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Register a new userBridging Resolution: Making Sense of the State of the Art
سد الدقة: إحساس حالة الفن
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في حين أن Yu و Poesio (2020) قد أظهر مؤخرا تفوق نموذج تعلم المهام العصبي المتعدد المهام (MTL) إلى النهج القائمة على القواعد لسد قرار أنشفورا، فهناك القليل من الفهم (1) كيف يكون أفضل من القواعدالأساليب (على سبيل المثال، هي النهجتين التي تصنع أخطاء مماثلة أو تكميلية؟) و (2) ما ينبغي تحسينه.لإلقاء الضوء على هذه القضايا، نقترحنا (1) نهجا هجينا مقرا له على القواعد ومتناهية الديمقراطية من شأنه أن تمكن فهم أفضل لنقاط القوة والضعف المقارنة؛و (2) قم بإجراء تحليل يدوي للأخطاء التي يقوم بها نموذج MTL.
While Yu and Poesio (2020) have recently demonstrated the superiority of their neural multi-task learning (MTL) model to rule-based approaches for bridging anaphora resolution, there is little understanding of (1) how it is better than the rule-based approaches (e.g., are the two approaches making similar or complementary mistakes?) and (2) what should be improved. To shed light on these issues, we (1) propose a hybrid rule-based and MTL approach that would enable a better understanding of their comparative strengths and weaknesses; and (2) perform a manual analysis of the errors made by the MTL model.
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The ancient civilization of Mesopotamia expressed widely its high levels of political and civilized development at that time. That progress reflected on the evolution of all aspects of life, especially on the artistic one. Since ancient times, Mural
Art got an obvious role in bringing religion closer to the minds of people through decorating temples and taking care of its ornamentation and graphics.
Mesopotamia was distinguished for its prodigious artistic production, which was well known by its precision in expressing various topics. The Assyrians made a revolution in the history of Murals art by suggesting depth within the painting itself. The Assyrian art was also superior in showing the physical strength in the human, animal and predators' forms. It also focused on documenting the of glory of heroism and military victories.
Heidegger's philosophy of art is considered a philosophy that is different from what
we are used to with other philosophers. He made art as one of ways to expose the truth,
because the quiddity of existence manifests from appearance of the existed
and it's
openness by the work of art, within a stressful relationship between the world and the
earth. The art has to bring them closer, so that man can create a world that contains all
possibilities, so he used the instrument to bring for the earth from its obsession and make
the world appear.
What we want to get to in this research is knowing the basic ideas about Heidegger's
philosophy of art, and explaining the concept of aesthetics from his point of view. This was
done through our presentation of his philosophy and the subjects that he adopting. "The
origin of work of art, the relationship between world and earth, and the concept of truth",
and treated by examination using a method that combines phenomenology with ontology to
answer the question: "What the quiddity of art is?"
Every era has its own intellectual and social dimensions the influence of which extend to
touch the artistic topics in terms of creativity and production conditions. The religious belief
is considered as an important effect on the whole historicall
y-successive artistic process. The
oppression exercised by the religious authority on creativity has always been present, but in
forms that differ from an era to another.
Viewing the religious theme embodied in art works, we will recognize that vast area achieved
throughout ages.
At early stages art rested on primitive, mysterious magic-based beliefs. Then art introduced a
physical representation of the images of the national gods and religious beliefs that used to
give explanations about the universe and glorify kings. Clergymen, then, started to identify
the boundaries and function of art in a way that served their goals. Christian religious men
continued to employ art for the sake of their messages and teachings with a controversy over
the role and limits of art. On the other side, Islamic art expanded but it neither served belief
nor subject to any religious guidance. With certain spiritual nature, such Islamic art might
have sought to avoid prohibition fatwas.
Finally, art could not be freed from religion scopes until Renaissance had come with its
human and mental spirit.
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