Matching Items (3)
Filtering by
- All Subjects: Epistemology
- Creators: Paine, Garth
- Creators: Caniglia, Guido
Description
"Shapeshifting through Words" investigates the history of literature from nonhuman perspectives to determine how people understand animal experiences of the world. I gauge this history through a taxonomy, compiling around 500 stories from nonhuman vantage points to mark trends in publication frequency, as well as number and types of perspectives extracted from the data. A trope and genre analysis follows, along with the hallmarks for what constitutes a nonhuman narrative. Finally, this knowledge is adapted to a framework in the form of a booklet in how to construct a nonhuman perspective based on its cognitive and sensory understanding of the world.
ContributorsLigon, Brandon (Author) / Broglio, Ron (Thesis director) / Paine, Garth (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2024-05
Description
The study of wasp societies (family Vespidae) has played a central role in advancing our knowledge of why social life evolves and how it functions. This dissertation asks: How have scientists generated and evaluated new concepts and theories about social life and its evolution by investigating wasp societies? It addresses this question both from a narrative/historical and from a reflective/epistemological perspective. The historical narratives reconstruct the investigative pathways of the Italian entomologist Leo Pardi (1915-1990) and the British evolutionary biologist William D. Hamilton (1936-2000). The works of these two scientists represent respectively the beginning of our current understanding of immediate and evolutionary causes of social life. Chapter 1 shows how Pardi, in the 1940s, generated a conceptual framework to explain how wasp colonies function in terms of social and reproductive dominance. Chapter 2 shows how Hamilton, in the 1960s, attempted to evaluate his own theory of inclusive fitness by investigating social wasps. The epistemological reflections revolve around the idea of investigative framework for theory evaluation. Chapter 3 draws on the analysis of important studies on social wasps from the 1960s and 1970s and provides an account of theory evaluation in the form of an investigative framework. The framework shows how inferences from empirical data (bottom-up) and inferences from the theory (top-down) inform one another in the generation of hypotheses, predictions and statements about phenomena of social evolution. It provides an alternative to existing philosophical accounts of scientific inquiry and theory evaluation, which keep a strong, hierarchical distinction between inferences from the theory and inferences from the data. The historical narratives in this dissertation show that important scientists have advanced our knowledge of complex biological phenomena by constantly interweaving empirical, conceptual, and theoretical work. The epistemological reflections argue that we need holistic frameworks that account for how multiple scientific practices synergistically contribute to advance our knowledge of complex phenomena. Both narratives and reflections aim to inspire and inform future work in social evolution capitalizing on lessons learnt from the past.
ContributorsCaniglia, Guido (Author) / Laubichler, Manfred (Thesis advisor) / Maienschein, Jane (Thesis advisor) / Creath, Richard (Committee member) / Mitchell, Sandra (Committee member) / Arizona State University (Publisher)
Created2016
Description
Mongolian overtone singing (höömii) and Mongolian wrestling songs (tsols) are vocal styles that evoke physical and mental strength in the vocalist through the accessing of nature. The phrase “höömii-tsol-thinking computer” conveys my end-goal while composing, performing, and researching for my original composition strong.mng. I wanted to create a work in which the computer would be informed by the performance methods and philosophies employed during Mongolian höömii and tsols.
Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world.
Strong.mng is a 25-minute production for dancer, live digital illustrator, and overtone singer with a laptop computer serving as both a fixed and interactive responsive musical instrument. The music draws upon themes from höömii and tsols through the lens of virtual fieldwork, which was the research method I used to inform strong.mng. Through the composing and performing of strong.mng, I arrived at the following three-part hypothesis: firstly, the development of a robust symbiotic relationship between höömii, tsols, and today’s electronic music technology may transform the technological devices used into agents of deep ecology and bodily interconnectedness. Secondly, this transformation may metamorphose the performer into a more courageous being who is strengthened both physically and mentally by the Mongolian belief that, when performing höömii and tsols, the musician is drawn into kinship with nature. Lastly, I believe some computer music is restrained in its potential by techno-somatic discreteness as well as anthropocentrism, and that applying philosophies from höömii and tsols can help move computer music more towards a physically embodying means of sonification; one that is also akin with the natural world.
ContributorsKennedy, Justin Leo (Author) / Paine, Garth (Thesis advisor) / Solís, Ted (Committee member) / Suzuki, Kotoka (Committee member) / Arizona State University (Publisher)
Created2016