Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by (...) the Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art or (...) art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this review we deal with open quantum systems within the Bohmian mechanics framework which has the advantage to provide a clear picture of quantum phenomena in terms of trajectories, originally in configuration space. The gradual decoherence process is studied from linear and nonlinear Schrödinger equations through Bohmian trajectories as well as by using the so-called quantum-classical transition differential equation through scaled trajectories. This transition is governed by a continuous parameter, the transition parameter, covering these two extreme open dynamical (...) regimes. Thus, two sources of decoherence of different nature are going to be considered. Several examples will be presented and discussed in order to illustrate the corresponding theory behind each case, namely: the so-called Brownian–Bohmian motion leading to quantum diffusion coefficients, dissipative diffraction in time, dissipative tunnelling for a parabolic barrier under the presence of an electric field and stochastic early arrivals for the same type of barrier. In order to simplify the notations and physical discussion, the theoretical developments will be carried out in one dimension throughout all this wok. One of the main goals is to analyze the gradual decoherence process existing in these open dynamical regimes in terms of trajectories, leading to a more intuitive way of understanding the underlying physics in order to gain new insights. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised internationally (...) to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

In _Expressive Arts Education and Therapy_ we see how the creative process in a dance theatre lab evolved into a Creative Process-based Research project that included the director/choreographer and participants in a collaborative sense-making project.

This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

A process-based approach to archaeology combines traditional third-person data collection methods with first- and second-person inquiries. Drawing from the traditions of cognitive archaeology, transpersonal psychology, and ecopsychology, this mixed-methods approach can be thought of as a movement toward a more holistic or “integral” archaeology. By way of example, a prehistoric rock art site on Ometepe Island, Nicaragua is explored from the inside (through the researcher's lucid dreaming incubations) as well as in relationship with the researcher's embodied presence (an exploration (...) of environmental hermeneutics). These multiple perspectives can be seen to situate the researcher's worldview and biases within the context of the study as well as perhaps lead to new questions about the significance of these cognitive artifacts. (shrink)

Over the last 25 years, there has been an increasing fascination with the “dark” side of leadership. The term “destructive leadership” has been used as an overarching expression to describe various “bad” leader behaviors believed to be associated with harmful consequences for followers and organizations. Yet, there is a general consensus and appreciation in the broader leadership literature that leadership represents much more than the behaviors of those in positions of influence. It is a dynamic, cocreational process between leaders, (...) followers, and environments, the product of which contributes to group and organizational outcomes. In this paper, we argue that, despite this more holistic recognition of leadership processes within the broader leadership literature, current conceptualizations and analyses of destructive leadership continue to focus too heavily on behaviors and characteristics of “bad” leaders. In our view, to achieve a more balanced understanding of destructive leadership, it is important to adopt more integrative approaches that are based in the contemporary leadership discourse and that recognize flawed or toxic leaders, susceptible followers, and conducive environments as interdependent elements of a broader destructive leadership process. To this end, we offer a critique of the destructive leadership literature, propose a broader definition of destructive leadership, and highlight gaps in our understanding of leaders, followers, and environments in contributing to destructive leadership processes. Finally, we conclude by discussing strategies for examining destructive leadership in a broader, more holistic fashion. (shrink)

Processing is a programming language and environment built for the media arts communities. It is created to teach fundamentals of computer programming within the media arts context and to serve as a software sketchbook. It is used by students, artists, designers, architects, and researchers for learning, prototyping, and production. This essay discusses the ideas underlying the software and presents its relationship to open source software and the idea of software literacy. Additionally, Processing is discussed in relation to education and online (...) communities. (shrink)

Examines Malraux's account of the creative process in art, discusses a misreading of Malraux by Merleau-Ponty, and highlights shortcomings in certain "analytic aesthetics" accounts of the creative process.

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional (...) object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

This Special Issue on Connectionist Models of Human Language Processing provides an opportunity for an appraisal both of specific connectionist models and of the status and utility of connectionist models of language in general. This introduction provides the background for the papers in the Special Issue. The development of connectionist models of language is traced, from their intellectual origins, to the state of current research. Key themes that arise throughout different areas of connectionist psycholinguistics are highlighted, and recent developments in (...) speech processing, morphology, sentence processing, language production, and reading are described. We argue that connectionist psycholinguistics has already had a significant impact on the psychology of language, and that connectionist models are likely to have an important influence on future research. (shrink)

Postcolonial discourse is incredibly diverse and postcolonial art in Australia has numerous critical modes. This paper describes an approach in Contemporary Indigenous art that attempts a critique of the law from within the law rather than outside of it. It takes a radical form of over-proximity, rather than avant-garde distance, and finds the gap and failure in law’s attempt at creating legal subjects of us all. In the work of Gordon Bennett, Danie Mellor and the duo Adam Geczy and Adam (...) Hill, there is a working through the political and legal ramifications of the Indigenous subject in contemporary Australia. The focus on processes of initiation and subjectivization, or what Althusser called “interpellation” and show the effects of this interpellation in the Indigenous subject and offer modes of resistance. The artists are informed by Lacanian notions of subjectivization and utilise this approach to semiotics and power as the starting point for their critique. (shrink)

The article maintains, By appeal to documentary evidence relating to the creative processes of various artists, That the two major rival theories of the creative process--The "teleological" and the "propulsive" ("non-Teleological") theories--Are inadequate. Rather than always being goal-Directed or always propulsive, Creative processes exhibit a wide range of patterns. Six of them are considered. They range from works "which have been created without any, Or with scarcely any, (1) "vision" of the work-To-Be created, Even of the vaguest or most (...) general kind, Or (2) any particular "purpose" that the work to be created is intended to serve" to "instances of artistic creation which start with (1) some definite, Quite specific and well-Worked out plan, Vision or blueprint of the work-To-Be-Created, And/or (2) some specific purpose which the work-To-Be-Created... Is intended to have." still other patterns probably obtain in films and in "indeterminate" art. (shrink)

The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being (i.e., also of ultimate reality), then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed (Abhinavagupta, St. Augustine, F. Engels). The final aim is to show (...) how the interpretation of ultimate reality can contribute to a better understanding of the creative process in art. These considerations can also throw light on one particular aspect of civil life—the relations between everyday life and its final goals. If we are to gain an understanding of the relations between ultimate reality, art and civil life, then the disciplines of aesthetics, philosophy, history and anthropology, and cultural history should all contribute together. (shrink)

A psycho-historical framework for the science of art appreciation will be an experimental discipline that may shed new light on the highest capacities of the human brain, yielding new scientific ways to talk about the art appreciation. The recent findings of the contextual information processing in the human brain make the concept of the art-historical context clear for empirical experimentation.

Within the sporting landscape much has changed from the proliferation and integration of new technologies, for example, the practice of mixed martial arts (MMA) has developed on the fringes of modern sport. It combines several martial arts, is practised in a cage, and allows ground strikes. MMA is presented here within a framework inspired by Norbert Elias’s theory of civilizing of aggressive impulses through sport. We reviewed more than 20 years of literature, with 785 international references and a triple analysis (...) of the discipline, those being physical violence, symbolism, the play impulse. (shrink)

The main aim of this essay is to propose and develop a product?oriented, non?psychologistic, approach to scientific and artistic creativity. I first argue that the central problem is that of answering the question: how is creativity possible? Traditional approaches to this question tend to locate creativity primarily in some special psychological processes or traits, or in some special creative act. Some general arguments against such an approach are developed, and it is suggested that creativity ought primarily to be located in (...) scientific and artistic products. I then investigate the question ?what aspects of such products lead us to evaluate them as creative?? and use the results of this inquiry as a set of desiderata against which to evaluate various general views as to the nature of the creative process itself. The upshot of this procedure is the development of a kind of ?Darwinian? model whose novel feature lies in the suggestion that the process of production has, in effect, been controlled (plastically) by those very factors which can enable the product to be a creative one. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

_Background:_ Art therapy (AT) is frequently offered to children and adolescents with psychosocial problems. AT is an experiential form of treatment in which the use of art materials, the process of creation in the presence and guidance of an art therapist, and the resulting artwork are assumed to contribute to the reduction of psychosocial problems. Although previous research reports positive effects, there is a lack of knowledge on which (combination of) art therapeutic components contribute to the reduction of psychosocial (...) problems in children and adolescents. _Method:_ A systematic narrative review was conducted to give an overview of AT interventions for children and adolescents with psychosocial problems. Fourteen databases and four electronic journals up to January 2020 were systematically searched. The applied means and forms of expression, therapist behavior, supposed mechanisms of change, and effects were extracted and coded. _Results:_ Thirty-seven studies out of 1,299 studies met the inclusion criteria. This concerned 16 randomized controlled trials, eight controlled trials, and 13 single-group pre–post design studies. AT interventions for children and adolescents are characterized by a variety of materials/techniques, forms of structure such as giving topics or assignments, and the use of language. Three forms of therapist behavior were seen: non-directive, directive, and eclectic. All three forms of therapist behavior, in combination with a variety of means and forms of expression, showed significant effects on psychosocial problems. _Conclusions:_ The results showed that the use of means and forms of expression and therapist behavior is applied flexibly. This suggests the responsiveness of AT, in which means and forms of expression and therapist behavior are applied to respond to the client's needs and circumstances, thereby giving positive results for psychosocial outcomes. For future studies, presenting detailed information on the potential beneficial effects of used therapeutic perspectives, means, art techniques, and therapist behavior is recommended to get a better insight into (un)successful art therapeutic elements. (shrink)

In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...) of art, conceptions of texts, works, and versions, basic issues pertaining to the nature of fiction and fictional truth, and the theory of art interpretation and appreciation. Livingston argues that neither the inspirationist nor rationalistic conceptions can capture the blending of deliberate and intentional, spontaneous and unintentional processes in the creation of art. Texts, works, and artistic structures and performances cannot be adequately individuated in the absence of a recognition of the relevant makers4intentions. The distinction between complete and incomplete works receives an action-theoretic analysis that makes possible an elucidation of several different senses of "fragment" in critical discourse. Livingston develops an account of authorship, contending that the recognition of intentions is in fact crucial to our understanding of diverse forms of collective art-making. An artist's short-term intentions and long-term plans and policies interact in complex ways in the emergence of an artistic oeuvre, and our uptake of such attitudes makes an important difference to our appreciation of the relations between items belonging to a single life-work. The intentionalism Livingston advocates is, however, a partial one, and accommodates a number of important anti-intentionalist contentions. Intentions are fallible, and works of art, like other artefacts, can be put to a bewildering diversity of uses. Yet some important aspects of art's meaning and value are linked to the artist's aims and activities. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features (...) that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

This collection of writings by Jean-Luc Nancy, the renowned French critic and poet, delves into the history of philosophy to locate a fundamentally poetic modus operandi there. The book represents a daring mixture of Nancy’s philosophical essays, writings about artworks, and artwork of his own. With theoretical rigor, Nancy elaborates on the intrinsic multiplicity of art as a concept of “making,” and outlines the tensions inherent in the faire, the “making” that characterizes the very process of production and thereby (...) the structure of poetry in all its forms. Nancy shows that this multiplication that belongs to the notion of art makes every single work communicate with every other, all material in the artwork appeal to some other material, and art the singular plural of a praxis of the finite imparting of an infinity which is actually there in every utterance. In the collection, Nancy engages with the work of, among others, François Martin, Maurice Blanchot, and On Kawara. (shrink)

THE ART OF CAUSAL CONJECTURE Glenn Shafer Table of Contents Chapter 1. Introduction........................................................................................ ...........1 1.1. Probability Trees..........................................................................................3 1.2. Many Observers, Many Stances, Many Natures..........................................8 1.3. Causal Relations as Relations in Nature’s Tree...........................................9 1.4. Evidence............................................................................................ ...........13 1.5. Measuring the Average Effect of a Cause....................................................17 1.6. Causal Diagrams..........................................................................................20 1.7. Humean Events............................................................................................23 1.8. Three Levels of Causal Language................................................................27 1.9. An Outline of the Book................................................................................27 Chapter 2. Event Trees............................................................................................... .....31 2.1. Situations and Events...................................................................................32 2.2. The Ordering of Situations and Moivrean Events.......................................35 2.3. Cuts................................................................................................ ..............39 2.4. Humean Events............................................................................................43 2.5. (...) Moivrean Variables......................................................................................49 2.6. Humean Variables........................................................................................53 2.7. Event Trees for Stochastic Processes...........................................................54 2.8. Timing in Event Trees.................................................................................56 2.9. Intersecting Event Trees...............................................................................60 2.10. Notes on the Literature...............................................................................61 Chapter 3. Probability Trees...........................................................................................63 3.1. Some Types of Probability Trees.................................................................64 ii 3.2. Axioms for the Probabilities of Moivrean Events.......................................68 3.3. Zero Probabilities....................................................................................... ..70 3.4. A Sample-Space Analysis of the Event-Tree Axioms.................................72 3.5. Probabilities and Expected Values for Variables.........................................74 3.6. Martingales......................................................................................... .........79 3.7. The Expectation of a Variable in a Cut........................................................83 3.8. Conditional Expected Value and Conditional Expectation.........................87 Chapter 4. The Meaning of Probability...........................................................................91 4.1. The Interpretation of Expected Value..........................................................92 4.2. The Interpretation of Expectation................................................................95 4.3. The Long Run..............................................................................................98 4.4. Changes in Belief.........................................................................................101 4.5. The Empirical Validation of Probability......................................................106 4.6. The Diversity of Uses of Probability...........................................................108 4.7. Notes on the Literature.................................................................................110 Chapter 5. Independent Events.......................................................................................113 5.1. Independence........................................................................................ .......114 5.2. Weak Independence.....................................................................................118 5.3. The Principle of the Common Cause...........................................................121 5.4. Conditional Independence............................................................................128 5.5. Notes on the Literature.................................................................................133 Chapter 6. Events Tracking Events.................................................................................135 6.1. Tracking............................................................................................ ...........137 6.2. Tracking and Conditional Independence.....................................................142 6.3. Stochastic Subsequence...............................................................................143 6.4. Singular Diagrams for Stochastic Subsequence...........................................147 6.5. Conjunctive and Interactive Forks...............................................................149 Chapter 7. Events as Signs of Events..............................................................................153 iii 7.1. Sign................................................................................................ ..............154 7.2. Weak Sign................................................................................................ ....159 7.3. The Ethics of Causal Talk............................................................................160 7.4. Screening Off...............................................................................................16 2 Chapter 8. Independent Variables...................................................................................167 8.1. Unconditional Independence........................................................................170 8.2. Conditional Independence............................................................................175 8.3. Independence for Partitions.........................................................................177 8.4. Independence for Families of Variables......................................................182 8.5. Individual Properties of the Independence Relations...................................186 Chapter 9. Variables Tracking Variables........................................................................189 9.1. Tracking and Conditional Independence: A Summary...............................190 9.2. Strong Tracking............................................................................................ 192 9.3. Strong Tracking and Conditional Independence..........................................198 9.4. Stochastic Subsequence...............................................................................201 9.5. Functional Dependence................................................................................203 9.6. Tracking in Mean.........................................................................................204 9.7. Linear Tracking............................................................................................ 207 9.8. Tracking by Partitions..................................................................................210 9.9. Tracking by Families of Variables...............................................................212 Chapter 10. Variables as Signs of Variables...................................................................215 10.1. Sign................................................................................................ ............219 10.2. Linear Sign................................................................................................ .222 10.3. Scored Sign................................................................................................ 225 10.4. Families of Variables.................................................................................227 Chapter 11. AnTheory of Event Trees.............................................................229 11.1. Event Trees as Sets of Sets........................................................................230 11.2. Event Trees as Partially Ordered Sets........................................................232 iv 11.3. Regular Event Trees...................................................................................240 11.4. The Resolution of Moivrean Variables......................................................244 11.5. Humean Events and Variables...................................................................246 Chapter 12. Martingale Trees..........................................................................................247 12.1. Examples of Decision Trees......................................................................249 12.2. The Meaning of Probability in a Decision Tree.........................................253 12.3. Martingales......................................................................................... .......257 12.4. The Structure of Martingale Trees.............................................................261 12.5. Probability and Causality...........................................................................265 12.6. Lower and Upper Probability.....................................................................269 12.7. The Law of Large Numbers.......................................................................272 12.8. Notes on the Literature...............................................................................274 Chapter 13. Refining............................................................................................ ...........275 13.1. Examples of Refinement............................................................................277 13.2. A Constructive Definition of Finite Refinement.......................................281 13.3. Axioms for Refinement..............................................................................282 13.4. Lifting Moivrean Events and Variables.....................................................288 13.5. Refining Martingale Trees.........................................................................288 13.6. Grounding........................................................................................... .......294 Chapter 14. Principles of Causal Conjecture..................................................................299 14.1. The Diversity of Causal Explanation.........................................................302 14.2. The Mean Effect of the Happening of a Moivrean Event..........................305 14.3. The Effect of a Humean Variable..............................................................311 14.4. Attribution and Generality.........................................................................316 14.5. The Statistical Measurement of the Effect of a Cause...............................319 14.6. Measurement by Experiment.....................................................................320 14.7. Using Our Knowledge of How Things Work............................................322 v 14.8. Sampling Error...........................................................................................329 14.9. The Sampling Frame..................................................................................329 14.10. Notes on the Literature.............................................................................330 Chapter 15. Causal Models.............................................................................................3 31 15.1. The Causal Interpretation of Statistical Prediction....................................333 15.2. Generalizing to a Family of Exogenous Variables....................................337 15.3 Some Joint Causal Diagrams......................................................................339 15.4. Causal Path Diagrams................................................................................342 15.5. Causal Relevance Diagrams.......................................................................346 15.6. The Meaning of Latent Variables..............................................................352 15.7. Notes on the Literature...............................................................................357 Chapter 16. Representing Probability Trees...................................................................359 16.1. Three Graphical Representations...............................................................361 16.2. Skeletal Simplifications.............................................................................368 16.3. Martingale Trees in Type Theory...............................................................371 Appendix A. Huygens’s Probability Trees.....................................................................379 Huygens’s Manuscript in Translation..................................................................380 Appendix B. Some Elements of Graph Theory..............................................................385 B1. Undirected Graphs........................................................................................385 B2. Directed Graphs............................................................................................38 6 Appendix C. Some Elements of Order Theory...............................................................393 C1. Partial and Quasi Orderings.........................................................................393 C2. Singular and Joint Diagrams for Binary Relations.......................................394 C3. Lattices............................................................................................ .............395 C4. The Lattice of Partitions of a Set..................................................................396 Appendix D. The Sample-Space Framework for Probability.........................................399 D1. Probability Measures....................................................................................399 D2. Variables........................................................................................... ...........400 vi D3. Families of Variables...................................................................................401 D4. Expected Value............................................................................................402 D5. The Law of Large Numbers.........................................................................405 D6. Conditional Probability................................................................................406 D7. Conditional Expected Value........................................................................407 Appendix E. Prediction in Probability Spaces................................................................409 E1. Conditional Distribution...............................................................................411 E2. Regression on a Single Variable...................................................................412 E3. Regression on a Partition or a Family of Variables......................................415 E4. Linear Regression on a Single Variable.......................................................418 E5. Linear Regression on a Family of Variables................................................422 Appendix F. Sample-Space Concepts of Independence.................................................425 F1. Overview............................................................................................ ...........426 F2. Independence Proper.....................................................................................432 F3. Unpredictability in Mean..............................................................................434 F4. Simple Uncorrelatedness..............................................................................437 F5. Mixed Uncorrelatedness...............................................................................438 F6. Partial Uncorrelatedness...............................................................................440 F7. Independence for Partitions..........................................................................442 F8. Independence for Families of Variables.......................................................445 F9. The Basic Role of Uncorrelatedness.............................................................448 F10. Dawid’s Axioms.........................................................................................449 Appendix G. Prediction Diagrams..................................................................................453 G1. Path Diagrams............................................................................................ ..454 G2. Generalized Path Diagrams..........................................................................462 G3. Relevance Diagrams.....................................................................................466 G4. Bubbled Relevance Diagrams......................................................................475 Appendix H. Abstract Stochastic Processes...................................................................479 vii H1. Probability Conditionals and Probability Distributions...............................477 H2. Abstract Stochastic Processes......................................................................479 H3. Embedding Variables and Processes in a Sample Space.............................480 References.......................................................................................... ..............................491. (shrink)

Art, Research, Philosophy explores the emergent field of artistic research: art produced as a contribution to knowledge. As a new subject, it raises several questions: What is art-as-research? Don't the requirements of research amount to an imposition on the artistic process that dilutes the power of art? How can something subjective become objective? What is the relationship between art and writing? Doesn't description always miss the particularity of the artwork? This is the first book-length study to show how ideas (...) in philosophy can be applied to artistic research to answer its questions and to make proposals for its future. Clive Cazeaux argues that artistic research is an exciting development in the historical debate between aesthetics and the theory of knowledge. The book draws upon Kant, phenomenology and critical theory to show how the immediacies of art and experience are enmeshed in the structures that create knowledge. The power of art to act on these structures is illustrated through a series of studies that look closely at a number of contemporary artworks. This book will be ideal for postgraduate students and scholars of the visual and creative arts, aesthetics and art theory. (shrink)