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Description
This thesis explores the conceptual span and plausibility of emergence and its applicability to the problem of mental causation. The early parts of the project explicate a distinction between weak and strong emergence as described by Jaegwon Kim. They also consider Kim's objections regarding the conceptual incoherence of strong emergence and the otiose nature of weak emergence. The paper then explores Mark Bedau's in-between conception of emergence and ultimately finds that middle conception to be both coherent and useful. With these three emergence distinctions in hand, the thesis goes on to explore Evan Thompson's recent work - Mind in Life (2010). In that work, Thompson advances a strong emergence approach to mind, whereby he concludes the incipient stages of cognition are found at the most basic levels of life, namely - biologic cells. Along the way, Thompson embraces holism and a nonfundamental
onhierarchical physics in order to counter Jaegwon Kim's objections to the notion of downward causation needed for strong emergence. The thesis presents arguments against Thompson's holism and nonfundamental physics, while supporting his assertion regarding the incipient stages of cognition. It then combines an important distinction between mental causation and the experience of mental causation with Thompson's notion of incipient cognition to arrive at a dual realms approach to understanding mental causation.
onhierarchical physics in order to counter Jaegwon Kim's objections to the notion of downward causation needed for strong emergence. The thesis presents arguments against Thompson's holism and nonfundamental physics, while supporting his assertion regarding the incipient stages of cognition. It then combines an important distinction between mental causation and the experience of mental causation with Thompson's notion of incipient cognition to arrive at a dual realms approach to understanding mental causation.
ContributorsFournier, Thomas (Author) / Kobes, Bernard W (Thesis advisor) / Reynolds, Steven L (Committee member) / Armendt, Brad (Committee member) / Arizona State University (Publisher)
Created2013
Description
Saying, "if Mary had watered Sam's plant, it wouldn't have died," is an ordinary way to identify Mary not watering Sam's plant as the cause of its death. But there are problems with this statement. If we identify Mary's omitted action as the cause, we seemingly admit an inordinate number of omissions as causes. For any counterfactual statement containing the omitted action is true (e.g. if Hillary Clinton had watered Sam's plant, it wouldn't have died). The statement, moreover, is mysterious because it is not clear why one protasis is more salient than any alternatives such as "if Sam hadn't gone to Bismarck." In the burgeoning field of experimental metaphysics, some theorists have tried to account for these intuitions about omissive causes. By synthesizing this data and providing a few experiments, I will suggest that judgments - and maybe metaphysics - about omissive causes necessarily have a normative feature. This understanding of omissive causes may be able to adequately resolve the problems above.
ContributorsHenne, Paul (Author) / Kobes, Bernard W (Thesis advisor) / Pinillos, Nestor A (Thesis advisor) / Reynolds, Steven (Committee member) / Arizona State University (Publisher)
Created2013
Description
The primary objective of this study was to develop the Perceived Control of the Attribution Process Scale (PCAPS), a measure of metacognitive beliefs of causality, or a perceived control of the attribution process. The PCAPS included two subscales: perceived control of attributions (PCA), and awareness of the motivational consequences of attributions (AMC). Study 1 (a pilot study) generated scale items, explored suitable measurement formats, and provided initial evidence for the validity of an event-specific version of the scale. Study 2 achieved several outcomes; Study 2a provided strong evidence for the validity and reliability of the PCA and AMC subscales, and showed that they represent separate constructs. Study 2b demonstrated the predictive validity of the scale and provided support for the perceived control of the attribution process model. This study revealed that those who adopt these beliefs are significantly more likely to experience autonomy and well-being. Study 2c revealed that these constructs are influenced by context, yet they lead to adaptive outcomes regardless of this contextual-specificity. These findings suggest that there are individual differences in metacognitive beliefs of causality and that these differences have measurable motivational implications.
ContributorsFishman, Evan Jacob (Author) / Nakagawa, Kathryn (Committee member) / Husman, Jenefer (Committee member) / Graham, Steve (Committee member) / Moore, Elsie (Committee member) / Arizona State University (Publisher)
Created2014
Description
Russellian monism is a promising theory of consciousness that attempts to capture the strengths of both physicalism and dualism while avoiding their weaknesses. I begin by showing that the Russellian monist’s chief anti-physicalist rival, emergentism, is unable to give an adequate solution to the exclusion problem. Specifically, they fall prey to what I call “the opacity problem.” That is, because the emergentist is committed to there being both a sufficient physical cause and a sufficient mental cause for our actions, it is unclear what difference the mental cause is making in bringing about the effect. This is because, for the physical cause to truly be a sufficient cause, it must be sufficient to bring about the effect as it occurred. This distinguishes mental overdetermination from non-problematic kinds of overdetermination (like double rock throwing cases). I then show how the constitutive Russellian monist is able to avoid the exclusion problem, while the emergent Russellian monist faces similar opacity problems to emergentism. Finally, I give an account of how the constitutive Russellian monist can give a response to the strongest objection against—the subject-summing problem. I argue that we only have translucent access to our conscious states—that is, only part of the essential nature of the state is revealed to us through introspection. I then argue that we have reason to think that part of the essential nature of the conscious state not revealed to us is involved in subject-summing.
ContributorsSchreick, Forrest J (Author) / Kobes, Bernard W. (Thesis advisor) / Reynolds, Steven L. (Thesis advisor) / Pinillos, N. Angel (Committee member) / Arizona State University (Publisher)
Created2018
Description
How do you convey what’s interesting and important to you as an artist in a digital world of constantly shifting attentions? For many young creatives, the answer is original characters, or OCs. An OC is a character that an artist creates for personal enjoyment, whether based on an already existing story or world, or completely from their own imagination.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
As creations made for purely personal interests, OCs are an excellent elevator pitch to talk one creative to another, opening up opportunities for connection in a world where communication is at our fingertips but personal connection is increasingly harder to make. OCs encourage meaningful interaction by offering themselves as muses, avatars, and story pieces, and so much more, where artists can have their characters interact with other creatives through many different avenues such as art-making, table top games, or word of mouth.
In this thesis, I explore the worlds and aesthetics of many creators and their original characters through qualitative research and collaborative art-making. I begin with a short survey of my creative peers, asking general questions about their characters and thoughts on OCs, then move to sketching characters from various creators. I focus my research to a group of seven core creators and their characters, whom I interview and work closely with in order to create a series of seven final paintings of their original characters.
ContributorsCote, Jacqueline (Author) / Button, Melissa M (Thesis director) / Dove-Viebahn, Aviva (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
In the past ten years, the United States’ sound recording industries have experienced significant decreases in employment opportunities for aspiring audio engineers from economic imbalances in the music industry’s digital streaming era and reductions in government funding for career and technical education (CTE). The Recording Industry Association of America reports promises of music industry sustainability based on increasing annual revenues in paid streaming services and artists’ high creative demand. The rate of new audio engineer entries in the sound recording subsection of the music industry is not viable to support streaming artists’ high demand to engineer new music recordings. Offering CTE programs in secondary education is rare for aspiring engineers with insufficient accessibility to pursue a post-secondary or vocational education because of financial and academic limitations. These aspiring engineers seek alternatives for receiving an informal education in audio engineering on the Internet using video sharing services like YouTube to search for tutorials and improve their engineering skills. The shortage of accessible educational materials on the Internet restricts engineers from advancing their own audio engineering education, reducing opportunities to enter a desperate job market in need of independent, home studio-based engineers. Content creators on YouTube take advantage of this situation and commercialize their own video tutorial series for free and selling paid subscriptions to exclusive content. This is misleading for newer engineers because these tutorials omit important understandings of fundamental engineering concepts. Instead, content creators teach inflexible engineering methodologies that are mostly beneficial to their own way of thinking. Content creators do not often assess the incompatibility of teaching their own methodologies to potential entrants in a profession that demands critical thinking skills requiring applied fundamental audio engineering concepts and techniques. This project analyzes potential solutions to resolve the deficiencies in online audio engineering education and experiments with structuring simple, deliverable, accessible educational content and materials to new entries in audio engineering. Designing clear, easy to follow material to these new entries in audio engineering is essential for developing a strong understanding for the application of fundamental concepts in future engineers’ careers. Approaches to creating and designing educational content requires translating complex engineering concepts through simplified mediums that reduce limitations in learning for future audio engineers.
ContributorsBurns, Triston Connor (Author) / Tobias, Evan (Thesis director) / Libman, Jeff (Committee member) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There has been a recent push for queer fiction, especially in the young adult genre, whose focus is gay and lesbian relationships. This growth is much needed in terms of visibility and the furthering of acceptance, but there are still subjects within the LGBTQ+ community that need to be addressed, including bisexual, asexual, and non-binary erasure. There are many people who claim that these identities do not exist, are labels used as a stepping stone on one's journey to discovering that they are homosexual, or are invented excuses for overtly promiscuous or prudish behavior. The existence of negative stereotypes, particularly those of non-binary individuals, is largely due to a lack of visibility and respectful representation within media and popular culture. However, there is still a dearth of non-binary content in popular literature outside of young adult fiction. Can You See Me? aims to fill the gap in bisexual, asexual, and non-binary representation in adult literature. Each of the four stories that make up this collection deals with an aspect of gender and/or sexuality that has been erased, ignored, or denied visibility in American popular culture. The first story, "We'll Grow Lemon Trees," examines bisexual erasure through the lens of sociolinguistics. A bisexual Romanian woman emigrates to Los Angeles in 1989 and must navigate a new culture, learn new languages, and try to move on from her past life under a dictatorship where speaking up could mean imprisonment or death. The second story "Up, Down, All Around," is about a young genderqueer child and their parents dealing with microaggressions, examining gender norms, and exploring personal identity through imaginary scenarios, each involving an encounter with an unknown entity and a colander. The third story, "Aces High," follows two asexual characters from the day they're born to when they are 28 years old, as they find themselves in pop culture. The two endure identity crises, gender discrimination, erasure, individual obsessions, and prejudice as they learn to accept themselves and embrace who they are. In the fourth and final story, "Mile Marker 72," a gay Mexican man must hide in plain sight as he deals with the death of his partner and coming out to his best friend, whose brother is his partner's murderer.
ContributorsOchser, Jordyn M. (Author) / Bell, Matt (Thesis director) / Free, Melissa (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Pandora is a play exploring our relationship with gendered technology through the lens of artificial intelligence. Can women be subjective under patriarchy? Do robots who look like women have subjectivity? Hoping to create a better version of ourselves, The Engineer must navigate the loss of her creation, and Pandora must navigate their new world. The original premiere run was March 27-28, 2018, original cast: Caitlin Andelora, Rikki Tremblay, and Michael Tristano Jr.
ContributorsToye, Abigail Elizabeth (Author) / Linde, Jennifer (Thesis director) / Abele, Kelsey (Committee member) / Department of Information Systems (Contributor) / Economics Program in CLAS (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
After freelancing on my own for the past year and a half, I have realized that one of the biggest obstacles to college entrepreneurs is a fear or apprehension to sales. As a computer science major trying to sell my services, I discovered very quickly that I had not been prepared for the difficulty of learning sales. Sales get a bad rap and very often is the last thing that young entrepreneurs want to try, but the reality is that sales is oxygen to a company and a required skill for an entrepreneur. Due to this, I compiled all of my knowledge into an e-book for young entrepreneurs starting out to learn how to open up a conversation with a prospect all the way to closing them on the phone. Instead of starting from scratch like I did, college entrepreneurs can learn the bare basics of selling their own services, even if they are terrified of sales and what it entails. In this e-book, there are tips that I have learned to deal with my anxiety about sales such as taking the pressure off of yourself and prioritizing listening more than pitching. Instead of trying to teach sales expecting people to be natural sales people, this e-book takes the approach of helping entrepreneurs that are terrified of sales and show them how they can cope with this fear and still close a client. In the future, I hope young entrepreneurs will have access to more resources that handle this fear and make it much easier for them to learn it by themselves. This e-book is the first step.
ContributorsMead, Kevin Tyler (Author) / Sebold, Brent (Thesis director) / Kruse, Gabriel (Committee member) / Computer Science and Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
South Korea possesses the only culture to successfully create a transnationality and hybridity formula that is not replicable. So why Korea and why now? The goal of this thesis creative project is to demonstrate the marketing and communications strategies used in the arts and culture industry to drive global awareness and interest in K-Pop. In order to achieve that goal, I created HellotoHallyu.com, a website designed for an audience of Millennials and Generation Z English speakers to increase their awareness of the growth and impact of the Korean Wave in a fun and engaging way. So those who may hear a song by K-Pop idol group BTS on a music awards show in the U.S. can get themselves up-to-speed before diving into the fast-paced world of K-culture gossip sites and forums. Hello to Hallyu delivers consumer-friendly, educational content easily understood by English speakers with no prior knowledge of Korean culture, while still piquing the interest of K-pop connoisseurs. It provides the background necessary for even the most dedicated fans to glean new knowledge of Korea's cultural industry and a new perspective on the content they consume. Hello to Hallyu is based on a combination of secondary and primary research conducted over four semesters beginning Spring 2017 and continuing through Spring 2018. This project is set up as an ever-expanding resource freely available to anyone with internet access. The research required to maintain the site will continue with the Wave. However, the content currently on the site is evergreen, a documentation of the history of the Wave as explained in peer-reviewed articles and by Dr. Ingyu Oh as well as a documentation of my personal experience with Hallyu while in Korea and as a Westerner living in the U.S. The site's goal is to demonstrate the marketing and communications strategies used in the industry to drive global awareness and interest. Through this means, Hello to Hallyu aims to provide fully developed multimedia content intended to increase English speakers' awareness of the growth and impact of the Korean Wave as shown through site visits, content views, and audience engagement.
ContributorsTravis, Lisa Anne (Author) / Hass, Mark (Thesis director) / Shewell, Justin (Committee member) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05