1,721,341 research outputs found
Dean Walter B. Clark
No full textPhotograph of dean Walter B. Clark sitting behind a desk and talking to an unidentified man. Clark was dean of men and dean of admissions at the College of Medical Evangelists (now Loma Linda University).12 x 18.5 c
Dean Walter B. Clark
No full textPhotograph of Dean Walter B. Clark sitting behind a desk talking. Clark was dean of men and dean of admissions at the College of Medical Evangelists (now Loma Linda University).14.5 x 18 c
BJC Dean Walter J. Swensen with students
No full textBJC Dean Walter J. Swensen with students. Walter J. Swensen was Dean from 1939-1948
Dean Walter B. Clark
No full textDean Walter B. Clark is sitting on the passenger side of a sound truck. There is an unidentified male student in the driver seat. Newton Evans Hall can be seen in the background. According to a note attach to this photograph, this image appeared in "The Voice."21 x 25 c
Drawing of Dean Walter B. Clark
No full textCaricature by Wesley Kime of Dean Walter B. Clark. Clark was dean of men and dean of admissions at the College of Medical Evangelists (now Loma Linda University).10 x 13 c
Dean, Walter, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/381259Surname: DEAN. Given Name(s) or Initials: WALTER. Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 41099.197276
Item: [2016.0049.13552] "Dean, Walter, [No Service Number]
What algorithms could not be
No full textThis dissertation addresses a variety of foundational issues pertaining to the notion of algorithm employed in mathematics and computer science. In these settings, an algorithm is taken to be an effective mathematical procedure for solving a previously stated mathematical problem. Procedures of this sort comprise the notional subject matter of the subfield of computer science known as
algorithmic analysis. In this context, algorithms are referred to via proper names (e.g. Mergesort) of which computational properties are directly predicated (e.g. Mergesort has running time
O(n log(n))). Moreover, many formal results are traditionally stated by explicitly quantifying over algorithms (e.g. there is a polynomial time primality algorithm; there is no linear time comparison sorting algorithm).
These observations motivate the view that algorithms are themselves abstract mathematical objects -- a view I refer to as
algorithmic realism. The status of this view is clearly related to that of Church's Thesis -- i.e. the claim that a function is computable by an algorithm just in case it is partial recursive.
But whereas Church's Thesis is widely accepted on the basis of several well-known mathematical analyses of algorithmic computability, there is presently no consensus on how (or if) we can uniformly identify individual algorithms with mathematical objects.
In the first chapter of this work, I attempt to illustrate the theoretical significance of algorithmic realism. I suggest that this view is not only of foundational significance to computer science, but also worth highlighting due to the role algorithms play in the fixation of mathematical knowledge and their relationship to intensional entities such as propositions and properties. Chapter Two presents a formal framework for reducing computational discourse to mathematical discourse modeled on contemporary discussion of mathematical nominalism. Chapter Three is centered on a case study intended to illustrate the technical exigencies involved with defending algorithmic realism. Chapter Four explores various ways in
which algorithms might be identified with models of computation. And finally, Chapter Five argues that no such identification can uniformly satisfy all statements of algorithmic identity and non-identity affirmed by computational practice. I suggest that the technical crux of algorithmic realism lies in the necessity of reducing recursive specifications of algorithms to iterative models of computation in a manner which preserves algorithmic identity.Ph.D.Includes bibliographical references (p. 360-368)
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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