Yes / According to the theory of predictive processing, understanding in the present involves non-consciously representing the immediate future, based on probabilistic inference shaped by learning from the past. This paper suggests links between this neuroscientific theory and the psychoanalytic concept of reverie–an empathic, containing attentional state–and considers implications for the ways therapists intuit implicit material in their clients. Using findings from a study about therapists’ experiences of this state, we propose that reverie can offer practitioners from diverse theoretical backgrounds a means to enter the predictive moment deeply, making use of its subtle contents to connect with clients.

Yes / Based on Herbert Simon's conceptualization of bounded rationality, this study develops and tests an integrative model of the strategic decision-making process (SDMP) and outcomes in public organizations. The model integrates different SDMP dimensions—procedural rationality, intuition, participation, and constructive politics—and examines their impacts on the successful implementation of strategic decisions. Additionally, it analyzes the influence of implementation on the overall outcomes of strategic decisions. The model was tested with multi-source data on 170 strategic decisions collected from senior executives working in 38 public organizations in Qatar—a context in which studies on decision-making are rare. With the exception of intuition, this study shows a positive impact of all SDMP dimensions on the successful implementation and outcomes of strategic decisions. Successful implementation fully mediates the relationships between procedural rationality, participation, and constructive politics and the outcomes of strategic decision.

This qualitative case study addressed the question, “What strategies and tactics do people use to access intuition in solving complex, ill-structured problems?” Such problems are not routine, well-defined, or solved by immediate application of well-known procedures or decision rules. A comprehensive literature review revealed a paucity of empirical data on accessing intuition during problem solving. Additionally, while some posited a relationship between ill-structured problems and intuitions, no studies existed linking the two. This study explored people’s specific actions at the moment when an overall solution becomes apparent to the problem solver. It focused on both the conscious actions people take to access their intuition (strategies) and on the conscious or unconscious skills, clusters of related skills, or procedures (tactics) they use (Gerber, 1983), as well as underlying tacit processes (Fischbein, 1987). Participants were 11 human resource managers. This group was chosen because its members frequently encounter complex, ill-structured problems or help others focus on how to solve such problems. Specific individuals were recommended by colleagues who considered them to be articulate and interested in intuition. They completed journals to document the moment of solution and participated in follow-up, in-depth interviews. To ensure internal validity, participants acted in the role of “co-researchers.” They reviewed manuscripts, journals, and interviews for accuracy and reviewed written narratives to ensure that their statements had been understood. Two corraborated the process of category construction. A qualitative content analysis of journal results indicated that in seven instances intuitions occurred when participants were with others and that these seven were listening in some fashion at the moment of solution. Further analysis, which incorporated the interviews, indicated that actions most frequently taken at the moment of intuition included immersion, searching, thinking—working on task, undirected thinking, making connections, and listening. Whether a given action was a Strategy, tactic, or tacit process depended on how deliberately people acted and how aware they were of their actions. Results also showed that problems were ill-structured and that intuitions had characteristics consistent with those identified by Fischbein (1987). Finally, the study found that, for the participants in this case study, the dynamics of intuition can be summed up with the following proposition: A propelling concern to solve a complex problem leads to continuous search and spontaneous combustion. Implications for future research suggest the need for a conceptual framework for studying intuition; extended research in the workplace and other settings, examining especially instances when people are with others at the moment of solution; a more in-depth investigation of actions to access intuition, focusing on specific actions such as listening as well as the sequencing of all actions; and inquiry into how people’s values and beliefs affect their actions. It is recommended that practitioners join in research efforts as well as engage learners in an exploration of their own actions to access intuition during problem solving. / Ed. D.

This is an exploration beginning with memory of growing up in and exploring a forest surrounding my childhood home. This environment encompassed overwhelming scale and comforting intimacy, with a small intervention that related them. My thesis attempts to extract memory from growing up in the woods and create mediating, complimentary built interventions in a hypothetical world of meaning. It is an exercise in creating for others by extracting from personal memory and identifying personal sensibilities. With abstract spatial drawings, architecture's possible influence is understood at a slower pace. Through layered colored pencil drawings, my work attempts to depict human influence and its enhancement on the natural world surrounding it. / Master of Architecture

Recently, the key point of contention in Kant scholarship has revolved around a question concerning whether, for Kant, intuitions can play their role of presenting objects to the mind without the discursive activity of the intellect. According to 'conceptualist' interpretations, intuitions depend for their generation on the activity of the understanding. According to 'nonconceptualist' interpretations, at least some intuitions do not depend for their generation on the activity of the understanding. I argue that although the conceptualism/nonconceptualism debate has brought greater clarity to a number of issues within Kant's critical philosophy, the debate partially rests on a conflation of two importantly distinct representational states, namely 'intuition' [Anschaaung] and 'perception' [Wahrnehmung]. I argue that once this distinction is noted, many of the passages that would appear to threaten a nonconceptualist interpretation lose their force. In addition, I argue that if we understand the conceptualist claim in terms of the kind of structure a particular representational state possesses, then we have good reason to reject the idea that, for Kant, sensory experience is fundamentally conceptual in character. / Master of Arts

I denna uppsats försöker jag beskriva vad begreppet improvisation innebär inom jazzmusik. Ämnet improvisation är för mig väldigt viktigt, det är ett ämne som jag valt att specialisera mig på i min musikhögskoleutbildning. Min förmåga att improvisera har hjälpt mig i många situationer i livet, framförallt sådana situationer där det gäller att kunna vara flexibel, till exempel spel- eller musikundervisningssituationer. Undersökningen baseras i huvudsak på intervjuer med fem olika svenska jazzmusiker. Jag har kommit fram till att begreppet improvisation är komplext och svårdefinierat. Det finns dock vissa, vanligen återkommande, viktiga ingredienser inom improvisation som definierar vad som är kvalitet, bra eller dåligt. Improvisation är en social sysselsättning. Det handlar om att vara lyhörd, att påverkas av sin omgivning. Samtidigt måste man som musiker ha goda instrumentfärdigheter för att obehindrat kunna uttrycka de musikaliska idéer som kommer till dig i stunden. Det finns många likheter med att lära sig ett språk. För att bli en god improvisatör så krävs det att man tänker på vad man spelar och varför på samma sätt som vi i vardagliga livet reflekterar över vår personlighet och våra handlingar. / In this essay I will try to determine the meaning of the word improvisation within the field of jazz music. The survey is based on five different interviews with jazz musicians. In my inquiry, I have found that the word improvisation is complex and difficult to explain. There are however, some common, key ingredients that can define quality in an improvisation. Improvisation is a social activity. It is about having a keen ear to what´s going on around you. In addition to this, you need, as a musician, good instrumental skills to be able to express the musical ideas that come to you. There are many similarities to learning a language. To be a good improviser you need to think about what you play and why you play it, in the same way that we, in everyday life, reflect on our personality and our actions.

Les réflexions au point de départ de Bergson nous donnent une forte impression. Maintenant, nous pouvons dire qu’il y a là la puissance intuitive de négation et le temps qui « agit ». Et quand nous promenons nos yeux sur les œuvres de Bergson, il nous semble qu’on ne peut pas les négliger. En premier lieu, Bergson aboutit déjà à une méthode de la connaissance autre que l’intelligence. Comme l’intuition est une méthode de la connaissance propre à Bergson, l’intuition qui porte la puissance de négation est une découverte qui fait époque. En deuxième lieu, cette intuition incite elle-même à se rendre vers l’intuition immédiate. Elle soutient l’intuition de la durée. En troisième lieu, le temps qui « agit » est une appréhension originelle de l’expérience. Un des fondements et un des contenus de la liberté proviennent de ce temps qui « agit » et de cette intuition. En quatrième lieu, Bergson souligne que l’illusion du « possible » fait méconnaître « la nouveauté radicale ». Et cette appréhension montre que l’acte libre et l’univers sont la création du nouveau. L’idée d’illusion du « possible » qui s’établit dans les dernières années de sa vie provient des réflexions au point de départ. Enfin, obtenir une appréhension originale par la puissance intuitive de négation, semble être une façon d’étudier chez Bergson. Il recueille les faits scientifiques ou académiques qui font l’objet de son étude. Et il trouve un problème par la puissance intuitive de négation. Il semble que nous pouvions imaginer que ce qui est profond chez Bergson revient à ces deux points. Dès lors, nous pensons que les réflexions au point de départ sont dignes d’être pris comme objet de réflexion. / We can say that the action of time and the intuitive power of negation are important aspects in Bergson’s reflections on his point of departure. And when we survey his works, it seems to us that they cannot be neglected. First, Bergson arrives already at a method of acquiring knowledge which differs from the intelligence. As intuition is a method of the knowlege proper to Bergson, intuition that has the power of negation is an important discovery. Second, this intuition urges itself to proceed to an intuition of the duration. And the former supports the latter. Third, his notion of the action of time is an original understanding of its experience. One of the foundations of the freedom and one of the contents of the freedom are derived from the action of time and this previously mentioned intuition. Fourth, Bergson emphasizes that the illusion of the « possible » leads us to misunderstand « the radical novelty ». And this understanding shows that the free act and the universe are both creations of novelty. The notion of the illusion of the « possible » that is established in his later years has its origin in his reflections on his point of de departure. Finally, it seems that to obtain an original understanding through the intuitive power of the negation is a Bergson’s way of studying his subject. He gathers scientific or academic facts. He identifies problems through the use of the intuitive power of the negation. In short, it seems that we can imagine that what is profound in Bergson’s thought comes from the action of time and the intuitive power of negation. So we think that the reflections on the point of departure is worthy of in-depth consideration.

Denna uppsats diskuterar den komplexa och undermedvetna process som ger upphov till spontana musikaliska idéer. Förhoppningen med detta arbete är att fungera som underlag för vidare och mer utarbetade teorier kring uppkomsten av spontana musikaliska idéer och hur vi kan kombinera vår intuitiva och diskursiva kunskap i syfte att få mer originella idéer. För att uppnå syfte har fyra musikaliska verk inspirerade av färger skrivits med fokus på det melodiska innehållet. De fyra verken är komponerade utan instrument (Idémedium) och har sedan på gehör programmerats och arrangerats (digitalt) med utgångspunkt i de respektive färgunderlagen. Övningen har sedan utvärderats och diskuterats med utgångspunkt i de idéer om den intuitiva härledningsprocessen som formulerats i samband med arbetet. Produkterna av de fyra musikaliska verken för detta arbete uppvisar tydliga olikheter sinsemellan. Vissa tydligt medvetna associationer går direkt att härleda ur respektive färgunderlag samtidigt som vissa mer svårmotiverade val har gjorts under komponerings- och arrangeringsprocessen. / This study has been formed through a series of thoughts regarding the complex and subconscious process that form spontaneous musical ideas - the process of intuition. The expectations with this essay is to underlay future, and more thorough, theories about the origin of spontaneous ideas and how we can combine our intuitive knowledge and our discursive knowledge in order to get more original ideas. In an attempt to test how spontaneous musical ideas might get affected by the use of a medium for translating ideas (in this case a musical instrument) four songs have been composed without the use of musical instruments. In the process of composing the songs, colours have figured as a source of inspiration in an attempt to “force” the intuitive process to take less direct ways to a source of information based on past experience of music. The argument for this is that a colour is a non-musical stimulus which in contrast to a musical stimulus (something with musical qualities to it) makes it harder for our intuition to take shortcuts to relevant data based on our past experiences of music. The four songs later got lightly arranged with an intuitive approach, which in this case means to ”as little as possible” reflect (discursively) over the choices of instruments and other aspects of the arrangement. This exercise has then been discussed and evaluated with reference to my assumptions about the intuitive process. The result of i this exercise shows four songs that are remarkably different from one another and also some potentially ”unwanted” side effects of the chosen method for testing these ideas.

Intuitive Modelle der Informatik sind gedankliche Vorstellungen über informatische Konzepte, die mit subjektiver Gewissheit verbunden sind. Menschen verwenden sie, wenn sie die Arbeitsweise von Computerprogrammen nachvollziehen oder anderen erklären, die logische Korrektheit eines Programms prüfen oder in einem kreativen Prozess selbst Programme entwickeln. Intuitive Modelle können auf verschiedene Weise repräsentiert und kommuniziert werden, etwa verbal-abstrakt, durch ablauf- oder strukturorientierte Abbildungen und Filme oder konkrete Beispiele. Diskutiert werden in dieser Arbeit grundlegende intuitive Modelle für folgende inhaltliche Aspekte einer Programmausführung: Allokation von Aktivität bei einer Programmausführung, Benennung von Entitäten, Daten, Funktionen, Verarbeitung, Kontrollstrukturen zur Steuerung von Programmläufen, Rekursion, Klassen und Objekte. Mit Hilfe eines Systems von Online-Spielen, der Python Visual Sandbox, werden die psychische Realität verschiedener intuitiver Modelle bei Programmieranfängern nachgewiesen und fehlerhafte Anwendungen (Fehlvorstellungen) identifiziert. / Intuitive models in computer science are Gestalt-like mental concepts about information processing, which are accompanied by confidence. People use them, when they try to understand the semantics of a computer programme, explain an algorithmic idea to someone else, check the logical correctness of existing code or create computer programmes. Intuitive models can be represented and communicated in different ways using static pictures, animated movies, concrete examples or verbal language. In this paper basic intuitions concerning the following issues are discussed: allocation of activity within a running programme, assignment of names to entities, data, functions, processing concepts, control of programme execution, recursion, classes and objects. By observing activities with a set of specially designed online games (the Python Visual Sandbox), evidence has been collected to proof the psychological existence of certain intuitive models among high school students and identify inappropriate applications (misconceptions).

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