Programs and Communities

Hybrid system models - those devised from two or more disparate sub-system models - provide a number of benefits in terms of conceptualization, development, and assessment of dynamical systems. The decomposition approach helps to formulate complex interactions that are otherwise difficult or impractical to express. However, hybrid model development and usage can introduce complexity that emerges from the composition itself.

To improve assurance of model correctness, sub-systems using disparate modeling formalisms must be integrated above and beyond just the data and control level; their composition must have model specification and simulation execution aspects as well. Poly-formalism composition is one approach to composing models in this manner.

This dissertation describes a poly-formalism composition between a Discrete EVent System specification (DEVS) model and a Cellular Automata (CA) model types. These model specifications have been chosen for their broad applicability in important and emerging domains. An agent-environment domain exemplifies the composition approach. The inherent spatial relations within a CA make it well-suited for environmental representations. Similarly, the component-based nature of agents fits well within the hierarchical component structure of DEVS.

This composition employs the use of a third model, called an interaction model, that includes methods for integrating the two model types at a formalism level, at a systems architecture level, and at a model execution level. A prototype framework using DEVS for the agent model and GRASS for the environment has been developed and is described. Furthermore, this dissertation explains how the concepts of this composition approach are being applied to a real-world research project.

This dissertation expands the tool set modelers in computer science and other disciplines have in order to build hybrid system models, and provides an interaction model for an on-going research project. The concepts and models presented in this dissertation demonstrate the feasibility of composition between discrete-event agents and discrete-time cellular automata. Furthermore, it provides concepts and models that may be applied directly, or used by a modeler to devise compositions for other research efforts.

Journal of Surrealism and the Americas, Cinema Issue (2016)

Robert Desnos’s and Man Ray’s 1928 film L'Etoile de mer has long been considered an exemplar of the surrealist love story, thematically similar to Salvador Dalí’s and Luis Buñuel’s Un Chien andalou (1929) but less overtly shocking. In comparison to the elaborate iconographical analyses of Chien, critiques of L'Etoile tend to describe its avant-garde cinematic style, to distinguish how it illustrates or deviates from Desnos’s scenario, or to provide summary analysis of some of its more obviously Freudian iconography. There have been fewer scholarly explorations of specific symbolism, yet the film exhibits many political-philosophical intertexts, one of which explicitly builds a bridge between the surrealist revolution and America’s core self-signifier, Liberty.

Journal of Surrealism and the Americas, Cinema Issue (2016)

La Ciudad Frente al Río (The City in Front of the River) is an Argentinian, ten-minute long film directed by Italian Surrealist Enrico Gras in 1949. The film was part of the promotional material for Bajo Belgrano, a modern housing plan sponsored by the Buenos Aires City Hall under the auspice of populist president Juan Perón. As part of this promotion, German photographer Grete Stern designed a brochure with images from the film and text by the Study for the Plan of Buenos Aires (Estudio del Plan de Buenos Aires, hereafter EPBA). I compare the film and brochure to contemporaneous work by Stern: a series of photomontages illustrating a women’s advice column. The column mined its readers’ dreams for insights into their unconscious, and advised them on proper behavior. Following a similar method, the film found Buenos Aires’ unconscious in the chaos of city life, and revealed what I have termed as "pastoral modernity" as the cure. Masked behind a veneer of revolutionary modernity, the message of these works was that of a nostalgic return to the past—an invitation to sleep, and to dream. Complicating this message, subtle hints in both the film and the photomontages point to the artists’ awareness of the totalizing vision they were collaborating with.

Journal of Surrealism and the Americas, Cinema Issue (2016)

This paper deals with a version of Surrealism that emerged in San Francisco in the late 1940s, and its influence on Wallace Berman’s film Aleph (1966) and Harry Smith’s Early Abstractions.

Many San Francisco poets of the 1940s through the 1970s understood poets as a visionary company possessing a nearly sacerdotal authority arising from their capacity to put aside the individual self and open themselves to influences from beyond—in a peculiar turn, these influences came to be understood as energy waves that are transmitted through the ether and operate the poet/artist—and cinema and the radio became models for these transmissions. The collage art that resulted was understood as anemic, cobbled together from insecurely apprehended fragments of thought carried in radio signals nearly drowned out by static. I conclude with comments relating the idea of artists’ feeble imaginations being operated by remote control to film and electric media.