Sebastian Sequoiah-Grayson's Homepage

I am Senior Lecturer in Epistemics at the School of Computer Science and Engineering (CSE) and Science Outreach Officer at the AI Institute at the University of New South Wales (UNSW). Univeristy education is just about my favourite thing in the world. With my loyal whiteboard marker, Inky, we have a pretty marvellous time! At CSE we have been and are busy teaching Human COmputer Interaction, Discrete Mathematics, Formal Systems Modelling and Design, and the Ethics of Computer Science.

My research interests are many (too many perhaps). I have several research projects with with students afoot. One on epistemics - exploring formal models of human information processing and knowledge representation, another on the ethics of computer science, and a third on audio engineering - from sonification and interface design to dithering, noise-shaping, and mid-side processesing.

I am fascinated by human information processing in all of its forms, especially those that occur in the epistemic space. I like to use formal logico-mathematical tools to investigate abstract philosophical problems - which in my case means using substructural-logics to model epistemic phenomena, as well as the far uncharted regions of negative information. Here is Maricarmen Martinez and my newishly revised coauthored entry on Logic and Information at the Stanford Encyclopedia of Philosophy. Whilst you are there, you can see my entry with Luciano Floridi on all things related to the Semantic Conceptions of Information.

The ethics of technology, computer science, and artificial intelligence has sat closely with me for some time now, as has the philosophy of information more generally. It is absolutely wonderful in every way to see it getting, finally, the attention that it deserves. Recent in-progress work of mine explores fairness, accountability, and transparency in AI and Automated Decision Making (ADM).

I have a strong interest in the Philosophy of Music. My interest here spans both theory and practice. For the practice side of things, follow the MUSIC link above. The theory side of things is motivated by the following concern...what do non-representational gestures in sonic explorations, in sound art, mean? I do not mean this in a venacular "what does sound art mean for us?" kind of a way, but rather something more concrete. In much the same way that we have theories of meaning for natural languages built upon truth-conditional semantics (for just one example), I am looking for a theory of meaning for sonic gestures. The trick is that contemporary practice in sound art is non-representational, so nothing even vaguely formalist will work (to say nothing of truth-conditional!). The trick I think, is to specify a proper notion of success conditions for the interpretation of sonic gestures, where these conditions in no way turn on latent representations at any stage. After some real time in the field, the pieces are starting to come together...i think....

I studied for my DPhil under Timothy Williamson and Luciano Floridi at Balliol College with the Faculty of Philosophy at the University of Oxford.

I am also our School's Grievance Office at CSE UNSW, the Co-Lead of the UNSW Teaching for Equity and Diversity Comminity of Practice (TEDCoP), and a member of the Engineering Faculty Board. In the not altogether too distant past, I have been a lecturer in Logic, Epistemology, and Metaphysics at the Department of Philoaphy at the University of Sydney, a Postdoctoral Research Fellow on the Formal Epistemology Project at the Department of Theoretical Philosophy at the Faculty of Philosophy at the University of Groningen, a lecturer in philosophy at St Anne's College at the University of Oxford, a Visiting Research Fellow at TiLPS at Tilburg University, a Postdoctoral Researcher at the Centre for Logic, at the University of Leuven, and a Senior Research Fellow with the IEGat the Department of Computer Science at the University of Oxford.

Sebastian Sequoiah-Grayson's (and Inky's) Homepage

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