Offering the first scholarly analysis of the economic nature of blockchains and the formation of the blockchain economy, this timely book explores the future of global capitalism. Applying the institutional economics of Ronald Coase and Oliver Williamson, the authors highlight how blockchains are poised to reshape the nature of firms, governments, markets and civil society. Chapters apply basic economic principles to explore blockchains and distributed ledger technologies through the framework of institutional economics. The book suggests ways in which cryptocurrencies such as Bitcoin may develop further in the future, bringing us back to a barter economy which removes the need for a third person in economic transactions. Outlining a ledger-centric view of the economy, the authors explore how blockchains and dehierarchalisation will reduce the demand for government regulation. Institutional economists and scholars will greatly appreciate the thorough analysis of the development of institutional cryptoeconomics and insight into the future of blockchains that this book offers. Computer and technology scientists will also find this book to be a valuable read, as well as those working specifically in the blockchain industry.

Mojca Kuplen connects 18th-century German aesthetics to contemporary theories of self-knowledge in order to highlight the unique cognitive value of art. She does this through revisiting Kant’s account of aesthetic ideas, and demonstrating how works of art can increase our understanding of abstract concepts whilst promoting self-knowledge. Addressing some of the most fundamental questions in contemporary aesthetics and philosophy of art, this study covers the value and importance of art, the relationship between art and beauty, the role of knowledge in art and the criteria for artistic excellence. It offers an insight into problems related to the apprehension of meaning and the cognitive processing of abstract representations that have been of interest to contemporary cognitive science. Kant's Aesthetic Cognitivism presents these arguments in a lucid and wide-ranging engagement with the history of aesthetics and current academic debates to understand what art is and why it is valuable.

The fundamental burden of a theory of inductive inference is to determine which are the good inductive inferences or relations of inductive support and why it is that they are so. The traditional approach is modeled on that taken in accounts of deductive inference. It seeks universally applicable schemas or rules or a single formal device, such as the probability calculus. After millennia of halting efforts, none of these approaches has been unequivocally successful and debates between approaches persist.The Material Theory of Induction identifies the source of these enduring problems in the assumption taken at the outset: that inductive inference can be accommodated by a single formal account with universal applicability. Instead, it argues that that there is no single, universally applicable formal account. Rather, each domain has an inductive logic native to it. Which that is, and its extent, is determined by the facts prevailing in that domain. Paying close attention to how inductive inference is conducted in science and copiously illustrated with real-world examples, The Material Theory of Induction will initiate a new tradition in the analysis of inductive inference.

More women are studying science at university and they consistently outperform men. Yet, still, significantly fewer women than men hold prestigious jobs in science. Why should this occur? What prevents women from achieving as highly as men in science? And why are so few women positioned as 'creative genius' research scientists? Drawing upon the views of 47 (female and male) scientists, Bevan and Gatrell explore why women are less likely than men to become eminent in their profession. They observe three mechanisms which perpetuate women s lowered 'place' in science: subtle masculinities (whereby certain forms of masculinity are valued over womanhood); (m)otherhood (in which women's potential for maternity positions them as 'other'), and the image of creative genius which is associated with male bodies, excluding women from research roles.