Advances in Modal Logic, Volume 1
Edited by Marcus Kracht, Maarten de Rijke, Heinrich Wansing, and Michael Zakhary CSLI, 1998
Library of Congress BC199.M6A38 1998 |
Dewey Decimal 160
Modal logic originated in philosophy as the logic of necessity and possibility. Nowadays it has reached a high level of mathematical sophistication and found many applications in a variety of disciplines, including theoretical and applied computer science, artificial intelligence, the foundations of mathematics, and natural language syntax and semantics.
This volume represents the proceedings of the first international workshop on Advances in Modal Logic, held in Berlin, Germany, October 8-10, 1996. It offers an up-to-date perspective on the field, with contributions covering its proof theory, its applications in knowledge representation, computing and mathematics, as well as its theoretical underpinnings.
"This collection is a useful resource for anyone working in modal logic. It contains both interesting surveys and cutting-edge technical results"
--Edwin D. Mares
The Bulletin of Symbolic Logic, March 2002
Winner of the Elizabeth Agee Prize in American Literature
In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a confident and spirited argument for the use of digital art in support of ameliorating human engagement with the environment and suggests a four-part framework for analyzing and discussing such applications.
Through close readings of a panoply of texts, artworks, and cultural artifacts, Swanstrom demonstrates that the division popular culture has for decades observed between nature and technology is artificial. Not only is digital technology not necessarily a brick in the road to a dystopian future of environmental disaster, but digital art forms can be a revivifying bridge that returns people to a more immediate relationship to nature as well as their own embodied selves.
To analyze and understand the intersection of digital art and nature, Animal, Vegetable, Digital explores four aesthetic techniques: coding, collapsing, corresponding, and conserving. “Coding” denotes the way artists use operational computer code to blur distinctions between the reader and text, and, hence, the world. Inviting a fluid conception of the boundary between human and technology, “collapsing” voids simplistic assumptions about the human body’s innate perimeter. The process of translation between natural and human-readable signs that enables communication is described as “corresponding.” “Conserving” is the application of digital art by artists to democratize large- and small-scale preservation efforts.
A fascinating synthesis of literary criticism, communications and journalism, science and technology, and rhetoric that draws on such disparate phenomena as simulated environments, video games, and popular culture, Animal, Vegetable, Digital posits that partnerships between digital aesthetics and environmental criticism are possible that reconnect humankind to nature and reaffirm its kinship with other living and nonliving things.
The Conference on Computer Applications and Quantitative Methods in Archaeology is the leading conference on digital archaeology, and this volume offers a comprehensive and up-to-date account of the state of the field today. It features a selection of the best papers presented at the fortieth annual conference in 2012 and explores a multitude of topics of interest to all those working in digital archaeology.