A pure significance test would check the agreement of a statistical model with the observed data even when no alternative model was available. The paper proposes the use of a modified p -value to make such a test. The model will be rejected if something surprising is observed. It is shown that the relation between this measure of surprise and the surprise indices of Weaver and Good is similar to the relationship between a p -value, a corresponding odds-ratio, and a (...) logit or log-odds statistic. The s -value is always larger than the corresponding p -value, and is not uniformly distributed. Difficulties with the whole approach are discussed. (shrink)

Prior research suggests that visual features of the classroom environment (e.g., charts and posters) are potential sources of distraction hindering children's ability to maintain attention to instructional activities and reducing learning gains in a laboratory classroom. However, prior research only examined short‐term exposure to elements of classroom décor, and it remains unknown whether children habituate to the visual environment with repeated exposure. In study 1, we explored experimentally the possibility that children may habituate to the visual environment if the visual (...) displays are static. We measured kindergarten children's patterns of attention allocation in a decorated classroom environment over a 2‐week period and compared the percentage of time children spent off‐task to a baseline condition in which the classroom environment was streamlined (i.e., charts, posters, and manipulatives were removed). The findings indicate that with more prolonged exposure to a static visual environment, partial habitation effects were observed: Attention to the environment declined at the end of the exposure period compared to the beginning of the study; however, the environment remained a significant source of off‐task behavior even after 2 weeks of exposure. In study 2, we extend this work by conducting a longitudinal observation of six primary classrooms in which we measured children's patterns of attention allocation in real classrooms for 15 weeks to investigate whether increasing familiarity with the classroom décor would influence attention toward the visual environment. No evidence of habituation was observed in genuine classrooms in study 2. Potential implications for classroom design and future directions are discussed. (shrink)

Cognitive Science, Volume 46, Issue 2, February 2022.

A work that "not only treats of irony but is irony," wrote a contemporary reviewer of The Concept of Irony, with Continual Reference to Socrates. Presented here with Kierkegaard's notes of the celebrated Berlin lectures on "positive philosophy" by F.W.J. Schelling, the book is a seedbed of Kierkegaard's subsequent work, both stylistically and thematically. Part One concentrates on Socrates, the master ironist, as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a (...) more synoptic discussion of the concept of irony in Kierkegaard's categories, with examples from other philosophers and with particular attention given to A. W. Schlegel's novel Lucinde as an epitome of romantic irony.The Concept of Irony and the Notes of Schelling's Berlin Lectures belong to the momentous year 1841, which included not only the completion of Kierkegaard's university work and his sojourn in Berlin, but also the end of his engagement to Regine Olsen and the initial writing of Either/Or. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of (...) virtuosity which plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

The aim of this investigation is to discuss the merits of the three radically divergent views as to the nature and function of the categories held by Kant, Ward and Alexander.

This dissertation seeks to contribute to research in the philosophy of social science. The study focuses upon select epistemological and ontological aspects of Hannah Arendt’s work from which methodological implications are drawn pertaining to sociology. Arendt, although critical of the sociology of her time, has become increasingly cited and influential for emerging sociological research and this study seeks to contribute to this by focusing upon the problem of novelty. The aim is to explore the philosophical and methodological implications of novelty (...) for social science by working through three case studies that are theoretically pivotal for social science—action, the ‘social’, and the self—in terms of novelty as expressed in Arendt’s writing. Arendt is critical of methodology and epistemology, aiming to draw her readers to ontological concerns outlined from her preoccupation with the 'world' and social reality. In this aim, Arendt seeks to distance herself from social sciences that she claims ignore human novelty in favour of reading social regularities, tendencies and similarities. Despite her disdain for method, Arendt suggests a anti-methodological 'method' (outlined in an overlooked footnote) for keeping trained upon and for dealing with novel, anomalous events. In the seed of this method lies a unique opportunity for social science to reassess and extend its methods, addressing this oversight and in so doing bring to light the novel social object as a legitimate subject of social research. (shrink)

The double slit experiment for a massive scalar particle is described using intuitionistic logic with quantum real numbers as the numerical values of the particle's position and momentum. The model assigns physical reality to single quantum particles. Its truth values are given open subsets of state space interpreted as the ontological conditions of a particle. Each condition determines quantum real number values for all the particle's attributes. Questions, unanswerable in the standard theories, concerning the behaviour of single particles in the (...) experiment are answered. (shrink)