Early Essays
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Browsing Early Essays by Subject "Art, Structures of"
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Item Open Access On the Inductive Structure of Works of Art (Oral Examination Abstract)(1970) Cameron, Evan Wm.Extended abstract of the author's dissertation 'On the Inductive Structure of Works of Art', summarising its logical and artistic enquiries, as used by the members of the examining committee of the Graduate School of Boston University before whom it was defended in May of 1970.Item Open Access On the Inductive Structure of Works of Art (Part I)(1970) Cameron, Evan Wm.Part I (of two parts) of the dissertation of May 1970 within which author unpacks and defends the conjecture that works of art must be structured to be playable as inductive games if they are to be experienced powerfully – the core construal upon which his subsequent discussions of the nature, scope and limits of screenwriting were to rest. [Part I encompasses the Abstract and Preface of the thesis, and Chapter I with appendices – a formal excursion into pertinent aspects of probability theory and inductive logic.]Item Open Access On the Inductive Structure of Works of Art (Part II)(1970) Cameron, Evan Wm.Part II (of the two parts) of the dissertation of May 1970 within which author unpacks and defends the conjecture that works of art must be structured to be playable as inductive games if they are to be experienced powerfully – the core construal upon which his subsequent discussions of the nature, scope and limits of screenwriting were to rest. [Part II encompasses Chapter II of the thesis wherein the root structures of the narrative and non-narrative arts are examined, confirming the suggestion, followed by its Conclusion and Bibliography.]Item Open Access On the Inductive Structure of Works of Art (Summary)(1970) Cameron, Evan Wm.A summary of the discussion and conclusions of the author's dissertation 'On the Inductive Structure of Works of Art', submitted and defended in May of 1970, comprising a revision of Chapter II amended at beginning and end to encompass material from the Introduction and Conclusion of the thesis, designed to enable readers to grasp the nature and consequences of its core conjecture – that works of art must be structured to be playable as inductive games if they are to be experienced powerfully – without attending to the logical and mathematical enquiries of Chapter I.