The error statistical account provides a basic account of evidence and inference. Formally, the approach is a re-interpretation of standard frequentist (Fisherian, Neyman-Pearson) statistics. Informally, it gives an account of inductive inference based on arguing from error, an analog of frequentist statistics, which keeps the concept of error probabilities central to the evaluation of inferences and evidence. Error statistical work at present tends to remain distinct from other approaches of naturalism and social epistemology in philosophy of science and, more generally, Science and Technology Studies (STS). My goal is to employ the error statistical program in order to address a number of problems to approaches in philosophy of science, which fall under two broad headings: (1) naturalistic philosophy of science and (2) social epistemology. The naturalistic approaches that I am interested in looking at seek to provide us with an account of scientific and meta-scientific methodologies that will avoid extreme skepticism, relativism and subjectivity and claim to teach us something about scientific inferences and evidence produced by experiments (broadly construed). I argue that these accounts fail to identify a satisfactory program for achieving those goals and; moreover, to the extent that they succeed it is by latching on to the more general principles and arguments from error statistics. In sum, I will apply the basic ideas from error statistics and use them to examine (and improve upon) an area to which they have not yet been applied, namely in assessing and pushing forward these interdisciplinary pursuits involving naturalistic philosophies of science that appeal to cognitive science, psychology, the scientific record and a variety of social epistemologies. / Ph. D.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)

The text deconstructs notions of ideal community which, while affinning irmnediate proximate human relations, effectiveiy disaffirms and thus devalues those mediated over distance and time. It argues against such social ontologies as the basis of what should constitute ideal consociality. In place of the idealized notions of community critiqued, the work elaborates an ontological ethics of responsibility as a basis for conceptualizing ethical relations. The text grounds its ethic in what is proffered to be humankind's ontological relatedness to the other, regardless of the nature (human or nonhuman) or proximity (face-to-face or nonface-to-face) of that other. Moreover, the text sets forth the importance of humankind developing a sense of this ontological relatedness. The work discusses this sense-of-relatedness from three perspectives. First, it elaborates a philosophic naturalism to establish in humankind an ontological basis for ethical relations. Second, it claims that humankind is in the world, existentially, who and what it understands itself to be with respect to the depth with which it apprehends a sense of its ontological relatedness to all that there is. Third, it argues that this sense-ofrelatedness may be understood as a religious sensibility. / Religious Studies / M.Th. (Religious Studies)

We propose the concept of spatial analytic interfaces (SAIs) as a tool for performing in-situ, everyday analytic tasks. Mobile computing is now ubiquitous and provides access to information at nearly any time or place. However, current mobile interfaces do not easily enable the type of sophisticated analytic tasks that are now well-supported by desktop computers. Conversely, desktop computers, with large available screen space to view multiple data visualizations, are not always available at the ideal time and place for a particular task. Spatial user interfaces, leveraging state-of-the-art miniature and wearable technologies, can potentially provide intuitive computer interfaces to deal with the complexity needed to support everyday analytic tasks. These interfaces can be implemented with versatile form factors that provide mobility for doing such taskwork in-situ, that is, at the ideal time and place. We explore the design of spatial analytic interfaces for in-situ analytic tasks, that leverage the benefits of an upcoming generation of light-weight, see-through, head-worn displays. We propose how such a platform can meet the five primary design requirements for personal visual analytics: mobility, integration, interpretation, multiple views and interactivity. We begin with a design framework for spatial analytic interfaces based on a survey of existing designs of spatial user interfaces. We then explore how to best meet these requirements through a series of design concepts, user studies and prototype implementations. Our result is a holistic exploration of the spatial analytic concept on a head-worn display platform. / October 2016

Thèse réalisée en cotutelle avec l'École des hautes études en sciences sociales / Cette thèse en sociologie historique analyse les logiques d’inclusion et d’exclusion des femmes dans le champ des sciences sociales françaises entre 1890 et 1940 à partir de l’étude des positions sociales, des prises de position et de la réception des travaux produits par des femmes dans les principaux périodiques de sciences sociales orientés vers la sociologie et l’anthropologie. La démonstration prend comme pivot l’accès des femmes aux savoirs et aux diplômes universitaires. La première partie porte sur les femmes non diplômées qui s’insèrent dans le champ des sciences sociales avant 1914, principalement par le biais d’une implication dans la mouvance réformiste ou dans les groupes féminins et féministes. Les figures féminines légitimes, dont les travaux ne suscitent pas de controverses, se situent aux positions les plus hétéronomes du champ là où les enjeux de la pratique réformiste priment sur les enjeux de la connaissance. Les figures de la transgression non diplômées, qui prétendent participer à l’élaboration des connaissances empiriques et théoriques sur les sociétés, provoquent au contraire des réactions négatives qui renvoient leurs analyses féministes hétérodoxes vers le champ politique. Après 1914, le nombre de femmes et de travaux féminins dans les périodiques et les groupes de sciences sociales français diminue globalement jusqu’en 1940, et les femmes non-diplômées cèdent leur place aux diplômées. Les processus de qualification différenciée selon le genre qui contribuent à reformuler l’antinomie entre compétences intellectuelles et féminité s’adaptent à l’accès des femmes aux diplômes. D’un côté, la majorité des nouvelles diplômées s’oriente et est orientée vers les nouvelles professions sociales (surtout le travail social) et vers l’enseignement qui valorisent les compétences traditionnellement associées au féminin et qui construisent leurs identités professionnelles en opposition au travail intellectuel, particulièrement au travail théorique. De l’autre côté, les seules femmes diplômées aspirant à demeurer dans le champ des sciences sociales qui parviennent à obtenir une reconnaissance relative avant 1940 se spécialisent dans les secteurs de la recherche empirique, réalisent leurs travaux au sein d’institutions savantes, s’assimilent aux problématiques et aux perspectives légitimes et n’adoptent pas de posture militante féministe. / In this dissertation in historical sociology, I analyze gender relations and the construction of women’s intellectual legitimacy in the French social sciences between 1890 and 1940. To that end, I study the social positions, the intellectual productions, and the reception of women in the main social science periodicals leaning towards sociology and anthropology. The pivotal point of my demonstration is women’s university enrolment and graduation. The first part of my dissertation is about women lacking a university diploma that nevertheless played a role in the social sciences before 1914, mainly through participating in the reformist circle of influence or by being involved in feminine and feminist groups. The “legitimate feminine figures”, i.e. women whose works did not fuel any kind of controversy, are in the most heteronomous parts of the field of study, in which issues about the reformist practice prevail over issues about knowledge. On the other hand, the “figures of transgression”, i.e. women lacking a diploma but pretending to participate in social empirical and theoretical knowledge, provoke negative reactions that, in turn, relegate their heterodox feminist analyzes to the political field. After 1914 and until 1940, the amount of women and of feminine works in periodicals and French social science groups decreased, and women with a university diploma replaced those lacking one. The gender-differentiated processes of evaluation, which contributed to reformulate the antinomy between intellectual competence and femininity, adapted itself to the fact that women had access to university diploma. On the one hand, the majority of newly graduated women heads and is directed towards new social professions (mainly social work) and teaching. Both professions promote competences traditionally associated with women, and construct the latter’s professional identities as disjoint from intellectual, and mainly theoretical, activities. On the other hand, the only graduated women aspiring to stay within the field of the social sciences, and who succeeded before 1940 in gaining a relative recognition for their competence, pursued empirical research, accomplished their work in accredited institutions, took on problems and perspectives sanctioned by the expert community, and did not play the role of feminist activists.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cette thèse porte sur la démarche derrière la composition d’oeuvres électroacoustiques et instrumentales durant mon doctorat en composition à la Faculté de musique de l’Université de Montréal. Il est d’abord question de l’importance de la prise de son comme technique d’écriture primordiale dans mon travail ; je développe à ce titre cinq points fondamentaux inhérents à la prise de son et autour desquels s’articule mon travail de compositeur. S’ensuit un survol technique de Gestugel, un outil de traitement sonore développé au cours de mon doctorat et qui m’a servi à générer une grande partie du matériau sonore prenant place dans les œuvres présentées. Les cinq paradigmes propres à la prise de son précédemment exposés sont ensuite rappelés et appliqués à l’étape du traitement audio permettant ainsi de développer le concept d’extension de la prise de son, philosophie du traitement audio analogue à l’approche de la prise de son traditionnelle et dont Gestugel est une application directe. Des exemples concrets sont fournis afin de bien différencier l’extension de la prise de son du traitement audionumérique conventionnel. Une dernière partie, plus esthétique, tente se circonscrire l’approche surnaturaliste du compositeur : l’utilisation des motifs récurrents, de gestes, de l’anecdotisme et de la sublimation (orchestration) du son acoustique vise une véritable peinture sonore, une musique figurative où l’oreille voit autant qu’elle entend. / This thesis concerns step behind the composition of electroacoustic and instrumental compositions during my doctorate in the Faculté de musique de l’Université de Montréal. It is first a matter of the importance of the sound recording as primordial composition know-how; I develop in this title five fundamental points inherent in creative sound recording and central to my musical practice. Then comes a technical skimming over of Gestugel, a tool of sound processing developed during my doctorate and which generated most of the sounds used in my com- positions . The five sound recording paradigms previously developed are then reminded and applied to the stage of audio processing, allowing the concept of extension of the sound recording, a concept of audio processing similar to the ap-close to the traditional sound recording and a direct application of which Gestugel is. Concrete examples are supplied to differentiate the extention of the sound recording of the conventional audio processing. A last part, more philosophical, tries to circumscribe the surnaturalist approach of the composer: the use of recurrent motives, of gestures, of sound causality and of sublimation (orchestration) of the acoustical sound tries to accomplish true sound paintings, a figurative music where one can see as much as he can hear.

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque / This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

Le fait même de nous engager dans un projet explicatif, que nous nommons canoniquement philosophique, nous convoque à ce présupposé de l’affinité entre langage et monde. Nous proposons dans l’introduction une approche cohérentiste des systèmes philosophiques, définis comme des visions du monde où ontologie et épistémologie se doivent un support mutuel. Les positions épistémologiques de Locke, définies par son empirisme, sont juxtaposées à une conception corpusculaire de la réalité. Nous montrerons que les tensions qui existent entre ces deux positionnements sont consolidées par une attitude doxastique profondément réaliste, aboutissant à la fameuse thèse de la ressemblances des qualités primaires réelles et perçues. La science de l’époque est ainsi promue par une ligne rationaliste d’une affinité profonde entre ces catégories qui nous rendent intelligible notre environnement et la réalité même. Le naturalisme contemporain s’appuie quant à lui tout entier sur l’intelligibilité que nous avons du réel au travers de l’activité scientifique, fondant dès lors une résurgence de l’ontologie comme cet idéal d’une accessibilité rationnelle du réel, par le biais de procédures largement a priori, que nos sciences affleurent. Si les prétentions des métaphysiciens à pouvoir remplir cet objectif au moyen de préconceptions ontologiques doivent être déçues, il paraît plus juste de valoriser l’a priori mathématique qui, pace le modèle du réseau holiste de Quine, semble empiriquement incorrigible. Son efficacité ‘déraisonnable’ dans l’heuristique de nos sciences fondamentales le place en première ligne dans la constitution des différentes strates d’objectivation de notre environnement. / The very fact of being engaged in an explicative program, canonically called philosophical, calls us to this presupposition of an affinity between world and words. We propose in the introduction a coherentist approach to philosophical systems, defined as worldviews where ontology and epistemology are in charge of mutual support. In Locke’s empiricism, the epistemological line defined by his empiricism is coupled to a corpuscularist conception of reality. We’ll show that the lines of tension existing between those two positions are consolidated by a deeply realistic doxastic attitude, bringing to the famous thesis of the likeness between real and perceived first qualities. The science of that time is thus promoted by a rationalist line of a deep affinity between the categories that make our environment intelligible and the very reality. Today’s naturalism leans entirely on the intelligibility that we have of reality through scientific activities, so founding the reappearance of ontology as this ideal of rational access to reality, by means of largely a priori procedures, that our sciences flush. If the pretentions of the metaphysicians to meet those objectives have to be deceived, it seems more judicious to value the mathematical a priori which, pace Quine’s model of the seamless web of belief, seems empirically incorrigible. It’s unreasonable effectiveness in the heuristics of our fundamental sciences places effectively it in the very first line in the constitution of the different strata of objectivation of our environnement

Esta tese busca analisar a viabilidade do projeto de naturalização da teoria do direito defendido por Brian Leiter. No primeiro capítulo, apresenta-se o esforço da filosofia desde o fundacionismo de Descartes até Carnap para a solução da dúvida cética sobre o que é conhecimento e que conduziram ao que foi denominado fisicalismo, evidenciado nas obras de Kelsen e dos Realistas Escandinavos e Norte-Americanos. A virada linguística foi determinante para a reconstrução dos parâmetros cartesianos, sendo notável a influência de Wittgenstein e Quine. Com Quine, a proposta de naturalização da epistemologia ganhou corpo, tendo conduzido, entretanto, ao abandono do desafio cético e ao cientismo. O behaviorismo já apresentava sinais no Realismo Jurídico Norte-Americano e foi criticado por H.L.A. Hart. Hart se apropriou de elementos do naturalismo quineano e de Wittgenstein, estabelecendo uma nova objetividade para o direito. O projeto de Leiter, apresentado no segundo capítulo, nasce da discordância dessa crítica hartiana. Dois são seus objetivos: (i) resgatar o Realismo Norte-Americano, reconstruindo-o à luz do pragmatismo e do naturalismo quineano, ancorado no antifundacionismo e na substituição das teorias normativas por descrições causais-nomológicas das decisões judiciais para fins de previsibilidade do direito. Cabe ao dogma do positivismo estabelecer o critério de legalidade, excluindo a moral como parte do que é juridicamente objetivo; (ii) adotar uma postura cética externa, numa tentativa de minar o interpretativismo de Ronald Dworkin. É no terceiro capítulo discute a viabilidade do projeto de Leiter propriamente. É possível verificar que Leiter não consegue mostrar o naturalismo na teoria do direito sob sua melhor luz, uma vez que é incapaz de lidar com as questões normativas inerentes ao direito e, por conseguinte, de justificar as decisões judiciais sem recorrer a uma teoria substantiva, algo que Dworkin consegue realizar com maior proveito, especialmente no que tange ao tema da objetividade. Leiter aponta para um futuro em que a investigação empírica pode aumentar a confiança no direito, mas seu projeto teórico limitado à descrição causal-nomológica das decisões é inviável para os fins propostos por uma teoria do direito de sucesso. / This thesis aims to analyze the viability of the project of naturalization of jurisprudence championed by Brian Leiter. The first chapter presents the effort of philosophy from Descartes foundationalism to Carnap for the solution of skeptical doubt about what is knowledge and that led to what was called physicalism, evidenced in the works of Kelsen and Scandinavian and Americans Legal Realists. The linguistic turn was decisive for the reconstruction of Cartesian parameters, being remarkable the influence of Wittgenstein and Quine. With Quine, the naturalization of epistemology proposal gained momentum and led, however, to abandon the skeptical challenge and scientism. Behaviorism already showed signs in american legal realism and was criticized by H.L.A. Hart. Hart appropriated elements of Quinean naturalism and Wittgenstein, establishing a new objectivity to law. Leiters project, presented in the second chapter, was born of the disagreement with hartian criticism. Two are his goals: (i) redeem American Legal Realism, reconstructing it in the light of pragmatism and Quinean naturalism, supported by antifoundationalism and replacement of normative theories by causal-nomological descriptions of judicial decisions for predictability purposes. The dogma of positivism will establish the criteria of legality, excluding the moral as part of what is legally objective; (ii) adopt an external skeptical position in an attempt to undermine the interpretativismo of Ronald Dworkin. The third chapter discusses the feasibility of Leiters project properly. Leiter cannot show the naturalism in theory of law in its best light, since it is incapable of dealing with normative questions related to law and, therefore, to justify judicial decisions without resorting to a substantive theory, something that Dworkin can make more profit, especially with regard to the issue of objectivity. Leiters project points to a future in which empirical research can increase laws confidence, but its limitation to a theoretical project of causal-nomological description of decisions is not feasible for the purposes proposed by a successful theory of law.

As realist and naturalist writers at the turn of the twentieth century adopted a scientific spirit of objectivity, they reflected the emphasis many contemporary scientific studies laid on the forces of the natural world in shaping the character, behavior, and ultimate destiny of man. In this literary mood of "pessimistic determinism," fantasy literature began to experience a resurgence, providing a marked contrast to naturalism's portrayal of the impotence of man to effect change in his circumstances. I examine fantasy's restoration of efficacy to the human will through a study of two representative works of the opposing genres: Theodore Dreiser's Sister Carrie and Lord Dunsany's The King of Elfland's Daughter. As I demonstrate, the former naturalistic novel emphasizes the impotence of its characters in the face of powerful natural world, while the latter contemporary fantasy novel uniquely showcases man's ability to effect change in his world and his destiny. / by Tracy Stone. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.