86,817 research outputs found
An algorithmic approach to Dold-Puppe complexes
No full textA Dold-Puppe complex is the image NF\Gamma(C.) of a chain complex C. under the composition of the functors \Gamma, F and N where \Gamma and N are given by the Dold-Kan correspondence and F is a not-necessarily linear functor between two abelian categories. The first half of this paper gives an algorithm that streamlines the calculation of \Gamma(C.). The second half gives an algorithm that allows the explicit calculation of the Dold-Puppe complex NF\Gamma(C.) in terms of the cross-effect functors of F
El derecho penal como ciencia: método, teoría del delito, tipicidad y justificación
No full text- Divulgação dos SUMÁRIOS das obras recentemente incorporadas ao acervo da Biblioteca Ministro Oscar Saraiva do STJ. Em respeito à Lei de Direitos Autorais, não disponibilizamos a obra na íntegra.- Localização na estante: 343 P984d- Organizado por: Puppe, Ingebor
Expertensysteme und Wissensmodellierung
No full textMeyer-Fujara J, Puppe F, Wachsmuth I. Expertensysteme und Wissensmodellierung. In: Goerz G, ed. Einführung in die künstliche Intelligenz. Bonn: Addison-Wesley; 1993: 714-766
The right exactness of the smooth right Puppe sequence
No full textBibliography: pages 64-65.It was our aim, in this thesis, to give a proof that the smooth right Puppe sequence exists and is right exact, following the methods used by Whitehead in (30], and where he shows that the usual continuous right Puppe sequence exists and is right exact. We have only partially been able meet this aim. We have attempted to follow the general approach of Steenrod [27], where he defines neighbourhood deformation retracts, but there are some difficulties involved in the theory of smooth neighbourhood deformation retracts that have made it necessary for us to assume the existence of a 'suitable' smooth structure on products such as I x X x Y, where (X, A), and (Y, B) are smooth neighbourhood deformation retracts, such that the product, defined as (X x Y, Ax Y U X x A), is an SNDR pair under this 'suitable' product structure. This enables us to develop the theory of smooth neighbourhood deformation retracts in a similar way to the theory of continuous neighbourhood deformation retracts
Expertensysteme und Wissensmodellierung
No full textMeyer-Fujara J, Puppe F, Wachsmuth I. Expertensysteme und Wissensmodellierung. In: Görz G, ed. Einführung in die Künstliche Intelligenz. 2nd ed. Bonn: Addison-Wesley; 1995: 705-753
Entwicklung und sozialverträgliche Gestaltung von Expertensystemen in der Medizin
No full textWachsmuth I, Meyer-Fujara J. Entwicklung und sozialverträgliche Gestaltung von Expertensystemen in der Medizin. In: Wetter T, Engelbrecht R, Haux R, Puppe F, Voß H, eds. Wissensbasierte Systeme in der Medizin: Abstracts des 1. gemeinsamen Workshops der AG Expertensysteme der GMDS und der FG Diagnostik und Klassifikation im GI-Fachausschuß 1.5. Heidelberg: IBM Deutschland GmbH; 1990
A simple ultrafilter proof for an impossibility theorem in judgment aggregation
No full textWe show how ultrafilters can be used to prove a central impossibility result in judgement aggregation introduced by Nehring and Puppe (2005), namely that for a logically strongly interconnected agenda, an independent and monotonic judgement aggregation rule which satisfies universal domain, collective rationality and sovereignty is necessarily dictatorial.judgment aggregation
Der Apfelstrudel der Puppe: die plastiche Philologie von Hans Bellmer
No full textHans Bellmer (1902-1975), artista plástico criador de Die Puppe (1934 e 1944), acreditava que a sua boneca era como um anagrama em plástico. A Boneca de Bellmer recombinava imagens da história da expressão em um corpo móvel, tal como o anagrama faz com as letras de uma palavra, a (re)criar sentenças. A mobilidade desse objeto, porém, está na sua capacidade de ativar as imagens do corpo, isto é, os reflexos do discurso sobre o corpo, a ideia de corpo construída pelas criações humanas. A Boneca é um objeto-móvel, o que comparamos na presente tese com o Apfelstrudel, pois ela reúne as imagens em um só objeto como se composta de camadas simultâneas. Bellmer apresenta um objeto plástico cuja realidade é, antes, linguística. Por isso, recorremos à filologia (Philologie) do romantismo alemão (Schlegel, Novalis, Kleist). No romantismo alemão, filologia se revela como a interpretação autoconsciente, portanto irônica da linguagem (Willer, 2003). Para analisarmos essas questões, recorremos não somente à Boneca de Bellmer, isso é, o projeto Die Puppe, mas a outras obras do artista, tais como Petit anatomie de l'image (1957), Unica-Bound (1958) e até mesmo a ilustração de Kleist em Les Marionettes (1969). Tais obras estão relacionadas à Boneca enquanto um processo de estudo da linguagem, o que teria levado Bellmer à possibilidade de um objeto de camadas tal como a Boneca. Nosso recorte da obra de Bellmer tem quatro instâncias materiais: o texto verbal, como a palavra que se quer imagem; o desenho, como a marionete que se quer frase; o corpo orgânico, capturado pela fotografia, como o corpo que se quer objeto; e, por fim, o objeto dos objetos, que combina todas as expressões. Bellmer rasga os músculos do signo, a palavra imaterial, como se ele fosse um objeto físico, capaz de tal ginástica. Ele sobrecarrega o corpo de vocabulários (imagético, verbal, objetal). Da mesma forma, ele leva o corpo material à mesa de autópsia, como em Unica-Bound (1958), em busca da destruição de sua forma, sempre pela ironia, isso é, a recriar em seguida a mesma frase como uma outra. Verificamos essas questões a partir de um caminho analítico tendo como centro da espiral a obra Die Puppe (1934 e 1944), mas em torno de outras produções do artista, em busca de "traduzir" uma gramática interna da obra de Hans Bellmer. Nesse sentido, a filologia do romantismo alemão, com seus jogos sobre a linguagem (sobretudo em F. Schlegel, Novalis e Kleist), apresenta-se não como uma teoria à qual Bellmer estaria vinculado, mas como um método de interpretação desse jogo plástico/verbal, imagético/frasal do surrealista. Observamos como as camadas da Boneca, elaboradas como em uma receita, reavivam ainda a metáfora de Claudio Willer (2019) sobre a realidade como um Apfelstrudel. A tese visa contribuir às letras e artes visuais e para a divulgação desse artista desconhecido que contribuiu imensamente para a sobrevida do surrealismo.Hans Bellmer (1902-1975), visual artist creator of Die Puppe (1934 and 1944), believed that his Doll was like a plastic anagram. The Doll recombined images from the history of expression in a mobile body, just as an anagram does with the letters of a word, to create new sentences. The mobility of this object lies in its ability to activate images of the body, that is, images that reflect the discourse on the body produced by human expression. The Doll as a mobile object is what we call Apfelstrudel in this thesis because it combines the images into a single object as if composed of simultaneous layers. Bellmer presents a plastic object whose reality is rather linguistic. We, therefore, turn to the philology (Philologie) of German Romanticism (Schlegel, Novalis, Kleist). In German Romanticism, philology reveals itself as the self-conscious and, therefore, ironic interpretation of language (Willer, 2003). To analyze these questions, we turn not only to Bellmer's Doll, that is, the Die Puppe project, but also to other works, such as Petit anatomie de l'image (1957), Unica-Bound (1958), even Kleist's illustration in Les Marionettes (1969). These works are related to the Doll as a process of studying language, which led Bellmer to the possibility of a layered object such as the Doll. Our selection of Bellmer's work has four material instances: the verbal text, as the word that wants to be an image; the painting or drawing, as the image that wants to be a word (the puppet that is also a sentence); the organic body, captured by photography, as the body that wants to be an object; and, finally, the object of objects, which combines all expressions through the operation of sexuality. Bellmer tears the muscles of the sign, the immaterial word, as if it were a body capable of such gymnastics. He overloads the body with vocabulary (from imagetic to verbal and objectual). In the same way, he takes the material body to the autopsy table, as in Unica-Bound (1958), in search of the destruction of its form, always through irony, i.e., to recreate the same sentence as another one. overloading it with vocabulary (imagery, verbal, object). We look at these issues through an analytical path that takes Die Puppe (1934 e 1944) as the center of the spiral but analyzes other works to "translate" an internal grammar of Hans Bellmer's work. In this sense, we use the philology of German Romanticism (especially F. Schlegel, Novalis, and Kleist) not as a theory attached to Bellmer's work but as a method of interpreting his plastic/verbal, imagistic/phrasal game. Bellmer's work is, in this thesis, an object of language to overcome the separation between text and image and propose a verbal cosmology for Bellmer. We observe how the layers of the Doll, elaborated as in a recipe, revive Claudio Willer's (2019) metaphor of reality as an Apfelstrudel. The thesis aims to contribute to letters and visual arts, to propose relationships between image and word by returning to philology beyond the categories of expression, and by analyzing this unknown artist of surrealism who contributed immensely to the survival of surrealism.Der Künstler Hans Bellmer (1902-1975) schaffte Die Puppe (1934 und 1944) und vertritt dabei die Ansicht, dass seine Puppe wie ein plastisches Anagramm sei. Die Puppe kombiniert Bilder aus der Geschichte des Ausdrucks mit einem beweglichen Körper, sowie ein Anagramm die Buchstaben eines Wortes zu Sätzen (um)formt. Die Beweglichkeit dieses Gegenstands liegt in seiner Fähigkeit, die Bilder des Körpers zu aktivieren, d.h. die Bilder anzuspornen, in denen sich der menschliche Ausdruck über den Körper widerspiegelt, und damit einem Apfelstrudel mit seinen Schichtenähnelt. Die Puppe kann also mit dem Wort verglichen werden und stellt eine plastische und sprachliche Interpretation des beweglichen Gegenstands dar. In diesem Sinne erfordert Bellmers Werk auch eine sprachliche Übung, um sich mit dem Plastischen auseinanderzusetzen, so dass man eine Art experimentelle Philologie ausübt. Die Philologie der deutschen Romantik (Schlegel, Novalis, Kleist) ist auf diesem Weg der sprachlichen Unklarheit behilflich. In der deutschen Romantik zeigt sich die Philologie als eine selbstbewusste und daher ironische Interpretation der Sprache (Willer, 2003). In dieser Arbeit wird die Philologie der deutschen Romantik dazu genutzt, um sich mit der inneren Grammatik von Bellmers Werk, also mit seiner plastisch-verbaler Kosmologie zu befassen. Dabei wird nicht nur Die Puppe (1934 und 1944) angeredet, sondern auch Werke, die aus Bellmers Beschäftigung mit Sprache und Literatur entsprungen sind, wie Petit anatomie de l'image (1957), Unica-Bound (1958) und sogar Kleists Illustration in Les Marionettes (1969). In diesen Werken verbindet sich nämlich das Verbale mit dem Visuellen, in dem Text und Zeichnung im Einklang stehen, so wie die Marionette mit der Phrase und der organische Körper, der durch die Fotografie eingefangen wurde, mit dem Objekt und umgekehrt. Bellmer zerreißt die Muskeln des Zeichens und des immateriellen Wortes, als ob es ein Körper wäre, der zu einer solchen Gymnastikfähig wäre. Er bepackt den Ausdruck mit bildlichen, verbalen, gegenständlichen Vokabeln, seziert den organischen Objektkörper, und befindet sich immer auf der Suche nach der ironischen Zerstörung der Form. Auf die gleiche Weise führt er den materiellen Körper auf den Autopsietisch, wie in Unica-Bound (1958), auf der Suche nach der Zerstörung seiner Form, immer durch Ironie, d.h. um dann denselben Satz als einen anderen neu zu bilden. Wir betrachten diese Fragen auf einem analytischen Weg, in dessen Mittelpunkt Die Puppe (1934 und 1944) steht, unser Apfelstrudel der Objekte oder Objekt der Objekte. Wir gehen auch zu Bellmers anderen Produktionen über und beabsichtigen eine interne Grammatik seines Werks zu „übersetzen“, welche in dem sprachlichen Prozess erreicht wird, der dem plastischen Überfluss, der die Puppe darstellt, zugrunde liegt. Auf diesem Weg stellt sich die Philologie der deutschen Romantik mit ihren Sprachspielen (vor allem bei F. Schlegel, Novalis und Kleist) nicht als eine Theorie dar, an die Bellmer gebunden wäre, sondern als eine Methode zur Interpretation desplastisch-verbalen, imaginär-phrasalen Spiels des Surrealisten. Dabei stellen wir fest, wie die Schichten der Puppe, die wie in einem Rezept ausgearbeitet sind, Claudio Willers (2019) Metapher der Realität als Apfelstrudel wiederbeleben. Die Arbeits trebt danach, einen Beitrag zur Literatur und zur bildenden Kunst zu leisten und diesen unbekannten Künstler bekannter zu machen, da er ja viel zum Fortbestand des Surrealismus geleistet hat.Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)CNPQ: 140454/2020-9CAPES: 88881.650347/2021-0
The impact of West-German universities on regional innovation activities: A social network analysis
No full textIn recent years, it has widely been accepted that the ability to create, access and use knowledge and technology is becoming a fundamental determinant of long-term development and competitiveness. Thus, it is not surprising that universities have increasingly become involved in economic development and are often believed to play a key role in regional economic development. This paper firstly examines how far all West-German universities are already involved in close network collaborations. Second, it demonstrates how many distinct linkages 45 chosen West-German universities already possess within the innovation network, and third, to what extent they are already needed as a link in the chains of contacts. Thereby, special attention is given to the eight West-German elite-universities. We basically found out that university interactions, especially university-enterprise networks, become much more important over the last 20 years, as their cooperation activity strongly increased over time. Besides, their distinct linkages to other actors as well as their importance as an intermediary within the innovation network highly increased over the last decade, too; this especially holds for the eight West-German elite universities. --Human Capital,Economic Growth,Social Network Analysis,Patent Analysis,Patent Collaboration,Network Interaction,West-German University,Elite-University
- …
