What is the most effective problem solving method at the environmental policy table in the context of a radical diversity of worldviews? I answer the question in the dissertation by developing a theory that accommodates diversity in policymaking. My line of reasoning is as follows. In Chapter One, I survey the diverse discourse about Global Climate Models in detail. I demonstrate that a radical diversity of worldviews is expressed in the discourse. In Chapter Two, I advance a model of language that is an accurate foundation for discourse in policymaking. In Chapter Three, I consider the best policymaking strategy in view of the language model: idea-based policymaking. I then demonstrate that the policymaking strategy is weakly theorized. I introduce a theory of its operation at the end of Chapter Three, and develop it in detail in Chapters Four and Five. Because there is not currently a model, I consider an analogue model in play and explain the analogy in Chapter Four. I apply the analogue to the policy table in Chapter Five and fully develop an operational theory to explicate the problem solving method in policymaking. The force of the dissertation's contribution is made in Chapters Three to Five. Chapters One and Two are a ground of the argument. In Chapters Three to Five, I argue that idea-based policymaking is a promising form of policymaking practice because social learning is the operative problem-solving mechanism. In social learning: (1) the worldviews of the actors are leveraged in discourse and (2) power relations are dynamically distributed among actors (Hajer). The result is a fortified problem solving operation. This is because in (1) the heterogeneous problem solving resources of the group members are distributed and in (2) social learning shifts power relations by dislodging, mediating, and subsuming a new power regime. In summary, the dissertation is a contribution in applied philosophy. I comprehensively demonstrate that an effective policymaking method will manage the incommensurability of worldview and stipulate a problem solving method that engages the basic condition of policymaking--radical diversity--rather than denies it. / Philosophy

Cette thèse porte sur le rythme musical considéré sous l’angle particulier de son mouvement et entreprend une approche empirique de cette notion abstraite, en l’absence de consensus sur la définition du rythme et d’une théorie scientifique sur le mouvement en musique. Différentes conceptions théoriques du mouvement sont exposées suivant que le rythme musical est considéré comme un objet, un phénomène ou une forme dynamique. Ces points de vue sont enrichis de données empiriques sur la description du rythme par les mouvements de l’auditeur. A l’appui de ce cadre de référence, la forme dynamique est saisie comme outil conceptuel et méthodologique qui permet de cerner les qualités dynamiques du rythme suivant l’évolution temporelle de ses éléments dynamo-agogiques, supposés porteurs d’informations de vitesse du mouvement, et d’analyser cette forme dynamique musicale par les formes dynamiques graphiques tracées par l’auditeur lors de l’écoute du rythme. Cet outil est testé dans une expérience exploratoire durant laquelle on enregistre les traçages effectués avec un stylo numérique par 33 enfants de 5 ans, sujets enactifs, lors de la représentation graphique de 24 brefs patterns percussifs. Les 792 traçages avec l’environnement sonore sont étudiés avec deux méthodes de comparaison de l’évolution temporelle du graphisme et du rythme. L’analyse de l’appariement de ces formes dynamiques rythmiques et graphiques met en évidence des liens solides entre des propriétés d’intensité et de durées des rythmes et des propriétés formelles et dynamiques des graphismes des auditeurs. / Given the lack of a consensual definition of rhythm and of a scientific theory of musical motion, this dissertation approaches empirically the abstract notion of the motion conveyed by musical rhythm. We present several theoretical conceptions of motion, musical rhythm being alternatively considered as an object, a phenomenon or a dynamic form. These points of view are completed with empirical data describing rhythms through listener’s movements. Within this framework, we use the dynamic form as a conceptual and methodological tool giving insights into the rhythm dynamics according the way their dynamo-agogic elements, assumed to convey information regarding motions' speed, change over time. It also allows the analysis of this musical dynamic form through the graphical dynamic form drawn by the listeners as they listen to a rhythm. This tool was tested in an exploratory experiment on 33 five-year-old enactive subjects, during which the movements of an electronic pen were recorded as the children were asked to draw an enactive graphical representation of 24 brief percussive patterns. The 792 tracing samples thus generated as rhythms unfold are studied with two methods comparing the respective temporal changes of tracing movements vs rhythms. Pairing these graphical and rhythmic dynamic forms for analysis exhibited strong links between the properties of intensity and duration of rhythms on one hand, and dynamic and formal properties of the graphical patterns generated by the listeners on the other hand.

I det här arbetet har jag sett på Fernande Decrucks Sonate en Ut# och utforskat saxofonens position i den klassiska musiktraditionen. Sonate en Ut# är en sonat för saxofon (eller viola) och orkester av den franska kvinnliga organisten och kompositören Fernande Decruck (1896–1954). Syftet med arbetet var att som saxofonist instudera och interpretera sonaten och att reflektera över saxofonen som klassiskt instrument. Saxofon är ett träblåsinstrument skapat av den belgiska instrumentmakaren Adolphe Sax, som tog patent på instrumentet i 1846. Trots att saxofonens klassiska repertoar är relativt stor har inte saxofonen fått fullständigt genomslag som ett klassiskt instrument och räknas ofta som ett jazzinstrument. Under mitt arbete har jag använt mig av partitur, en inspelning, litterära källor och nätresurser till analysen och agogiska tekniker till instuderingen. Jag upptäckte att saxofonen har potential att fungera i ett klassiskt samspel med rätt teknik och att saxofonen har potential att föra den klassiska musiken framåt. / In this study I have looked at Fernande Decruck's Sonate en Ut# and explored the position of the saxophone in the classical music tradition. Sonate en Ut# is a sonata for saxophone (or viola) and orchestra by the French female organist and composer Fernande Decruck (1896-1954). The purpose of the study was to interpret the sonata as a saxophonist and to reflect on the saxophone as a classical instrument. The saxophone is a woodwind instrument created by the Belgian instrument maker Adolphe Sax, who took out a patent for the instrument in 1846. Although the saxophone's classical repertoire is relatively large, the saxophone has not gained full recognition as a classical instrument and is often considered a jazz instrument. During my study I have used scores, a recording, literary sources and online resources for the analysis and agogic techniques for the interpretive work. I discovered that the saxophone has the potential to work in a classical ensemble with the right technique and that the saxophone has the potential to move classical music forward.