Inaugural-Dissertation. / "Curriculum vitae": p. [68]-[69]

I denna uppsats har jag valt att undersöka konstnärliga processen att komponera med grafisk notation och hur jag kan använda mig av detta i mina egna kompositioner. Undersökningen gick ut på att skriva ett ensembleverk där jag använder mig av grafisk notation, som sedan har spelats av två olika ensembler. Arbetet har resulterat i två inspelningar med olika ensembler med snarlik sättning där tolkningarna är olika samtidigt som de är lika.Jag hade två tydliga anledningar att välja detta arbete. För det första kändes det viktigt att skaffa sig kunskap kring grafisk notation eftersom den finns med i mycket kammarmusik. Genom att undersöka hur kompositionsprocessen ser ut med grafisk notation kunde jag även bygga en större kunskap kring hur jag själv ska tolka ett verk som använder sig av det. För det andra fann jag att komposition är både något viktigt att göra som musiker och att det är något jag finner roligt. Under min utbildning har jag ofta fått läxor att komponera vilket har lett till detta intresse.

Development of advanced techniques for biological network visualisation is crucial for successful progress in the areas of systems-level biology and data-intensive bioinformatics. However, current techniques for biological network visualisation fall short of expectations for representing extensive biological networks. In order to provide really useful network visualisation tools, new approaches have to be proposed and applied alongside with those most powerful features of current visualisation systems. The resulting representation techniques have to be tested by applying to large-scale examples that would include metabolic, signaling and gene expression events. User survey should also be carried out to further prove the advantages of the new techniques. The present thesis describes an attempt to achieve the above objectives, by performing the following steps: 1) existing approaches in the area of network representation were analyzed and their shortcomings and advantages were defined; 2) new notation has been developed, in which, the defined best features of the existing systems were integrated with newly introduced potent features such as compact visualization, ‘functional gate’ and ‘identity gate’, 4) new framework was developed that allows managing large-scale networks that are represented on different levels of details and different levels of constrains, while keeping each diagram semantically unambiguous, 5) extensive examples, including genome-scaled human metabolic network and TNF-alpha receptor signalling network, were used to prove that the designed notation and the framework can be applied efficiently, and, finally, 6) a notation survey has been carried out to validate the advantages of the newly developed notation over the existing ones.

This work is a philosophical investigation of signs. It offers a definition of the term ?sign? and develops three different systems for talking precisely about signs and their properties. The system of object display lines is developed in the first chapter; the ostension notation and the box notation are developed in the second chapter; and the contemporary associationist definition of a sign is developed in the third chapter. These systems, in conjunction with the definition, are proffered as a philosophical foundation for the theory of notation. The first chapter of this work develops the distinction between i) mere objects (non-signs), ii) signs of mere objects, and iii) signs of signs. The exhibitive use of objects is distinguished from their constitutive use; and the de re use of signs is distinguished from their de signo use. Both the discursive homogeneity thesis and the sentential homogeneity thesis are formulated. Arguments against the former are considered, and the thesis is rejected. The latter thesis, however, is accepted as a means of stopping the infinite regress that would occur if the meaning of a sign always had to be explained through the use of other signs. Object display lines are developed as a systematic and rule governed method of introducing mere objects into a discourse. The second chapter deals with the problem of using signs to talk about signs; and offers both an historical analysis of the development of quotation marks as a form of punctuation, and an historical analysis of the philosophical debate over quotation marks. Frege?s convention of using quotation marks to mention signs is rejected, and the ostension notation and the box notation are developed as replacements. The third chapter deals with the nature of signs. The ontological status of signs is considered, and the thesis that signs are relations is rejected. This is followed by a brief historical survey of the associationist and behaviorist conceptions of a sign. Finally, a contemporary associationist conception of a sign is developed, and the basic structure of the human sign is postulated. A number of refinements are made to the definition to avoid pansemiosis.

Texte remanié de: Diss.--Philisophie--Pise--Scuola Normale Superiore, 2003. / Bibliogr. p. 215-230.

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Thesis (Ph. D.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 419-467). Also available via the World Wide Web.