Of Peter Abelard's logical writings, the fruit of thirty-five years of his activity as a teacher and dialectician, there have been to date only four editions worthy of note: that of Cousin in 1836, of Geyer in 1919 and 1936, of Dal Pra in 1954, and lastly the critical reconstruction of Abelard's literal glosses by L. M. Rijk in 1956. With this handsome second edition of minor but relevant glosses of Abelard, Dal Pra aims to fill the gap still existing (...) in the previous collections. His volume includes Abelard's writings found in the Paris BN manuscripts n. 13.368 and 7493. Chronologically the former belongs to the period when Abelard was given the chair of dialectic at the University of Paris in 1114 and the latter to Abelard's more mature period when he began original speculations on the logical status of propositions in 1121. Dal Pra argues at great length that the glosses in the first manuscript are to be read as the best and only introduction to Abelard's own work on dialectic. Hence he suggests against Rijk the title Introductiones Dialecticae rather than Introductiones Parvulorum. He assembles them according to what he believes was Abelard's intellectual development at the time. They are: the glosses to Porphyrius, to Aristotle's Categories, to the De Interpretatione, and to Boethius' De Devisione. [[sic]] The second section of the volume contains the glosses Super Topica where Abelard discusses among other subjects his first position on the problem of universals. Against Geyer who had consigned these works to the literal glosses of Abelard, Dal Pra offers strong evidence for locating them in the bulk of Abelard's De Ingredientibus precisely between the De Interpretatione and the De Syllogismo Hypothetico. The modernity of Abelard's logical theory is well known among contemporary logicians. Dal Pra's finely planned and handsomely executed edition makes an excellent contribution to the history of medieval logic as well as to contemporary logical theories on names and propositions.--L. M. P. (shrink)

For more than 25 years, research misconduct is defined as fabrication, falsification, or plagiarism —although other research misbehaviors have been also added in codes of cond...

The paper aims at studying, in full generality, logics defined by imposing a variable inclusion condition on a given logic \. We prove that the description of the algebraic counterpart of the left variable inclusion companion of a given logic \ is related to the construction of Płonka sums of the matrix models of \. This observation allows to obtain a Hilbert-style axiomatization of the logics of left variable inclusion, to describe the structure of their reduced models, and to locate (...) them in the Leibniz hierarchy. (shrink)

In this paper we investigate AGM belief contraction operators by using the tools of algebraic logic. We generalize the notion of contraction to arbitrary finitary propositional logics, and we show how to switch from a syntactic-based approach to a semantic one. This allows to build a solid bridge between the validity of AGM postulates in a propositional logic and specific algebraic properties of its intended algebraic counterpart. Such a connection deserves particular attention when we deal with maxichoice contractions, as studied (...) in the final part of the paper. (shrink)

High-level improvising musicians master idiosyncratic gesture vocabularies that allow them to express themselves in unique ways. The full use of such vocabularies is nevertheless challenged when improvisers incorporate electronics in their performances. To control electronic sounds and effects, they typically use commercial interfaces whose physicality is likely to limit their freedom of movement. Based on Jim Black's descriptions of his ideal digital musical instrument, embodied improvisation gestures, and stage performance constraints, we develop the concept of a modular wearable MIDI interface (...) to closely meet the needs of professional improvisers, rather than proposing a new generic instrument that would require substantial practice to adapt improvisational techniques already acquired. Our research draws upon different bodies of knowledge, from theoretical principles on collaboration and embodiment to wearable interface design, in order to create a digital vest called Track It, Zip It that features two innovative on-body sensors. Allowing for sound control, these sensors are seamlessly integrated with Black's improvisational gesture vocabulary. We then detail the design process of three TIZI prototypes structured by the outcomes of a performance test with Black, a public performance by a novice improviser during the 2017 International Guthman Musical Instrument Competition, and measurements of sensor responses. After commenting on the strengths and weaknesses of the final TIZI prototype, we discuss how our interdisciplinary and collective process involving a world-class improviser at the very center of the design process can provide recommendations to designers who wish to create interfaces better adapted to high-level performers. Finally, we present our goals for the future creation of a wireless version of the vest for a female body based on Diana Policarpo's artistic vision. (shrink)