APA PsycNET abstract: This is the first volume of a two-volume work on Probability and Induction. Because the writer holds that probability logic is identical with inductive logic, this work is devoted to philosophical problems concerning the nature of probability and inductive reasoning. The author rejects a statistical frequency basis for probability in favor of a logical relation between two statements or propositions. Probability "is the degree of confirmation of a hypothesis (or conclusion) on the basis of some given evidence (...) (or premises)." Furthermore, all principles and theorems of inductive logic are analytic, and the entire system is to be constructed by means of symbolic logic and semantic methods. This means that the author confines himself to the formalistic procedures of word and symbol systems. The resulting sentence or language structures are presumed to separate off logic from all subjectivist or psychological elements. Despite the abstractionism, the claim is made that if an inductive probability system of logic can be constructed it will have its practical application in mathematical statistics, and in various sciences. 16-page bibliography. (PsycINFO Database Record (c) 2016 APA, all rights reserved). (shrink)

This is identical with the first edition (see 21: 2716) except for the addition of a Supplement containing 5 previously published articles and the bringing of the bibliography (now 73 items) up to date. The 5 added articles present clarifications or modifications of views expressed in the first edition. (PsycINFO Database Record (c) 2009 APA, all rights reserved).

A basic system of inductive logic; An axiomatic foundation for the logic of inductive generalization; A survey of inductive systems; On the condition of partial exchangeability; Representation theorems of the de finetti type; De finetti's generalizations of excahngeability; The structure of probabilities defined on first-order languages; A subjectivit's guide to objective chance.

Clear, comprehensive, intermediate introduction to logical languages, applications of symbolic logic to physics, mathematics, biology.

In this illuminating study of Kant's theory of imagination and its role in interpretation, Rudolf A. Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, and (...) the purposiveness of history. (shrink)

It is not the aim of the present essay to defend the principle of empiricism against apriorism or anti-empiricist metaphysics. Taking empirism for granted, we wish to discuss, the question what is meaningful. The word ‘meaning’ will here be taken in its empiricist sense; an expression of language has meaning in this sense if we know how to use it in speaking about empirical facts, either actual or possible ones. Now our problem is what expressions are meaningful in this sense. (...) We may restrict this question to sentences because expressions other than sentences are meaningful if and only if they can occur in a meaningful sentence. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual (...) consequences of architecture with Arnheim's customary clarity and precision. (shrink)

Carnap wrote a continuation of his reply to Kaplan, which would, however, have made that reply, already by far the longest in the book, too long. So he set aside his projected notes for a continuation to serve as the basis for a separate paper, which he never got around to writing. It is transcribed here from his shorthand and translated into English, with some introductory notes to provide a little context.

Peter Achinstein gives in his papers [1] and [2] interesting analyses of some problems of inductive logic and of some approaches I have proposed. I shall discuss here some of these problems in order to clarify my present position. My comments will mainly concern the variety of instances, and only briefly the analogy influence, and the inductive methods for a coordinate language.

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

This text translated here (first published in Die Tat in May 1921) is an early elaboration of Rudolf Laban’s polyrhythmic ontology. The phenomenon of rhythm here takes shape through the manifold ways in which it resonates in the text (Ur-rhythm, Eu-rhythm, Kako-rhythm). Besides positing a fundamental co-dependency between rhythm, movement and space, Laban sees rhythm here also as the gateway to a socio-ethical dimension culminating in the Festival, or art of celebration.