Über das Verhältnis der Naturwissenschaften zur Gesamtheit der Wissenschaft.--Über das Ziel und die Fortschritte der Naturwissenschaft.--Das Denken in der Medicin.--Induction und Deduction.

Hermann von Helmholtz was a leading figure of nineteenth-century European intellectual life, remarkable even among the many scientists of the period for the range and depth of his interests. A pioneer of physiology and physics, he was also deeply concerned with the implications of science for philosophy and culture. From the 1850s to the 1890s, Helmholtz delivered more than two dozen popular lectures, seeking to educate the public and to enlighten the leaders of European society and governments about (...) the potential benefits of science and technology to a developing modern society. David Cahan has selected fifteen of these lectures, which reflect the wide range of topics of crucial importance to Helmholtz and his audiences. Among the subjects discussed are the origins of the planetary system, the relation of natural science to science in general, the aims and progress of the physical sciences, the problems of perception, and academic freedom in German universities. This collection also includes Helmholtz's fascinating lectures on the relation of optics to painting and the physiological causes of harmony in music, which provide insight into the relations between science and aesthetics. Science and Culture makes available again Helmholtz's eloquent arguments on the usefulness, benefits, and, intellectual pleasures of understanding the natural world. With Cahan's Introduction to set these essays in their broader context, this collection makes an important contribution to the philosophical and intellectual history of Europe at a time when science played an increasingly significant role in social, economic, and cultural life. (shrink)

Hermann von Helmholtz (1821a "1894) galt als der bedeutendste Physiker und Physiologe seiner Zeit. Er reflektiert in seinen Texten kritisch die Grenzen und den Horizont mAglicher Erkenntnis mit theoretisch-philosophischer Aufmerksamkeit. Aus der FA1/4lle seiner Publikationen stellten der Philosoph Moritz von Schlick und der Physiker und Mathematiker Paul Hertz 1921 aus AnlaA der 100-Jahrfeier seines Geburtstages den Band "Schriften zur Erkenntnistheorie" zusammen: a [ Aoeber den Ursprung und die Bedeutung der geometrischen Axiome (o.J.) a [ Aoeber die Tatsachen, die der (...) Geometrie zugrunde liegen (1868) a [ ZAhlen und Messen, erkenntnistheoretisch betrachtet (1887) a [ Die Tatsachen in der Wahrnehmung (1878). In ihrem Vorwort schreiben Hertz und Schlick: "Der oberste Gesichtspunkt, der uns bei der Auswahl und ErlAuterung der Schriften geleitet hat, war die RA1/4cksicht auf die Sache, auf die zur Sprache kommenden Probleme. Seine Schriften werden hier von neuem dargeboten um der Wahrheit willen, die in ihnen enthalten ist oder sich aus ihnen gewinnen lAAt." Nun erscheint dieses von Schlick und Hertz zusammengestellte Buch in einer bibliophilen Ausgabe...". this is a valuable edition of important papers on the foundations of mathematics published at a reasonable price.a (Zentralblatt fA1/4r Mathematik)..".Zweifellos handelt es sich hier um scharfsinnige Arbeiten, die zum erstenmal in ihrer Zeit die erkenntnistheoretische Relevanz der nichteuklidischen Geometrien thematisierten." (Neue ZA1/4rcher Zeitung). (shrink)

Note du traducteur: La transcription rend fidèlement l’orthographe de l’inédit autographe de Helmholtz, et cela jusqu’à l’oubli du « t » dans le mot « nicht », erreur que l’auteur ne semble pas avoir remarquée ou à laquelle il ne devait pas accorder d’importance, vu qu’il s’agissait, probablement, d’une ébauche très avancée du rapport qui aurait dû, ou pu, être copiée, après correction, pour l’envoi en Italie.Dans la transcription ainsi que dans la traduction, l’espace laissé en blanc d’une...

[a] Die Arbeit des Herrn Mosso hat ein Resultat, welches für die Physiologie des Gehirns und für die Psychologie von hervorragender und fundamentaler Wichtigkeit ist; sie zeigt nämlich, dass bei jeder hinreichend kräftigen Empfindung, bei jeder willkürlichen Anspannung des Denkens, wie sie zum Beispiel beim Rechnen eintritt, augenblicklich eine Steigerung des Blutdrucks und eine grössere Amplitude der Pulswellen im Gehirn eintritt, welche nur so lange [b] dauert, wie die erhöhte Thätigkeit de...

In the present paper we discuss: a) how Hilbert’s unification program failed completely, and b) we outline a new electron model based on Helmholtz’s electron vortex and Kolmogorov theory of turbulence. Novelty aspect: we discuss among other things, electron capture event, and von Karman vortex street. We also discuss a new model of origination of charge and matter. This paper is a sequel to a preceding paper on similar theme.

Helmholtz's theory of space had significant impact on Schlick's early ?critical realist? point of view. However, it will be argued in this paper that Schlick's appropriation of Helmholtz's ideas eventually lead to a rather radical transformation of the original Helmholtzian position.

Hermann von Helmholtz’s work on perceptual science had a fundamental impact on Neo-Kantian movements in the late nineteenth century, and his influence continues to be felt in psychology and analytic philosophy of perception. As is widely acknowledged, Helmholtz denied that we can perceive mind-independent properties of external objects, a view I label Ignorance. Given his commitment to Ignorance, Helmholtz might seem to be committed to a subjectivism according to which we only perceive properties of our own representations. (...) Against this, I argue that for Helmholtz, the properties we perceive are not monadic properties of either the subject or the object. Rather, Helmholtz endorsed a relationalism about the properties we perceive: the properties of objects we perceive are all relational properties. I then suggest that once we take into account oft-neglected terminological distinctions in Helmholtz’s corpus, we are better able to make sense of his commitment to relationalism. (shrink)

Hermann von Helmholtz (1821-1894) established results both controversial and enduring: analysis of mixed colors and of combination tones, arguments against nativism, and the analysis of sensation and perception using the techniques of natural science. The paper focuses on Helmholtz’s account of sensation, perception, and representation via “physiological psychology”. Helmholtz emphasized that external stimuli of sensations are causes, and sensations are their effects, and he had a practical and naturalist orientation toward the analysis of phenomenal experience. However, he (...) argued as well that sensation must be interpreted to yield representation, and that representation is geared toward objective representation (the central thesis of contemporary intentionalism). The interpretation of sensation is based on “facts” revealed in experiment, but extends to the analysis of the quantitative, causal relationships between stimuli and responses. A key question for Helmholtz’s theory is the extent to which mental operations are to be ascribed a role in interpreting sensation. (shrink)

This chapter examines the Helmholtz's changing conceptions of the relation between scientific cognition (the thought processes of the investigator) and artistic cognition. It begins with two case studies: Helmholtz's application of sensory physiology and psychology respectively to music and to painting. Consideration of these concrete cases leads to Helmholtz's account of the methodology of aesthetics, and specifically to his formulation of the distinction between the *Geisteswissenschaften* and *Naturwissenschaften*. It then examines the development of his comparative account of (...) the thought processes of artist and scientist. This development parallels the development of his psychological theory of judgment into his famous theory of unconscious inference. The latter development exemplifies his classical "aesthetics of science.". (shrink)

The fact that the same equations or mathematical models reappear in the descriptions of what are otherwise disparate physical systems can be seen as yet another manifestation of Wigner's “unreasonable effectiveness of mathematics.” James Clerk Maxwell famously exploited such formal similarities in what he called the “method of physical analogy.” Both Maxwell and Hermann von Helmholtz appealed to the physical analogies between electromagnetism and hydrodynamics in their development of these theories. I argue that a closer historical examination of the (...) different ways in which Maxwell and Helmholtz each deployed this analogy gives further insight into debates about the representational and explanatory power of mathematical models. (shrink)

The problem of measurement can be reformulated as the problem of measurability: What are the conditions under which measurement becomes possible at all? And what is the ontological status of concrete measurement outcomes? It will be shown in the course of this article that what Joel Michell deemed the ‘representational theory’ of measurement provides an adequate framework for answering these questions. However, contrary to Michell, I will point out that Hermann von Helmholtz should be seen as an important forerunner (...) of the representational view. Furthermore, it will be argued that the Finnish logical empiricist Eino Kaila carried on Helmholtz’s approach by combining it with a certain form of ontological invariantism. On the whole, a ‘structural realist’ account of measurement will be suggested. (shrink)

Aus dem vielfältigen Werk von Hermann von Helmholtz versammelt diese Ausgabe die im engeren Sinne philosophischen Abhandlungen, vor allem zur Wissenschaftsphilosophie und Erkenntnistheorie, sowie Vorträge und Reden, bei denen der Autor seine Ausnahmestellung im Wissenschaftsbetrieb nutzte, um die Wissenschaften und ihre Institutionen in der bestehenden Form zu repräsentieren und zu begründen. Ein Philosoph wollte Helmholtz nicht sein, aber er legte der philosophischen Reflexion wissenschaftlicher Erkenntnis und wissenschaftlichen Handelns große Bedeutung bei. Vor allem bezog er, in der Regel ausgehend (...) von seinen fachwissenschaftlichen Forschungen, in den verschiedensten Kontexten zu erkenntnistheoretischen und methodologischen Problemen der Wissenschaften Stellung. Bereits »Ueber die Erhaltung der Kraft« (1847) lässt erkennen, wie verwoben naturwissenschaftliche Grundlagenforschung und philosophische Grundlagenreflexion in seinem Werk sind. Die aus den frühen sinnesphysiologischen Forschungen hervorgegangene empiristische Wahrnehmungslehre trug ihm den Ruf ein, ein maßgeblicher Vertreter des Neukantianismus zu sein. Spätere Arbeiten v.a. zur Geometrie und Arithmetik – das zeigt die vorliegende Ausgabe – stellen jedoch eine radikale Absage an den konstitutiven Kern des Kantianismus (nämlich die Existenz synthetischer Urteile a priori) dar. Helmholtz’ philosophische Beiträge sind bisher in ihrer Vollständigkeit nicht annähernd so gut zugänglich wie sein naturwissenschaftliches Werk. Die Ausgabe enthält außerdem bibliographische Vorberichte zur Einordnung, detaillierte Namens- und Sachregister sowie mit 575 Einträgen für den Zeitraum zwischen 1842 und 2012 die erste umfassende Bibliographie von Helmholtz verfasster Werke überhaupt. »Ich glaube, dass der Philosophie nur wieder aufzuhelfen ist, wenn sie sich mit Ernst und Eifer der Untersuchung der Erkenntnissprocesse und der wissenschaftlichen Methode zuwendet. Da hat sie eine wirkliche und berechtigte Aufgabe.« Helmholtz in einem Brief um 1875. (shrink)

Summary Hermann Helmholtz has often been understood to have started research under the influence of Kant, and then to have made a transition to a later mature empiricist phase. Without claiming that in 1847 Helmholtz held the same positions that he later espoused, I suggest that already in his 1847 ‘Über die Erhaltung der Kraft’ one may find important aspects of his later empiricism. I highlight the ways in which, from early on, Helmholtz turned Kant to use (...) in developing an empirical program of inquiry into possible basic natural causes. To that end, I indicate how, throughout his arguments, Helmholtz employed, sometimes explicitly, but often tacitly, an empiricist logic, one that ran contrary to any form of transcendental deduction, and even to all a priori knowledge. Instead of deriving aspects about the ultimate constituents of nature, Helmholtz aimed to define the proper project for physical natural science. The first part of the paper describes the context of discussion in which Helmholtz entered. The bulk of the paper then analyzes Helmholtz's arguments in order to make space between (1) Kantian, and other, deductions of characteristics that must be true of nature and (2) Helmholtz's delineation of empirically determinable characteristics of presumed ultimate elements of nature, ones that he meant to be specified and delimited through future experimental research. The paper highlights that throughout his discussion Helmholtz meant to define the proper project for physical natural science, a project rife with empiricist aspects. (shrink)

Berkeley and Helmholtz proposed different indirect mechanisms for size perception: Berkeley, that size was conditioned to various cues, independently of perceived distance; Helmholtz, that it was unconsciously calculated from angular size and perceived distance. The geometrical approach cannot explain size-distance paradoxes (e.g., moon illusion). The dorsal/ventral solution is dubious for close displays and untestable for far displays.

According to Hermann von Helmholtz, sensations are signs that external causes impress on our sense organs; those signs are then used by the mind to acquire knowledge of the reality. Helmholtz's work points out the difficulty of defining a notion of causality suitable for explaining the relation between sensations on the one hand and the physical world on the other. In fact, he states that: 1) Physical stimuli, understood as the causal origins of sensations, are unknowable in themselves; (...) 2) There is no empirical evidence for the kind of causality from which sensations originate; 3) A transcendental causality is nothing but the urge of the intellect to know everything. It is necessary to keep in mind that Helmholtz is a committed empiricist : therefore, he believes that all knowledge originates from sensations. He tries avoiding commitments with any kind of pre-established harmony between the two sides of the causal relation. That is to say, sensible perceptions give us information about the peculiarities of the external world, but the relation between sensations and the reality should be explained and should not be taken for granted. In this paper, I study Helmholtz's struggles with providing a suitable explanation of that relation; in doing so, I also make use of Emile Du Bois-Reymond's work concerning the limits of human understanding, and in particular the transcendent difficulty of grasping the origins of sensations. (shrink)

This article considers Helmholtz’s relation to philosophy, including Fichte’s philosophy. Recent interpreters find Fichtean influence on Helmholtz, especially concerning the role of voluntary movement in distinguishing subject from object, or “I” from “not-I.” After examining Helmholtz’s statements about Fichte, the article describes Fichte’s ego-doctrine and asks whether Helmholtz could accept it into his sensory psychology. He could not accept Fichte’s core position, that an intrinsically active I intellectually intuits its own activity and posits the not-I as (...) limiting and determining that activity, because that account requires cognitive abilities that conflict with Helmholtz’s claim that the development of spatial perception relies primarily on associative memory and involves no direct awareness of the ego’s activity as such. Helmholtz would have known various accounts of the distinction between subject and object, or self and world, from sensory physiology, including associative accounts invoking voluntary motor movements and accounts describing checks on the perceiver’s activity. Some of the accounts cite Fichte on the I and not-I, but most do not, and none adopt Fichte’s Idealism. Finally, the article examines Helmholtz’s relation to metaphysics, finding that in all periods he rejected Fichtean Idealism and that the modest metaphysics of his mature period is a version of structural realism. (shrink)

Modern color science finds its birth in the middle of the nineteenth century. Among the chief architects of the new color theory, the name of the polymath Hermann von Helmholtz stands out. A keen experimenter and profound expert of the latest developments of the fields of physiological optics, psychophysics, and geometry, he exploited his transdisciplinary knowledge to define the first non-Euclidean line element in color space, i.e., a three-dimensional mathematical model used to describe color differences in terms of color (...) distances. Considered as the first step toward a metrically significant model of color space, his work inaugurated researches on higher color metrics, which describes how distance in the color space translates into perceptual difference. This paper focuses on the development of Helmholtz’s mathematical derivation of the line element. Starting from the first experimental evidence which opened the door to his reflections about the geometry of color space, it will be highlighted the pivotal role played by the studies conducted by his assistants in Berlin, which provided precious material for the elaboration of the final model proposed by Helmholtz in three papers published between 1891 and 1892. Although fallen into oblivion for about three decades, Helmholtz’s masterful work was rediscovered by Schrödinger and, since the 1920s, it has provided the basis for all subsequent studies on the geometry of color spaces up to the present time. (shrink)

Dans cet ouvrage, science et musique dialoguent selon trois grandes lignes. La premiere est representee par la recherche des causes physiologiques de l'harmonie musicale, conformement au titre de la conference que donne Helmholtz en 1857 (expose synthetique des idees qu'il reprendra dans sa tres fameuse Theorie physiologique de la musique), et par la presentation populaire pour les musiciens qu'en propose Enst Mach, des 1866. Avec Helmholtz, le son acquiert une place centrale pour la musique - le son tel (...) qu'entendu par l'oreille, avec toute sa richesse harmonique - et la dissonance, qui n'est plus un simple rate de la consonance, devient des lors la cle de toute theorie musicale. Mais qu'en est-il aujourd'hui de la theorie physiologique de Helmholtz? Son examen par Patrice Bailhache, a l'aune de l'acoustique actuelle, forme la seconde ligne de force du present livre. Et la troisieme, retenue par Antonia Soulez, est celle tracee par Carl Dalhaus, qui en 1970, voit dans la demarche de Helmholtz une mise en question inaugurale de la naturalite d'un systeme de sons. C'est la musique qui, alors, questionne la science: quelle pertinence ces considerations sur la dissonance et ses causes, conservent-elles face au regne du timbre et de la dissonance depuis la musique atonale et le dodecaphonisme? (shrink)

This study is a continuation of the authors’ previous work entitled “Helmholtz and the geometry of color space: gestation and development of Helmholtz’s line element” (Peruzzi and Roberti in Arch Hist Exact Sci. https://doi.org/10.1007/s00407-023-00304-2, 2023), which provides an account of the first metrically significant model of color space proposed by the German polymath Hermann von Helmholtz in 1891–1892. Helmholtz’s Riemannian line element for three-dimensional color space laid the foundation for all subsequent studies in the field of (...) color metrics, although it was largely forgotten for almost three decades from the time of its first publication. The rediscovery of Helmholtz’s masterful work was due to one of the founders of quantum mechanics, Erwin Schrödinger. He established his color metric in three extended papers submitted in 1920 to the Annalen der Physik. Two memoirs were devoted to the so-called lower color metric, which laid the basis for the development of his higher color metric, exposed in the last paper. Schrödinger’s approach to the geometry of color space has been taken as a starting point for future elaborations of color metrics and allows a close examination of the current assumptions about the analysis of color-matching data. This paper presents an overall picture of Schrödinger’s works on color. His color theory developed a tradition first inaugurated by Newton and Young, and which acquired strong scientific ground with Grassmann’s, Maxwell’s, and Helmholtz’s contributions in the 1850s. Special focus will be given to Schrödinger’s account of color metric, which responded directly to Helmholtz’s hypothesis of a Riemannian line element for color space. (shrink)