen. Sen sisäistäminen sisäisen dialogin muotoon kehittää sosiaalista minuutta, joka on jatkuvassa kommunikaatiossa epäkriittisten asenteiden, vakaumusten ja halujen elimellisesti ruumiillistuneen minän kanssa. Tämä sisäinen dialogi voidaan mieltää itsensä suostuttelun prosessiksi. Itsensä suostuttelu on jatkuva pyrkimys saavuttaa itsehillinnän korkeampia tasoja, toisin sanoen saattaa yhteen tapamme ja se persoona, joka haluaisimme olla. Se alkaa itsearviolla ja huipentuu niiden ylevämpien halujen muodostumiseen, jotka edistävät persoonan tapojen muutosta niiden tiettyjen sosiaalisten, moraalisten, esteettisten ja intellektuaalisten normien mukaisesti, joita yksilö alkaa noudattamaan. Tästä syystä itse toteutettu tapojen muutos on myös itsensä hallitsemisen prosessi, jonka kautta me voimme kehittää tapoja, joita pidämme aidommin ominamme. Väitöskirja osoittaa, että taito ryhtyä itsensä suostutteluun muodostuu pääsääntöisesti kyvystä metasemioosiin, perspektiivin ottamisesta sekä refleksiivisyyden kehittämisestä. Se esittää, että kaikilla näillä taidoilla on sosiaalinen alkuperä ja viime kädessä sosiaalinen merkitys, osoittamalla, että ne kaikki edellyttävät tiettyjä ylevämpiä kommunikatiivisia malleja, jotka nousevat kehitys- ja kulttuurihistoriasta ja kehittyvät näiden mallien sisäisen rekonstruktion kautta kognitiivis-semioottisina prosesseina. Lopuksi väitöskirja osoittaa, että tuleminen sellaiseksi olevaksi, joka voi toteuttaa itsensä suostuttelun, toisin sanoen persoonaksi, muodostuu viime kädessä sosiaalisen kanssakäymisen kommunikatiivisten mallien sisäistämisestä jatkuvan autokommunikaation muodossa.

Hypertext Semiotics in the Commercialized Internet

Die Hypertext Theorie verwendet die selbe Terminologie, welche seit Jahrzehnten in der semiotischen Forschung untersucht wird, wie z.B. Zeichen, Text, Kommunikation, Code, Metapher, Paradigma, Syntax, usw. Aufbauend auf jenen Ergebnissen, welche in der Anwendung semiotischer Prinzipien und Methoden auf die Informatik erfolgreich waren, wie etwa Computer Semiotics, Computational Semiotics und Semiotic Interface Engineering, legt diese Dissertation einen systematischen Ansatz für all jene Forscher dar, die bereit sind, Hypertext aus einer semiotischen Perspektive zu betrachten. Durch die Verknüpfung existierender Hypertext-Modelle mit den Resultaten aus der Semiotik auf allen Sinnesebenen der textuellen, auditiven, visuellen, taktilen und geruchlichen Wahrnehmung skizziert der Autor Prolegomena einer Hypertext-Semiotik-Theorie, anstatt ein völlig neues Hypertext-Modell zu präsentieren. Eine Einführung in die Geschichte der Hypertexte, von ihrer Vorgeschichte bis zum heutigen Entwicklungsstand und den gegenwärtigen Entwicklungen im kommerzialisierten World Wide Web bilden den Rahmen für diesen Ansatz, welcher als Fundierung des Brückenschlages zwischen Mediensemiotik und Computer-Semiotik angesehen werden darf. Während Computer-Semiotiker wissen, dass der Computer eine semiotische Maschine ist und Experten der künstlichen Intelligenz-Forschung die Rolle der Semiotik in der Entwicklung der nächsten Hypertext-Generation betonen, bedient sich diese Arbeit einer breiteren methodologischen Basis. Dementsprechend reichen die Teilgebiete von Hypertextanwendungen, -paradigmen, und -strukturen, über Navigation, Web Design und Web Augmentation zu einem interdisziplinären Spektrum detaillierter Analysen, z.B. des Zeigeinstrumentes der Web Browser, des Klammeraffen-Zeichens und der sogenannten Emoticons. Die Bezeichnung ''Icon'' wird als unpassender Name für jene Bildchen, welche von der graphischen Benutzeroberfläche her bekannt sind und in Hypertexten eingesetzt werden, zurückgewiesen und diese Bildchen durch eine neue Generation mächtiger Graphic Link Markers ersetzt. Diese Ergebnisse werden im Kontext der Kommerzialisierung des Internet betrachtet. Neben der Identifizierung der Hauptprobleme des eCommerce aus der Perspektive der Hypertext Semiotik, widmet sich der Autor den Informationsgütern und den derzeitigen Hindernissen für die New Economy, wie etwa der restriktiven Gesetzeslage in Sachen Copyright und Intellectual Property. Diese anachronistischen Beschränkungen basieren auf der problematischen Annahme, dass auch der Informationswert durch die Knappheit bestimmt wird. Eine semiotische Analyse der iMarketing Techniken, wie z.B. Banner Werbung, Keywords und Link Injektion, sowie Exkurse über den Browser Krieg und den Toywar runden die Dissertation ab

Phylogenetics of the boid snake genus Epicrates and Caribbean vicariance theory

http://deepblue.lib.umich.edu/bitstream/2027.42/57151/1/OP715.pd

Art and the unconscious : a semiotic case study of the painting process

This dissertation is an attempt to design an interpretation model for the comprehension of unconscious content in artworks, as well as to find painting techniques to free the unconscious mind, allowing it to be expressed through artwork. The interpretation model, still in its infancy, is ripe for further development. The unconscious mind is a fascinating subject—in art production as well as in many scientific fields. This hidden part of the mind, being the source of creativity, constitutes an important foundation for many possible and valuable inquiries in multiple areas of knowledge. In the present study, the unconscious is approached from an art-educational perspective. The nature of the unconscious is addressed through the theories of Carl Gustav Jung and Charles Sanders Peirce, as well as through the information gained from data the author produced herself during the experimental painting process she devised for this study. For psychological distinctions not addressed by Jung, the theories of Sigmund Freud are used to forward this inquiry into the unconscious mind. A research method was created to bring Peirce’s theories into consonance with Jung’s amplification method. Since Peirce’s theories are challenging to read, to avoid misinterpretation, the author used Phyllis Chiasson’s 2001 book Peirce’s Pragmatism: The Design for Thinking as a secondary source. Peirce’s three modes of reality—firstness, secondness, and thirdness—were utilized to interpret artworks. This three-mode reality allows interpreters to reflect on their subjective feelings and then to compare them to collected data. The interpreters’ intuitive self-interpretations often correlate well with the more objective data. In this approach to interpretation, the work of art is seen as a sign, in the Jungian as well as in the Peircean sense, and interpretation seeks to discover a sign’s objects—icon, index, and symbol. Additionally, the objects are studied in combination with Peirce’s designation of the sign’s character elements—sinsign, qualisign, and legisign. Peirce’s theory offers a logical and productive structure for approaching a variety of signs and reaching a multiplicity of interpretations. Jungian theories inculcated a combined psychological and artistic perspective for the interpretation of artworks. Jung’s method of amplification is an effort to bring a symbol to life, and it is used as a technique to discover—through the seeking of parallels—a possible context for any unconscious content that an image might have. In amplification, a word or element—from a fantasy, dream, or, in this study, artwork—is associated, through use of what Jung called the active imagination, with another context where it also occurs. It must be remembered that unconscious images in artworks do not easily open themselves up for interpretation. One way to interpret possibly unconscious images is for the interpreter to become vulnerable by employing his or her own unconscious mind to interpret an artwork; such use of the active imagination can enable a subjective experience of the artwork on the part of the interpreter, who might thereby uncover unconscious content. Moreover, in this study, Jung’s theory of archetypes is employed, in parallel with Peirce’s and Jung’s theories of the sign, to illuminate an artwork’s images by connecting them with collective unconscious archetypes. The author relied upon The Book of Symbols: Reflections on Archetypal Images (Ronnberg and Martin 2010) as the main source for interpreting possibly unconscious elements in the artworks. This approach is especially powerful when artists interpret their own artwork—possibly leading to a galvanizing self-discovery as they revisit past encounters, personal highlights, and other pieces of unconscious content that might reveal previously unknown meaning important to their life. By comparing archetypes to the unconscious content in their own lives, people can discover themselves. Unconscious phenomena were approached on both the theoretical and empirical levels. Different methods and ideas were used to stimulate the author’s unconscious thinking while performing artwork analyses of three paintings: surrealist Salvador Dalí’s (1904–1989) Assumpta Corpuscularia Lapislazulina; abstract expressionist Jackson Pollock’s (1912-1956) The Deep; and one painting by the author herself, and for which the process of painting is videorecorded (www.astagallery.com/academic.html). With regard to the third painting interpreted, the author is the study subject, and her artistic production is used as an opportunity to explore the unconscious mind. During the act of painting, an attempt is made to free unconscious thinking by fusing Dalí’s and Pollock’s methods as well as by testing multiple other methods. The author’s artistic production was conjoined with use of a technique that is called the verbal protocol method, which generates additional data not necessarily visible in the final artwork. This method unseals the artist’s tacit knowledge, which in normal circumstances remains silent. In the verbal protocol method, the author, while engaged in the act of painting, speaks aloud the stream of consciousness that accompanies and guides the art-making activity; the recorded and transcribed monologue from the artistic production is supplied, in both Finnish and English, in appendices. This thinking-aloud technique allows a person to become more self-aware and to create more solutions while struggling with emergent artistic problems. Such narratives can reveal more about the painting than the completed artwork alone can convey. Along with the artist’s finished painting and the videorecorded material, narratives produced during the painting activity were interpreted. Moreover, the discoveries arising from the author’s interpretation of her own artwork are correlated with some of the latest research on the unconscious. This study allows the reader-viewer an intimate glimpse into the author’s subjective painting experience and demonstrates the participation of the unconscious in an artwork’s creation. The interpretations methodology constitutes an interpretation model suitable for other artists and art educators to follow. Keywords: unconscious, art, archetype, mandal