Towards an ontology of media

Abstract This paper addresses the exclusion of physical and technical media from questions of ontology. It is argued, first, that from Aristotle onwards ontology has dealt with the matter and form of things rather than the relations between things in time and space. Second, it is argued that because the Greeks did not distinguish between speech elements and alphabetic letters there has been a tendency for philosophy to neglect writing as its own technical medium. This paper traces these tendencies through a range of philosophical sources: from Aquinas and Descartes to Fichte and Hegel. It is argued, by way of response, that it is only with Heidegger that a philosophical consciousness for technical media first arose, and that today the connections of mathematics and media, and of media and ontology are to be formulated in more precise terms

Por uma ontologia da mídia

Este artigo aborda a exclusão das midias  técnicas e físicas das questões ligadas à Ontologia. Primeiramente argumenta-se que desde Aristóteles a Ontologia privilegiou a matéria e a forma das coisas, relegando ao segundo plano a relação entre as coisas, o espaço e o tempo. Em segundo lugar, argumenta-se que devido a indistinção entre elementos do discurso falado e as letras alfabéticas nos Gregos, criou-se uma tendência na Filosofia de se negligenciar a escrita como o seu próprio meio  técnico. Este artigo traça estas tendências através de uma série de fontes filosóficas: de Aquino a Descartes e de Fichte a Hegel. Argumenta-se, a título de resposta, que somente em Heidegger surgirá uma consciência filosófica para os meios técnicos. Hoje as conexões entre matemática e mídia, mídia e Ontologia devem ser formuladas em termos mais precisos

The Passing of Print

This paper argues that ephemera is a key instrument of cultural memory, marking the things intended to be forgotten. This important role means that when ephemera survives, whether accidentally or deliberately, it does so despite itself. These survivals, because they evoke all those other objects that have necessarily been forgotten, can be described as uncanny. The paper is divided into three main sections. The first situates ephemera within an uncanny economy of memory and forgetting. The second focuses on ephemera at a particular historical moment, the industrialization of print in the nineteenth century. This section considers the liminal place of newspapers and periodicals in this period, positioned as both provisional media for information as well as objects of record. The third section introduces a new configuration of technologies – scanners, computers, hard disks, monitors, the various connections between them – and considers the conditions under which born-digital ephemera can linger and return. Through this analysis, the paper concludes by considering digital technologies as an apparatus of memory, setting out what is required if we are not to be doubly haunted by the printed ephemera within the digital archive

Sequence-based identification of interface residues by an integrative profile combining hydrophobic and evolutionary information

<p>Abstract</p> <p>Background</p> <p>Protein-protein interactions play essential roles in protein function determination and drug design. Numerous methods have been proposed to recognize their interaction sites, however, only a small proportion of protein complexes have been successfully resolved due to the high cost. Therefore, it is important to improve the performance for predicting protein interaction sites based on primary sequence alone.</p> <p>Results</p> <p>We propose a new idea to construct an integrative profile for each residue in a protein by combining its hydrophobic and evolutionary information. A support vector machine (SVM) ensemble is then developed, where SVMs train on different pairs of positive (interface sites) and negative (non-interface sites) subsets. The subsets having roughly the same sizes are grouped in the order of accessible surface area change before and after complexation. A self-organizing map (SOM) technique is applied to group similar input vectors to make more accurate the identification of interface residues. An ensemble of ten-SVMs achieves an MCC improvement by around 8% and F1 improvement by around 9% over that of three-SVMs. As expected, SVM ensembles constantly perform better than individual SVMs. In addition, the model by the integrative profiles outperforms that based on the sequence profile or the hydropathy scale alone. As our method uses a small number of features to encode the input vectors, our model is simpler, faster and more accurate than the existing methods.</p> <p>Conclusions</p> <p>The integrative profile by combining hydrophobic and evolutionary information contributes most to the protein-protein interaction prediction. Results show that evolutionary context of residue with respect to hydrophobicity makes better the identification of protein interface residues. In addition, the ensemble of SVM classifiers improves the prediction performance.</p> <p>Availability</p> <p>Datasets and software are available at <url>http://mail.ustc.edu.cn/~bigeagle/BMCBioinfo2010/index.htm</url>.</p

In Search of a Trade Mark: Search Practices and Bureaucratic Poetics

Trade marks have been understood as quintessential ‘bureaucratic properties’. This article suggests that the making of trade marks has been historically influenced by bureaucratic practices of search and classification, which in turn were affected by the possibilities and limits of spatial organisation and technological means of access and storage. It shows how the organisation of access and retrieval did not only condition the possibility of conceiving new trade marks, but also served to delineate their intangible proprietary boundaries. Thereby they framed the very meaning of a trade mark. By advancing a historical analysis that is sensitive to shifts, both in actual materiality and in the administrative routines of trade mark law, the article highlights the legal form of trade mark as inherently social and materially shaped. We propose a historical understanding of trade mark law that regards legal practice and bureaucratic routines as being co-constitutive of the very legal object itself

Opera and Hypnosis: Victor Maurel’s Experiments with Verdi’s Otello

One day in his private home on the avenue Bugeaud, in Paris’s sixteenth arrondissement, the famous baritone Victor Maurel hosted a meeting which combined music with hypnotism of a young woman