21 May 2012

Automatic document classification with XQuery.

This browseable 75-topic dynamic topic model of the Journal Science (1880-2002) is part of the on-line supplement to the submission "Modeling the Evolution of Science." This browser allows a user to visualize the dynamic topic model, and use the hidden topics that it has uncovered to guide an exploration of the original collection of documents.

In this seminar, we shall remind ourselves of the basics: the principles of classification, the philosophy, and the research into cognitive psychology. We shall also hear views from five different fields where classification is applied. The employment opportunities too will be considered, before we sit down in breakout groups to consider what we can and should be doing about developing our understanding and skills, and how we engage the next generation of knowledge organizers. During refreshment breaks it is hoped to arrange for demonstrations from vendors of software designed to handle classification automatically.

By James Hutchinson on May 2, 2012

Canadian wunderkind, David Altmejd, has quickly garnered a reputation for his fantastical chimeras, often realized through Dionysian fusions of synthetic flesh, metal armature, mirror, and fur. Werewolves, half man/half animal hybrids, Paleolithic colossi—all are card-carrying members of the sculptor’s artistic army—divinations culled from the birthing stages of human consciousness, which, had they not been positioned within the white cube of the contemporary gallery, might have found a more proper ancestry on the cave walls of Lascaux. Altmejd’s latest exhibition at Andrea Rosen, however (his third solo endeavor in the space), reveals a break in the artist’s penchant for such raw manifestations of the mind-body. In the wake of Altmejd’s arsenal of fetishistic taxidermied forms, calculatingly precise architectural interventions ensue. Museum-quality dioramas, executed on the sculptural level of history painting, and site-specific evocations and evacuations of space in plaster are only a few of the formal shifts on display.

“The Vessel” (2011) is the overwhelming harbinger of the show, comprised of a series of intricately connected Plexiglas compartments that, when viewed from the front, evoke an eerie illusion of symmetrical precision. Closer inspection reveals the artist’s measured hand at work, as we soon notice the staggering number of “entry points” into and out of the object... This experiment (indeed, the inner sanctum of the scientific lab is repeatedly evoked in Altmejd’s meticulous use of rare materials and Petri-dish displays) of connectedness vs. compartmentalization continues with the second monolithic vitrine, “The Swarm” (2011).

see also http://theidproject.org/blog/matt-jones/2011/04/15/weekly-art-32-altmejd-and-erik-wysocan-andrea-rosen

1 May 2012

...We’ve got the recommendations from the Law Reform Commission, which I’ve said, and I stand by it, where they fall in terms of what’s in RC and what isn’t in RC, I don’t have a particular perspective . . . I’m very comfortable with what they’ve bought back. It fairly much aligns with the international list. I would hopefully be progressing that a little bit further soon. I would hope to be able to have some more conversations soon...