Can sentence comprehension impairments in aphasia be explained by difficulties arising from dependency completion processes in parsing? Two distinct models of dependency completion difficulty are investigated, the Lewis and Vasishth (2005) activation-based model and the direct-access model (DA; McElree, 2000). These models' predictive performance is compared using data from individuals with aphasia (IWAs) and control participants. The data are from a self-paced listening task involving subject and object relative clauses. The relative predictive performance of the models is evaluated using k-fold (...) cross-validation. For both IWAs and controls, the activation-based model furnishes a somewhat better quantitative fit to the data than the DA. Model comparisons using Bayes factors show that, assuming an activation-based model, intermittent deficiencies may be the best explanation for the cause of impairments in IWAs, although slowed syntax and lexical delayed access may also play a role. This is the first computational evaluation of different models of dependency completion using data from impaired and unimpaired individuals. This evaluation develops a systematic approach that can be used to quantitatively compare the predictions of competing models of language processing. (shrink)

Can sentence comprehension impairments in aphasia be explained by difficulties arising from dependency completion processes in parsing? Two distinct models of dependency completion difficulty are investigated, the Lewis and Vasishth (2005) activation‐based model and the direct‐access model (DA; McElree, 2000). These models' predictive performance is compared using data from individuals with aphasia (IWAs) and control participants. The data are from a self‐paced listening task involving subject and object relative clauses. The relative predictive performance of the models is evaluated using k‐fold (...) cross‐validation. For both IWAs and controls, the activation‐based model furnishes a somewhat better quantitative fit to the data than the DA. Model comparisons using Bayes factors show that, assuming an activation‐based model, intermittent deficiencies may be the best explanation for the cause of impairments in IWAs, although slowed syntax and lexical delayed access may also play a role. This is the first computational evaluation of different models of dependency completion using data from impaired and unimpaired individuals. This evaluation develops a systematic approach that can be used to quantitatively compare the predictions of competing models of language processing. (shrink)

Some important results about art gallery theorems are proposed, starting from Chvátal’s essay, using also polygon triangulations and orthogonal polygons.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolutionFront Cover.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 1.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 2.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 3.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 4.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 5.Photograph by Dylan Litchman. (...) Click for larger view View full resolutionFigure 6.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 7.Photograph by Dylan Litchman. Click for larger view View full resolutionBack Cover.Photograph by Dylan Litchman.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionThe photographs in this issue were taken in and around Ithaca in 1999 by Dylan Litchman. He studied (...) photography at Fordham University and lives in Ithaca.Copyright © 2000 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual Gallery*Neil Hertz Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View (...) full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz.Footnotes* The photographs on the cover and back cover and pages 2, 14, 29, 43, 53, 66, and 80 were taken in Baltimore by Neil Hertz.Copyright © 1999 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Emoretta Yang (...) Photographs by Emoretta Yang. She lives in Ithaca, New York.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 1.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 2.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 3.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 4.Artwork by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press...

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by (...) Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFront Cover. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionBack Cover.Emoretta (...) Yang Emoretta Yang lives in Ithaca, New York, and is a frequent contributor to diacritics. Her photographs and captions are on pages 2, 4, 19, 35, 51, 62, and 88. The cover and back cover photographs are also hers.Copyright © 1999 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryHans Bellmer (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8. Click (...) for larger view View full resolutionFigure 9.Hans Bellmer Hans Bellmer (1902–1975), whose early work was published by Le Minotaure, is perhaps best known for Die Puppe, his variations on the Doll. The engravings in this issue were made for the 1955 edition of Georges Bataille’s novel Madame Edwarda [© 1996 Artists Rights Society (ARS), N. Y./ADAGP, Paris].Copyright © 1996 The Johns Hopkins University Press... (shrink)

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

We live in a time when museum curators and gallery directors in the English-speaking world have to a distressing degree lost faith in the power of their own collections. Cowed by accusations of elitism, intimidated by nonsense academic art theory, worndown by guilt-inducing postcolonial victimology, they succumb to pressures either on the one hand to dumb down their presentations, or on the other hand to politicise them.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryMao Ze Dong Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Fragments of (...) Mao Ze Dong’s poetry in his own handwriting are from a little red book of his poems. The superimposed characters, when read together, evoke a popular Chinese saying: “A monk holding an umbrella—no hair, no sky (no law, no higher principle).”Artwork for this issue was censored, pilfered, and assembled by the Committee for Global Enlightenment. Long live the people!Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryCarlo Zei Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Carlo Zei took (...) these photographs at Forte Belvedere in Florence, at the seaside at Forte dei Marmi, and in Prato. He is a PhD candidate in Comparative Literature at Cornell University and has published a few short works of fiction.Mario Ceroli’s sculptures are reproduced by kind permission of the artist.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJessica Evett-Miller (bio) Click for larger view View full resolutionImage 1. Click for larger view View full resolutionImage 2. Click for larger view View full resolutionImage 3. Click for larger view View full resolutionImage 4. Click for larger view View full resolutionImage 5. Click for larger view View full resolutionImage 6. Click for larger view View full resolutionImage 7. Click for larger view View full resolutionImage 8. Click (...) for larger view View full resolutionImage 9. Click for larger view View full resolutionImage 10. Click for larger view View full resolutionImage 11. Click for larger view View full resolutionImage 12. Click for larger view View full resolutionImage 13. Click for larger view View full resolutionImage 14. Click for larger view View full resolutionImage 15. Click for larger view View full resolutionImage 16.Jessica Evett-Miller Jessica Evett-Miller took these photographs during a trip to Italy and Sicily and assembled them for her senior project at the Alternative Community School in Ithaca’ New York. Now a freshman at Cornell University, she is planning to design an independent major in visual studies. She would like to dedicate thesephotographs toherfather, John Miller, and to thank him for his inspiration.She paired the front and back cover images (the first and the last) to create an interplay between the two. They function together rather than separately.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJohn Clair Miller* Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair (...) Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller.Footnotes* The photographs in this issue were taken by John Clair Miller, an architect who has a practice in the upstate New York area and is currently a Professor of Design in the Department of Architecture at Cornell University. The black border which frames each image was made in the darkroom by printing the edge of the negative at the same time as the picture was printed. These photographs are part of a series, “Reading the Surface,” and all are “Untitled.” Professor Miller began this series in 1977 on the coast of Maine, Down East.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryThe collages were constructed by John Clair Miller, an architect and currently a Professor of Design in the Department of Architecture at Cornell University. They are part of a series produced in Rome, Italy, while teaching in the Cornell Architecture Program in Rome, Fall 1998. The material used in the compositions was collected from layers of old and recent posters mounted in the streets of Rome, and they (...) were composed in a sketchbook five by eight inches. They are formal compositions without subject matter. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GallerySarah Soquel MorhaimPhotographs in this issue are by Sarah Soquel Morhaim, a student at Cornell University. Morhaim is currently studying fine arts, political theory, and philosophy. The images were photographed at Coney Island, New York, and Ocean City, Maryland. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click (...) for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2000 The Johns Hopkins University Press... (shrink)

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work (...) came to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using (...) a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology. (shrink)

D. T. Lee and A. K. Lin [2] proved that VERTEX-GUARDING and POINT-GUARDING are NP-hard for simple polygons. We prove that those problems are NP-hard for ortho-polygons, too.

In this article we review the biosemiotic art exhibition «Signs of life» (Livstegn), that was organized by the Danish installation artist Morten Skriver and the biosemiotician Jesper Hoffmeyer in 2011 at the Esbjerg Art Museum (Denmark). The exhibition presented five central (bio)semiotic concepts using artistic tools: the semiosphere, the sign, semiotic scaffolding, semiotic freedom, and surfaces.

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.