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Maszyny i symbole (I) – semantyczne aspekty cybernetyki i automatyzacji

100%
Boruszewski J.
Filo-Sofija
|
2011
|
vol. 11
|
issue 1(12)
397-425
EN
This article is the first part of the cycle titled “Machines and symbols”. The main issue of this cycle may be formulated as a question: can machines and technical devices operate with symbols? A very important problem raised in this essay is the difference between symbols and signals. The concept of signal is also broadly discussed in the paper, because there are many different definitions of this concept. The present text contains semantic and philosophical considerations concerning cybernetics, mathematical theory of communication, industrial semiotics and semio-technics. In these theories, terms “symbol” and “signal” are often used interchangeably which leads to misconceptions. One of the most frequent misconceptions is confusing discrete signals with symbols. The author focused on communication systems where machines are senders and humans are receivers, because descriptions of these systems tend towards anthropomorphization of a machine-sender. This tendency makes signals sent out by machines treated as symbols comprehensible by a human-receiver. Another interesting aspect of machine-human communication systems is the treatment of a human-receiver as some kind of machine. Such an idea is called “mechanomorphism”.
2

SCIENTIFIC AND METHODOLOGICAL PRINCIPLES OF INFORMATICS AS A SUBJECT FIELD (Naukovo-metodolohichni zasady informatyky yak predmetnoyi haluzi)

100%
Zhabin S. O.
Nauka ta naukoznavstvo (Science and Science of Science)
|
2010
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issue 4
87-100
EN
An extensive review on the development of subject and methodology of informatics is contained, with reference to its earliest origins found in theses and ideas of ancient (Aristotle) and medieval thinkers, works of G. Leibniz, mechanic calculating machines (arithmometers), earliest electronic computing machines; the two paradigms, technocratic and scientific, by which informatics is defined as an engineering discipline or natural (empiric) scientific discipline; national (Ukrainian) and international definitions of informatics and the associated terminology, like computer science or scientific information; treatment of informatics as an applied discipline and an economic sector (industry). But to have the subject of informatics clearly outlined, informatics should be compared with the related fields, such as cybernetics, which underwent the periods of rise, ideological attacks and renaissance in the USSR. By analyzing the abundant retrospective information, the conclusion is made that the subject of informatics covers the scientific notion of 'information' and methods of its presentation, processing and applications in form of knowledge. The notion of 'object of informatics' is a broader one that covers information processes and systems, information models, computing methods for information processing and computer software, results of processing, analysis and evaluation of information. Also, tasks and methodological grounds of informatics as a scientific field are outlined.
3

SIGURDS VIDZIRKSTE'S CYBERNETIC CANVASES: THE LOST CODE (Sigurda Vidzirkstes kibernetiska gleznieciba: Pazaudetais kods)

86%
Vanaga A.
Makslas Vesture un Teorija
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2007
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vol. 9
35-44
EN
Sigurds Vizirkste's (1928-1974) exhibition 'Cybernetic Canvases' was on view at the Foreign Art Museum in Riga from 12 September to 21 October 2007. The initiator of the show, painter Daina Dagnija, singled out works from the 1960s featuring dot-like protrusions. Vidzirkste gave them this title at the Kips Bay Gallery auction in New York in 1968. Vidzirkste was born on 10 February 1928 in Daugavpils (Latvia) where his father was a clerk at the Railwaymen Sickness Insurance Fund. He attended Daugavpils 2nd Elementary School. In Riga he graduated from the State Elementary School and continued his education at the Chemistry Department of Riga State Technical Secondary School. In autumn 1944 Vidzirkste and his family fled to Germany, emigrating to the USA in Christmas 1950 where he settled in New York City and soon joined the Will Barnett's workshop at the Art Students' League. Vidzirkste was mathematically oriented. He worked as an audiovisual specialist at the Federal Reserve Bank where he learned the principles of electronic calculation devices. Vidzirkste integrates knowledge of mathematics, chemistry and music in his art. His creative career started in the late 1950s and involved giving up polychromes and reducing composition to dark-and-light, basic formal relations. He organises information expressed as a point, line, circle and plane, creating an arrangement or iteration of elements where the same application uses different sizes and the element used in the application changes with each new painting. Vidzirkste was interested in absolute rhythm, the spontaneous and calculated, regular and irregular, symmetrical and asymmetrical, changing and unchanging intervals, grades of protruding dots as the indicators of distance and gradations of timbre, multi-layered polyphony and minimalist asceticism. Peering into his canvases, the musically oriented observer perceives an intonation analogous to serial music that ignores the motif, condensing all the information into a single sound.
4
Content available remote

ENTROPY AS A TROPE: YURI LOTMAN’S GENERAL THEORY OF COMMUNICATION AS A CASE STUDY IN INTERDISCIPLINARITY

86%
Kelbert E.
World Literature Studies
|
2021
|
vol. 13
|
issue 4
55 - 70
EN
This study considers the dialogue in the USSR between semiotics, cybernetics, and information theory, as a case study of the complexities of conceptual transfer between disciplines. Yuri Lotman’s use of the concept of entropy in literary criticism is especially telling. Information theory defines entropy in terms of a system’s complexity and predictability, while its metaphoric use outside that discipline connotes chaos and destruction. Lotman’s use of the term oscillates between these contradictory meanings and exemplifies both his development as a thinker leading towards his concept of the explosion, and his position as an intermediary figure (a mediator, to use his own term) between scientific and literary discourse. The tensions and the promise of a transient point of interdisciplinary encounter in 1960s Russia foreshadow current forays at dialogue between the sciences and the humanities, and illuminate, more generally, the grey area between literal and metaphorical uses of one discipline’s terminology in another disciplinary context.
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