This chapter contains sections titled: Introduction Is ‘subject appropriation’ a misnomer? Subject appropriation and misrepresentation Cultural Appropriation and Assimilation Harm and Accurate Representation Privacy Authenticity and Subject Appropriation Envoy Conclusion References.

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide (...) an unprecedented mapping of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Analogy, as the connection of similar things, is present in all fields of human thought. Art uses verbal (in poetry, literature, art criticism) and optical analogies(in the visual arts), aiming at an emotional perception and interpretation of the world. Philosophy and the sciences also use largely analogical applications, as ameans to construct intuitionally understandable theories. In Law the analogical application of laws is an efficient way to regulate social conflicts. The risk,however, of cognitive distortions, by transferring inadequately explanatory (...) models to other fields, created doubts about the rational appropriateness of suchmethodological tools. Applications of analogical thinking in different domains are readily comprehensible, if the role of analogies in each of them is analysed. Thedifferent aims of science, philosophy and art imply different similarity-criteria to support the transfer of linguistic and visual expressions in regions to which theydo not have a direct connection and application. (shrink)

Scientometrics has found many applications in describing, explaining and predicting the scientific status of researchers, educational and research groups, universities, organizations and countries in various national and international arenas. By studying the scientific products of different countries, their status in the production of science can be evaluated. Present study was conducted using a scientometrics approach and using co-word analysis and social network analysis (SNA) to investigate relationships in the field of know­ledge organization. In this regard, research indexed in (...) web of science on the topic of “know­ledge organization” has been analyzed using software including VOSviewer, Gephi, Publish or Perish. The findings of the study show that the most frequently used topics and words are know­ledge organization and classification. Also, the most valuable subject areas were identified based on the maps drawn using the closeness and centrality of indexes, taxonomy, ontology and know­ledge organization systems. Co-authorship analysis revealed that the co-authorship network is discrete and has low-density, with a total of 12,491 citations in all articles. Also, the most prolific author is Hjorland, followed by Smiraglia and Dahlberg. using the co-word map of know­ledge organization, policymakers can plan appropriately through the know­ledge of the research and thematic status of know­ledge organization. (shrink)

One chapter in the science of emotion has focused, largely through an individualist lens, on just a few emotions: the Ekman Six. Considerable debate has occurred and entrenched positions have ensued. In this essay we offer evidence and argument revealing that there are not only six emotions, nor states measured as valence and arousal, but upwards of 20 discrete emotions that contribute to our subjective and social lives. These emotions enable the rich fabric of relationships, from caregiving interactions (...) to collective activities, that are vital to cooperation. Grounded in advances in cultural evolution, we detail how emotions and culture co-evolved, highlighting how emotions are building blocks of cultural forms such as ceremonies, dance, narratives, music, and visual art. (shrink)

The rapidly changing field of genetics affects society through advances in health-care and through implications of genetic research. This study addresses the impacts of new genetic discoveries and technologies on different segments of today's society. The book begins with a chapter on genetic complexity, and subsequent chapters discuss moral and ethical questions arising from today's genetics from the perspectives of health care professionals, the media, the general public, special interest groups and commercial interests.

This book features papers written by renowned international scholars that analyze the interdependence of art, phenomenology, and social science. The papers show how the analysis of the production as well as the perception and interpretation of art work needs to take into consideration the subjective viewpoint of the artist in addition to that of the interpreter. Phenomenology allows a description of the subjectively centered life-world of the individual actor-artist or interpreter-and the objective structures of literature, music, and the (...) aesthetic domain in general. The perspective of social science serves to reconstruct the socio-historical structure involved in the creation and reception of the art work. The authors concentrate on this specific theoretical focus which combines both phenomenology and social science and offers an innovative framework for the analysis of works of art from the fields of literature, music, visual arts, photography, and film. Some of the contributions present creative interpretations of a variety of distinct art works in addition to the realization of theoretical reflections on the interdependence of arts, phenomenology, and social science. This book features papers that were presented at the international and interdisciplinary conference Phenomenology, Social Sciences, and the Arts, held at the University of Konstanz, May 2009, in commemoration of philosopher and social scientist Alfred Schutz, the developer of phenomenologically oriented sociology. It will appeal to researchers, scholars, and students in phenomenology, social sciences, art theory, and the arts.. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Forty-three years ago Max Weber observed that “the belief in the value of scientific truth is not derived from nature but is a product of definite cultures.” We may now add: and this belief is readily transmuted into doubt or disbelief. The persistent development of science occurs only in societies of a certain order, subject to a peculiar complex of tacit presuppositions and institutional constraints. What is for us a normal phenomenon which demands no explanation and secures many (...) ‘self-evident’ cultural values, has been in other times and still is in many places abnormal and infrequent. The continuity of science requires the active participation of interested and capable persons in scientific pursuits. This support of science is assured only by appropriate cultural conditions. It is, then, important to examine those controls which motivate scientific careers, which select and give prestige to certain scientific disciplines and reject or blur others. It will become evident that changes in institutional structure may curtail, modify or possibly prevent the pursuit of science. (shrink)

The article discusses the theoretical status of the category of uncertainty. Instead of the classical definitions of uncertainty as an ontological or epistemological concept, a composite theoretical construct is proposed. In classical science, the objectivist representation of the subject of research was preferred. With the nonclassical type of rationality, there rises problem of including subjective elements in a theoretical description. Attention to subject-subject-object methodologies is increasing due to the complication of communicative interactions in science and (...) society in the digital era. One of the consequences of active innovative projective activity on a planetary scale and increasing risks is the perception in the public mind of uncertainty as a challenge. The author considers it appropriate to study the uncertainty-certainty as a paired category. The category of uncertainty was considered in philosophy, science, and management. The status of uncertainty as infinity and formlessness was recognized by Greek natural philosophers. Classical science developed the methodology of knowing the “infinite limit” through the construction of theoretical schemes (forms) and types of empirical testing. The paradox served as a means of destroying dogmatic schemes. In the context of increasingly complex communications in science, the importance of cognitive problems in the study of collective thinking and the personal beginning of creativity is increasing. Modern economic positivism is distinguished by its rejection of objective uncertainty, and the installation of the ability to efficiently manage exclusively accurate calculations is brought to extremes. (shrink)

The experimental method is designed to secure the reliable attribution of causal relationships by means of controlled comparison across conditions. Doing so, however, depends upon the reduction of uncertainties and inconsistencies in the process of comparison; and this poses particularly significant challenges for the behavioral and social sciences because they work with human subjects, whose malleability and complexity often interact in unexpected ways with experimental manipulations, thus resulting in unpredictable behavior. Drawing on the Science and Technology Studies perspective (...) and one of our authors’ experiences in experimental work, this paper examines how experimental social scientists manage to establish objectivity and standardization in the face of vagaries arising from working with human subjects. In identifying experimental researchers’ solutions to this challenge, we draw on methodological discussions among applied social scientists as naturally occurring data, through which we show how some seemingly mundane practices play essential roles in extracting patterns out of otherwise unpredictable behaviors in the lab. Closely examining such strategies, we reveal the inherent instabilities in the experimental method when adopted in the social sciences and discuss their methodological implications. In conclusion, we make tentative suggestions for escaping the kinds of methodological impasses which we have identified. (shrink)

This paper forms part of a wider study examining the history and sociology of nursing education in England between 1860 and 1948. It argues that the question of whether nursing was an art, science and/or social science has been at die ‘heart’ of a wider debate on die occupational status and disciplinary identity of nursing. The view that nursing was essentially an art and a ‘calling’, was championed by Florence Nightingale. Ethel Bedford Fenwick and her allies insisted (...) that nursing, like other professions, was a ‘scientific’ and technical enterprise. Social scientists later came to challenge nursing's claim to professionalism by analysing nursing work first within die context of industrial psychology. But they also advocated a rapprochement between nursing, health services and social science research, a challenge which we are in nursing, still striving to meet This paper argues for a strong coalition of nursing with its former nineteenth century ally, social science, in die continuing struggle for change within nursing and health care policy. Rather than searching for some rarified and purified essence of nursing knowledge, it argues that nurses need to join forces with sociologists and economists in striving to shape die agenda for health services research and provide die evidential basis for health policy transformation more generally. (shrink)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

Adults spend most of their conscious life speaking, comprehending, writing, and reading discourse. It is entirely appropriate for cognitive science to investigate discourse especially as transmitted texts or printed media, such as books, newspapers, magazines, and computers. However, there is another reason why text understanding has been one of the prototypical areas of study in cognitive science: Interdisciplinary work is absolutely essential. As cognitive scientists have unraveled the puzzles of text comprehension, they have embraced the insights and methodologies (...) from several disciplines. (shrink)

Husserl focused perhaps more than any other philosopher on the relationship between philosophy and psychology. This problem was important to him because the European project of universal science must include sciences of consciousness that address questions of meaning, value and purpose so crucial for humanity. This paper provides a sketch of the later Husserl’s thinking on this issue in order to clarify the relationships among transcendental philosophy as the mother of the sciences, psychology as the foundational mental science, (...) and the various regional sciences of persons. Radicalizing and extending the transcendental tradition to free philosophy from naturalism, Husserl developed methods and fundamental concepts for understanding consciousness in its distinctive world constituting function. In parallel fashion, Husserl traced the historical failures of psychology to its naturalistic philosophy, from which he liberated the discipline by means of phenomenological reflections on the intentional property of its subject matter. This pure focus on mental processes resulted in the clarification of the transcendental phenomenological foundation of psychology as well as a recognition of the paradoxical manner in which psychological processes are both world constituting and mundanely present in the lives of persons. The apperceptive synthesis of transcendental consciousness and mundane embodiment in the identification of the person is proposed as essential for a non-naturalistic, intentional psychology, which provides appropriate concepts and the method of intentional analysis for such sciences of persons as sociology, history, literary studies, and religious studies. The problems, means, and inevitable inadequacies of communicating transcendental insights in language are discussed. Analysis of the complexity of living persons discloses their transcendental dimension in the manifolds their mundane activities and in their products, including use, cultural, and art objects as well as social institutions. Attention is drawn to resources in phenomenology beyond Husserl and in the genuine psychological intuitions of non-phenomenologists for generating non-naturalistic, phenomenologically grounded person sciences. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Semantic Network Analysis in Social Sciences introduces the fundamentals of semantic network analysis and its applications in the social sciences. Readers learn how to easily transform any given text into a visual network of words co-occurring together, a process that allows mapping the main themes appearing in the text and revealing its main narratives and biases. Semantic network analysis is particularly useful today with the increasing volumes of text-based information available. It is one of the developing, cutting-edge (...) methods to organize, identify patterns and structures, and understand the meanings of our information society. The first chapters in this book offer step-by-step guidelines for conducting semantic network analysis, including choosing and preparing the text, selecting desired words, constructing the networks, and interpreting their meanings. Free software tools and code are also presented. The rest of the book displays state-of-the-art studies from around the world that apply this method to explore news, political speeches, social media content, and even to organize interview transcripts and literature reviews. Aimed at scholars with no previous knowledge in the field, this book can be used as a main or a supplementary textbook for general courses on research methods or network analysis courses, as well as a starting point to conduct your own content analysis of large texts. (shrink)

The institutionalization of History and Philosophy of Science as a distinct field of scholarly endeavour began comparatively earl- though not always under that name - in the Australasian region. An initial lecturing appointment was made at the University of Melbourne immediately after the Second World War, in 1946, and other appoint ments followed as the subject underwent an expansion during the 1950s and 1960s similar to that which took place in other parts of the world. Today there are (...) major Departments at the University of Melbourne, the University of New South Wales and the University of Wollongong, and smaller groups active in many other parts of Australia and in New Zealand. "Australasian Studies in History and Philosophy of Science" aims to provide a distinctive publication outlet for Australian and New Zealand scholars working in the general area of history, philosophy and social studies of science. Each volume comprises a group of essays on a connected theme, edited by an Australian or a New Zealander with special expertise in that particular area. Papers address general issues, however, rather than local ones; parochial topics are avoided. Further more, though in each volume a majority of the contributors is from Australia or New Zealand, contributions from elsewhere are by no means ruled out. Quite the reverse, in fact - they are actively encour aged wherever appropriate to the balance of the volume in question. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Science Wars and BeyondHarold FrommScandalous Knowledge: Science, Truth and the Human, by Barbara Herrnstein Smith; viii & 198 pp. Durham: Duke University Press, 2005, $21.95 paper.Fear of Knowledge: Against Relativism and Constructivism, by Paul Boghossian; 139 pp. Oxford: Oxford University Press, 2006, $24.95.Barbara H. Smith, a professor of comparative and English literature at both Duke and Brown, has read widely in philosophy and the sciences. "Scandalous knowledge" (...) is her phrase to describe not the "science wars" (to use the title of the notorious Spring/Summer 1996 issue of Social Text) but the epistemology wars. The chief antagonists in these wars consist, on the one side, of traditional proponents of "classical" philosophy's normative, analytic, justifying, and stable methodologies and proponents, on the other, of such twentieth-century constructivist epistemologies as those of Ludwik Fleck, Thomas Kuhn, Michel Foucault, David Bloor, and Bruno Latour. "The scandal," Smith explains, is classical philosophy's "apparent inability to show how, when and why we can be sure that we know something or, indeed, that we know anything" (p. 1). In her well-executed Introduction, perhaps the best chapter in the book (for its panoramic picture of today's "Theory of Knowledge" conflicts), Smith prepares us for her espousal of constructivist methodologies but first distinguishes between "epistemological constructivism"—a philosophical methodology with an antagonism toward universal rationalities, philosophical "realism," in-itselfness, or [End Page 580] the Correspondence Theory of Truth—and the cultural critique often called "social constructionism," a distinction she acknowledges to be sometimes difficult and hazy. Social constructionism, a highly political activity, is critical of traditional notions of the normative and is engaged with the workings of cultural critics, ethicists, feminists, gender theorists, critics of institutional power, and the "goes without saying" of mainstream assumptions in the treatment of race, sexuality, the "natural" and the innate. In a word, the global conflict she describes is between "reason" (a contested term) and politics (not very contested, except for who and what are political), between the putative eternal verities of thought and the contingencies of daily life. Whereas a "constructivist" sociologist of science would stress the social, collective, intersubjective, institutional aspects of scientific knowledge, questioning "the standard understandings and treatments of such terms as fact, discovery, evidence, proof, objectivity and, of course, knowledge and science themselves" (p. 7), the "social constructionist" would be more likely to focus on class, politics, economics, and culture seen as a congeries of power structures.Smith is particularly distressed by the claims of traditional philosophy when she asks, "May it not be the case that the strict distinctions and divisions of labor that underwrite philosophy's self-honoring role in the study of science and knowledge beg all the relevant questions and, where maintained, insure philosophy's self-confinement?" (p. 10). She sees knowledge as assembled from multiple sources: philosophy, science, social sciences, human animality and subjectivity but she is not suggesting an abandonment of the notion of "truth," just a curbing of the notion of absolute knowledge, or knowledge of things-in-themselves (though even traditionalists believe being known can't be an aspect of a thing-in-itself.) In the process of constructing truths, "reason is not 'abandoned' for 'irrationalism'; scientific knowledge is not 'equated with' myth or ideology; and so forth... but are reconceived as variable gradients rather than fixed, distinct and polar opposites" (p. 11). She prefers to speak of the "superiority" of certain claims rather than their fixed universality via "rationalist-realist-positivist epistemology." As her overall theme, Smith wants to defend constructivist epistemology as the appropriate one for the twenty-first century and, to a slightly lesser extent, the goals of social construction, while deriding as unfounded the attacks against their purported relativism, nihilism, fatuous egalitarianism, and political correctness. Her performance is undeniably impressive but her success is mixed.The stronger first half of the book mounts a plausible defense of [End Page 581] constructivist epistemology. Starting off with a quick survey of "Pre-Post-Modern" relativists from Heraclitus to Wittgenstein, Smith moves on to twentieth-century modernist questioners of objectivist-universalist epistemes, from Heidegger and Einstein to Franz Boas, Edward Sapir, Lenin, and in the arts Woolf, Stravinsky... (shrink)

For decades, scholars in the social sciences and humanities have questioned the appropriateness and utility of prior review of their research by human subjects' ethics committees. This essay seeks to organize thematically some of their published complaints and to serve as a brief restatement of the major critiques of ethics review. In particular, it argues that 1) ethics committees impose silly restrictions, 2) ethics review is a solution in search of a problem, 3) ethics committees lack expertise, 4) ethics (...) committees apply inappropriate principles, 5) ethics review harms the innocent, and 6) better options exist. (shrink)

Resumen: El presente artículo ofrece un estado del arte de cómo se ha venido a estudiar empíricamente la relación entre política y redes sociales en la última década, desde el punto de vista de la naturaleza del objeto de estudio, las nuevas técnicas de análisis y métodos sobre las que se han apoyado las ciencias sociales, las agendas de investigación a que ha dado lugar y algunos de los dilemas éticos que suscita. El artículo consta de tres partes. Primero, desarrollamos (...) una discusión de los principales métodos de análisis de la relación entre política y redes sociales, el big data y los algoritmos, y lo comparamos con los métodos tradicionales de encuestas de opinión. Segundo, ofrecemos una revisión de las principales preocupaciones que han guiado la investigación en los últimos diez años: la representación y campañas políticas, nuevas comunidades políticas y nuevas formas de acción colectiva. Finalmente, la tercera sección reflexiona sobre los dilemas éticos y debates que plantea el uso de las nuevas técnicas de análisis en las ciencias sociales.: The article offers a state of art about the empirical study of the relationship between politics and social media during the last decade, from the point of view of the nature of the subject, new research techniques and methods used in the social sciences, the research agendas it has fostered, and some of the ethical dilemmas this research raises. The article is divided in three main parts. Firstly, we develop a discussion of the main research methods to approach the relationship between politics and digital media, big data and algorithms, which we compare with traditional opinion polls. Secondly, we offer a review of the main issues that have guided this research agenda during the last ten years: political representation and campaigns, emerging political communities, and new forms of collective action. Finally, the last section reflects on the ethical dilemmas and debates that arise from the utilization of new research methods in the social sciences. (shrink)

A problem of tremendous import confronts the social scientists of our day. Having accumulated a vast amount of detailed data on human relations the social scientists are now being asked about the significance of their data. Two major aspects of this questioning are these: How can we synthesize all available scientific data on human relations so that this knowledge can be successfully applied to the solution of current social problems; and secondly, since some of the data accumulated (...) so far has been defined and organized in terms of concepts imitative of older physical concepts—the appropriateness of which to human relations as subject matter is questionable—should we not evaluate these basic concepts with a view to laying new conceptual foundations for our knowledge of human relations? Thus we shall open the way for new social research and at the same time develop a methodologically sounder basis for our knowledge of human relations. Briefly, our knowledge of human relations at present is at loose ends, and in this condition is not as applicable to the solution of pressing social problems as it would be if it were unified into a comprehensive and more flexible science of human behavior. Such a unification would demand not only a synthesis of the data of the social sciences but also the critical evaluation of many of the basic concepts of these sciences. (shrink)

If one attempts to examine the role of a concept in the writings of a man of letters, it seems appropriate to begin with some linguistic observations pertinent to the discussion: aesthetics. To what extent and in what particular way does the metaphorical field associated with the concept of organism determine or at least reach into descriptions of the creative process as such? Such an initial step of modest pragmatics suggests itself especially in view of the fact that Goethe never (...) developed a system of aesthetics, classical or otherwise, in which a theoretical analysis would be possible. In fact, we will see that he had a fundamental distrust of theoretical systems for art or nature. In what terms, then, does Goethe describe the process of artistic creation? As might be expected, there are indeed expressions of "conceiving," of "nurturing" a theme, of "bearing" a poem for years until its final "birth." Many of those poems that strike the reader with their convincing immediacy, which seem to have been nothing but impulse and instantaneous expression of feeling, came into the world after a considerable period of incubation. And Goethe emphasizes that the length of pregnancy poetic was not determined by the poet, but by an internal process of maturing and usually by an external, catalytic occasion. (shrink)

Calls for incorporating social science into patient care typically have accounted for neither the logistic constraints of medical training nor the methodological fallacies of utilizing aggregate “social facts” in clinical practice. By elucidating the different epistemic approaches of artistic and scientific practices, this paper illustrates an integrative artistic pedagogy that allows clinical practitioners to generate social scientific insights from actual patient encounters. Although there is no shortage of calls to bring social science into medicine, (...) the more fundamental processes of thinking by which art and science proceed have not been addressed to this end. As such, the art of medical practice is conceptualized as an innate gift, and thus little is done to cultivate it. Yet doing so is more important than ever because uncertainty in diagnosing and treating chronic illnesses, the most significant contemporary mortality risks, suggests a re-expanding role for clinical judgment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than 8,000 individually (...) cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute (...) details. His narrative of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

_A Communion of Subjects_ is the first comparative and interdisciplinary study of the conceptualization of animals in world religions. Scholars from a wide range of disciplines, including Thomas Berry (cultural history), Wendy Doniger (study of myth), Elizabeth Lawrence (veterinary medicine, ritual studies), Marc Bekoff (cognitive ethology), Marc Hauser (behavioral science), Steven Wise (animals and law), Peter Singer (animals and ethics), and Jane Goodall (primatology) consider how major religious traditions have incorporated animals into their belief systems, myths, rituals, and art. (...) Their findings offer profound insights into humans' relationships with animals and a deeper understanding of the social and ecological web in which we all live. Contributors examine Judaism, Christianity, Islam, Hinduism, Buddhism, Jainism, Daoism, Confucianism, African religions, traditions from ancient Egypt and early China, and Native American, indigenous Tibetan, and Australian Aboriginal traditions, among others. They explore issues such as animal consciousness, suffering, sacrifice, and stewardship in innovative methodological ways. They also address contemporary challenges relating to law, biotechnology, social justice, and the environment. By grappling with the nature and ideological features of various religious views, the contributors cast religious teachings and practices in a new light. They reveal how we either intentionally or inadvertently marginalize "others," whether they are human or otherwise, reflecting on the ways in which we assign value to living beings. Though it is an ancient concern, the topic of "Religion and Animals" has yet to be systematically studied by modern scholars. This groundbreaking collection takes the first steps toward a meaningful analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.1 (2005) 77-92 [Access article in PDF] Art and the Teaching of Love Didier Maleuvre Art is rightly thought to be the domain of expression and illusion. It is expression because every work of art, however stone-faced or impersonal in aspect, is the product of human intention. And it is illusion because, however concrete, vivid, or raw, it holds up only images. These two (...) points — that art is expression and fiction — are deeply entrenched in the modern understanding of art. They are the twin pillars of our aesthetics.In the following I wish to argue that this focus on the expressive and the representative eclipse the most important dynamic of art — what I propose to call the communicative and the iconoclastic. By the former, I mean that art is primarily, not a subjectivity giving shape to a private vision, but a form of sanctifying the human conversation, that is, the encounter between subjectivities; by the latter, I mean to suggest that art is an image that paradoxically strives to go beyond the realm of images. On this account we will see that an image is artistic to the extent that it breaks through representation.Briefly put, art has a destination beyond itself. One should not imagine, as postmodernism ruled ex officio, that the essence of art is formal or social self-reflectivity. Certainly, self-mirroring occurs in art, but no more or less than in any act of intelligence. Moreover, it is not enough to affix tokens of self-consciousness onto an object to turn it into art. The aim of art is not art. Its destination is elsewhere; its aim is reality encountered and lived with.And the vehicle by which art travels into reality is not just skill, insight, knowledge, or intelligence. It is love. To defend these two propositions will be the gist of the following essay.The aim of education is rightly thought to be knowledge of the world. Knowledge, however, is of two kinds: one is concerned with storage of facts, the other with modes of relating to the world. The first is a technical pursuit; the second, moral practice. The sort of education fostered by art clearly belongs with the second sort. Art is less concerned with delivering [End Page 77] information about the world than teaching us about how to stand in relation to it, how to find our place in it, and live with it: through art we do not seek to master the world so much as become its denizens. It is a teaching of love. Art, Mind, and Reality Now, the idea that art is religious embrace of reality runs against a powerful philosophic doctrine: the idea, known as subjectivism — that the human mind is kept from reality by its own knowledge of reality. We perceive reality only through mental representations. I see a tree, I hear laughter, I taste tea. When my mind alights on these objects, they have already been retouched and recomposed by my senses. By the time I am aware of them, I have reordered the perceptual datum into the concepts of "tree," "laugher," "tea." So we really deal with conceptual images of things, even when those things fall on our head like rain, or trip us like an untied shoelace.Subjectivism takes art to be proof of its doctrine. No two artists have transposed the same landscape or object in exactly the same hues and forms. Monet may have wanted to put in his paintings only what the retina mirrored; still, in the end he painted like no other before him and an indisputable infusion of the Monet personality stamps his paintings. Likewise there is a Titian "take" on reality that is not Rubens's, a Constable way of painting gray watery skies that is not Corot's, or again a Twombly way of rendering the four seasons that is nothing like Vivaldi's. This, then, should be where art's commitment to reality expires — on the evidence that no two artworks have ever been able to... (shrink)

Is or has economics ever been the imperial social science? Could or should it ever be so? These are the central concerns of this book. It involves a critical reflection on the process of how economics became the way it is, in terms of a narrow and intolerant orthodoxy, that has, nonetheless, increasingly directed its attention to appropriating the subject matter of other social sciences through the process termed "economics imperialism". In other words, the book addresses (...) the shifting boundaries between economics and the other social sciences as seen from the confines of the dismal science, with some reflection on the responses to the economic imperialists by other disciplines. Significantly, an old economics imperialism is identified of the "as if market" style most closely associated with Gary Becker, the public choice theory of Buchanan and Tullock and cliometrics. But this has given way to a more "revolutionary" form of economics imperialism associated with the information-theoretic economics of Akerlof and Stiglitz, and the new institutional economics of Coase, Wiliamson and North. Embracing one "new" field after another, economics imperialism reaches its most extreme version in the form of "freakonomics", the economic theory of everything on the basis of the most shallow principles. By way of contrast and as a guiding critical thread, a thorough review is offered of the appropriate principles underpinning political economy and its relationship to social science, and how these have been and continue to be deployed. The case is made for political economy with an interdisciplinary character, able to bridge the gap between economics and other social sciences, and draw upon and interrogate the nature of contemporary capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sharon O'Dair FREELOADING OFF THE SOCIAL SCIENCES In Profession 89, published by the MLA, Martin Mueller complains that the fashion for interdisciplinary work in literary studies is mostly an intradepartmental affair. In English departments interdisciplinary work results not in cross-fertilization between disciplines but in the establishment ofsubdisciplines within English. To support his assertions, Mueller focuses on the efforts of new historicists, most of which, he claims, would not (...) pass muster in history departments orjournals.1 But literary critics who import from sociology or psychology can be arraigned on the same charge; seldom do they engage sociologists or psychologists in the way envisioned by Mueller, that is, intensely. Ifthey did, the subdisciplines would not be defined as narrowly as they are; Marxism would not dominate our sociology of literature and psychoanalysis would not dominate our psychology of literature. If they did, critics would better understand the norms of science and thus be less likely to appropriate terms and theories for use outside the specialized arenas for which they were designed. And, to anticipate my conclusion, critics might then be less likely to further what psychologist Liam Hudson calls his discipline's "psychic engineering." My concern with how literary critics use social science results from grappling with the problem myself. Like most critics, I used to be rather uncritical in my borrowings from social science, figuring that ifit works, it works, and being, no doubt, somewhat off-put by the notion of "science." But as I read sociology and psychology on the problem of the self/subject, I became troubled by the way science structures discourse on the problem ofthe selfor subject and its relationship to surrounding environments. What do these discourses include and leave out? What are their boundaries? What is the status of the images of men and Philosophy and Literature, © 1991, 15: 260-267 Sharon O'Dair261 women offered by them? These are questions thatought tobe addressed by literary critics, but seldom are. To be more specific: although literary critics borrow heavily from the social sciences, most notably, of course, from those derived from the work of Marx and Freud, we do not often acknowledge the limits of the scientific discourses from which we borrow. Sociological "man" (the alienated role-player)—like psychological "man" (one pushed by drives and molded by stimuli) or economic "man" (the rational optimizer)— is an abstract and artificial description, a construct, useful as a tool in scientific analysis. As such, homo sociologicus or homo psychologicus maintains heuristic strength, but neither is intended to capture the whole of a human being or to account for the entirety of determining and enabling influences on him or her. Neither is a philosophy of human nature, and certainly neither was offered by social scientists to account for the creations of Kafka or Shakespeare. Ralf Dahrendorf has observed that "man in his entirety not only is safely removed from the attack ofany single discipline, but may possibly remain forever a nebulous shape in the background of scientific endeavor."2 Generalizing that point, Kenneth Burke explains that "insofar as any science has a nomenclature especially adapted to its particular field of study, the extension of its special terms to provide a definition in general would necessarily oversociologize, overbiologize, overpsychologize, or overphysicize, etc., its subject."3 So, in general, the social sciences, like the physical sciences from which they draw methodological inspiration, aim not to describe reality but to construct categories that allow each social science to capture a certain part, and only a certain part, ofreality in analysis. To get on with thejob, the sociologist controls for the fact of individuality—what is personal or unique in human beings—just as to get on with thejob, the psychologist controls for the fact ofsociety—what is social in human beings. Each discipline simplifies its notion of a person to proceed as science. As an object of study in much social science of this century and the last, a person is necessarily quite different from a person one meets on the streets, in a city or town. To the sociologist, then, if I may focus my argument, the person is nothing but his or her social roles. Erving Goffman, therefore... (shrink)

This 1979 text addresses the ways in which the dominant theories in large areas of Western social science have been subject to strong criticisms, particularly ...

The only complete study of Buber as a political thinker. Shed new light upon Buber's I Thou, while also attempting to understand Buber's Zionist thought and activity in a new and fresh manner.

A collection of essays representing diverse approaches to feminist ethical analysis of social policy. Subjects include the Family and Medical Leave Act, combat exclusion and the role of women in the military, unwed fathers' rights, mail-order brides, pornography, breast implants, and sex-selective abortion. Paper edition (unseen), $17.95. Annotation copyrighted by Book News, Inc., Portland, OR.

In this paper, we sketch a programme for AI-driven social theory. We begin by defining what we mean by artificial intelligence (AI) in this context. We then lay out our specification for how AI-based models can draw on the growing availability of digital data to help test the validity of different social theories based on their predictive power. In doing so, we use the work of Randall Collins and his state breakdown model to exemplify that, already today, AI-based (...) models can help synthesise knowledge from a variety of sources, reason about the world, and apply what is known across a wide range of problems in a systematic way. However, we also find that AI-driven social theory remains subject to a range of practical, technical, and epistemological limitations. Most critically, existing AI-systems lack three essential capabilities needed to advance social theory in ways that are cumulative, holistic, open-ended, and purposeful. These are (1) semanticisation, i.e., the ability to develop and operationalize verbal concepts to represent machine-manipulable knowledge; (2) transferability, i.e., the ability to transfer what has been learned in one context to another; and (3) generativity, i.e., the ability to independently create and improve on concepts and models. We argue that if the gaps identified here are addressed by further research, there is no reason why, in the future, the most advanced programme in social theory should not be led by AI-driven cumulative advances. (shrink)

_A Communion of Subjects_ is the first comparative and interdisciplinary study of the conceptualization of animals in world religions. Scholars from a wide range of disciplines, including Thomas Berry, Wendy Doniger, Elizabeth Lawrence, Marc Bekoff, Marc Hauser, Steven Wise, Peter Singer, and Jane Goodall consider how major religious traditions have incorporated animals into their belief systems, myths, rituals, and art. Their findings offer profound insights into humans' relationships with animals and a deeper understanding of the social and ecological web (...) in which we all live. Contributors examine Judaism, Christianity, Islam, Hinduism, Buddhism, Jainism, Daoism, Confucianism, African religions, traditions from ancient Egypt and early China, and Native American, indigenous Tibetan, and Australian Aboriginal traditions, among others. They explore issues such as animal consciousness, suffering, sacrifice, and stewardship in innovative methodological ways. They also address contemporary challenges relating to law, biotechnology, social justice, and the environment. By grappling with the nature and ideological features of various religious views, the contributors cast religious teachings and practices in a new light. They reveal how we either intentionally or inadvertently marginalize "others," whether they are human or otherwise, reflecting on the ways in which we assign value to living beings. Though it is an ancient concern, the topic of "Religion and Animals" has yet to be systematically studied by modern scholars. This groundbreaking collection takes the first steps toward a meaningful analysis. (shrink)

The humanities and social sciences (HSS) are being turned upside down by advances in artificial intelligence (AI), and their very existence could be threatened. These sciences are being profoundly destabilised by a dual process of naturalisation of social phenomena and fetishisation of numbers, accentuated by the development of AI (part 1). Both STM (science, technology, medicine) and HSS are facing major epistemological challenges, but for the latter they carry the risk of marginalisation (part 2). The humanities and (...) social sciences remain the best equipped to question the social construct represented by the development of AI. However, this essential approach is not enough. We need to ask ourselves: how can the HSS reintroduce interpretation when they have less and less control over how data is put together? Only a balanced partnership between STM and HSS is likely to meet all these challenges (part 3). Using the case of education, which has long been at the forefront of developments in other sectors of social life, we would like to show how and on what priority issues such a partnership can be built (part 4). (shrink)

Walter Benjamin's writings on the Paris shopping arcades and nineteenth- century urban industrial culture are frequently referenced in contemporary examinations of ‘modernity'. In current cultural studies Benjamin's investigation of the aesthetics of merchandise and his insights into the social fact of mass consumerism are repeatedly invoked. Indeed these investigations may be alluded to even more frequently than reference is made to Benjamin's once much reproduced essay ‘The Work of Art in the Age of Mechanical Reproduction'. A decade and a (...) half ago Benjamin's ‘Artwork’ essay was one of the most frequently cited essays in new art history and cultural studies academic textbooks. To put it crudely, a turnaround has occurred. In the 1970s academic attention spotlit Benjamin's materialist history of artistic production, distribution and reception as presented in the ‘Artwork’ essay and in ‘The Author as Producer’. The political events of 1968 had made Benjamin extremely readable. His thoughts discharged after some years delay. Most alluring to the German 68ers were the statements on political art and Benjamin's dissections of fascism. Also entrancing were Benjamin's analyses of experience. Benjamin wrote extensively, and from early on, about ways of expanding the conceptualisation of experience: sometimes philosophically - by means of Kant-critique, sometimes aesthetically — by a probing of surrealism and psychoanalysis, and sometimes practically – through experiments with hashish, which were later written up as protocols. John Berger's Ways of Seeing represented an original attempt to introduce Benjamin to an English audience, via the appropriately mass mediation of television. Benjamin was adopted as a leftist mascot, and a materialist who could recommend directions for art interpretation and more importantly, cultural practice. The approaches of the 1980s and 1990s, inflected by the priorities of feminist and postmodernist scholarship as they have loomed in cultural studies, art history and sociology, increasingly turned to those aspects of Benjamin's work that appear to illuminate a burgeoning interest in urbanism and consumerism. Interest has shifted away from cultural production and critique towards consumption and characterization. These days, Benjamin is regularly served up as one of the theorists who can vindicate a feel-good consumerism, lending a glamourizing and theoretical loftiness to the activity of shopping. Indeed, far from blasting the chimeras of commodity fetishism, Benjamin becomes the commodity's high-priest. (shrink)

This volume brings together essays by leading philosophers of art who consider what can be learned from the meaning of art about society, morality, and life in general. This subject inevitably leads to discussion of other issues. Is art distinct from life? Is a concern with art's messages consistent with an appropriately aesthetic appreciation of its works? Is there anything distinctive about the manner in which art communicates its messages, or about the messages it conveys? The topic of art's (...) social and moral importance has always been a central one in aesthetics. However, whereas Plato and Schiller, for instance, viewed art as intimately implicated in a person's moral and social education, modernist theories have argued for art's autonomy and separation from worldly matters. The essays presented here provide a contemporary perspective on this long-standing debate and reveal the recent revitalization of humanist concerns in describing art and its significance. Contributors are Stephen Davies, Susan L. Feagin, T. J. Diffey, Jenefer Robinson, Gregory Currie, Peter Lamarque, Jerrold Levinson, David Novitz, Ismay Barwell, Göran Hermerén, and Richard Shusterman. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral (...) philosophy, social and political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

Automation is inherently tied to ethical challenges because of its potential involvement in morally loaded decisions. In the present research, participants (n = 34) took part in a moral multi-trial dilemma-based task where the agent (human vs. machine) and the behavior (action vs. inaction) factors were randomized. Self-report measures, in terms of morality, consciousness, responsibility, intentionality, and emotional impact evaluation were gathered, together with electroencephalography (delta, theta, beta, upper and lower alpha, and gamma powers) and peripheral autonomic (electrodermal activity, heart (...) rate variability) data. Data showed that moral schemata vary as a function of the involved decider, and when the agent and behavior factors are crossed. Subjects did not consider machines full moral deciders to the same degree as humans and tend to morally better accept human active behavior and machine inaction. Moreover, the autonomic physiological activity might support the a-posteriori moral evaluation. In the evaluation of the agent’s consciousness, a beta ventrolateral prefrontal synchronization was detected for human action and machine inaction, while a generalized gamma synchronization occurred in artificial agent trials while rating the emotional impact of the decider’s behavior. The detected differences might point to a potential explicit and implicit asymmetry in moral reasoning toward artificial and human agents. (shrink)

Pain research is still dominated by biomedical perspectives and the need to articulate pain in ways other than those offered by evidence based medical models is pressing. Examining closely subjective experiences of pain, this book explores the way in which pain is situated, communicated and formed in a larger cultural and social context. Dimensions of Pain explores the lived experience of pain, and questions of identity and pain, from a range of different disciplinary perspectives within the humanities and (...) class='Hi'>social sciences. Discussing the acuity and temporality of pain, its isolating impact, the embodied expression of pain, pain and sexuality, gender and ethnicity, it also includes a cluster of three chapters discusses the phenomenon and experience of labour pains. This volume revitalizes the study of pain, offering productive ways of carefully thinking through its different aspects and exploring the positive and enriching side of world-forming pain as well as its limiting aspects. It will be of interest to academics and students interested in pain from a range of backgrounds, including philosophy, sociology, nursing, midwifery, medicine and gender studies. (shrink)

What is the nature of the social sciences? What kinds of knowledge can they—and should they—hope to create? Are objective viewpoints possible and can universal laws be discovered? Questions like these have been asked with increasing urgency in recent years, as some philosophers and researchers have perceived a "crisis" in the social sciences. Metatheory in Social Science offers many provocative arguments and analyses of basic conceptual frameworks for the study of human behavior. These are offered primarily (...) by practicing researchers and are related to problems in disciplines as diverse as sociology, psychology, psychiatry, anthropology, and philosophy of science. While various points of view are expressed in these nineteen essays, they have in common several themes, including the comparison of social and natural science, the role of knowledge in meeting the demands of society and its pressing problems, and the nature and role of subjectivity in science. Some authors hold that subjectivity cannot be studied scientifically; others argue that it can and must be if progress in knowledge is to be made. The essays demonstrate the philosophical pluralism they discuss and give a wide range of alternative positions on the future of the social and behavioral sciences in a postpositivist intellectual world. (shrink)

This article contends that the evolution toward interdisciplinary collaboration that we are witnessing in the sciences must also occur in the humanities to ensure their very survival. That is, humanists must be open to working with scientists and social scientists interested in similar research questions and vice versa. Digital humanities is a positive first step. Complexity science should be the next step. Even though much of the ground-breaking work in complexity science has been done in the natural (...) sciences and mathematics, it can, if critically adapted, provide the needed metaphor for a broad integration of disciplines, humanistic and otherwise. Given its almost a-disciplinary nature, a complexity approach to the research problems in the humanities necessarily breaks down silos. Moreover, it can restore and reframe the seamless intellectual fabric sought by researchers before the atomization of the various disciplines in the nineteenthcentury academy. (shrink)

It can be challenging to introduce the philosophy of social science (PoS) to students in the social sciences. Noting the lack of literature providing guidance to the prospective PoS teacher, this paper outlines several pieces of advice on how to engage social science undergraduates in the subject. This advice centres on showing the relevance of the PoS in academia and beyond, reducing complexity and presenting only a few contending PoS perspectives. It is also proposed (...) to use textbooks with caution or avoiding them altogether, illustrating how PoS assumptions are embedded in contemporary social research and showing the connection between the PoS on one hand and research questions, methods, and theory on the other. Finally, the importance of showing students how they can make use of the PoS in their own work and teaching the subject in a ‘hands on’ manner is emphasized. (shrink)

Images and Power: Rock Art and Ethics addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such as (...) the conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors."--Publisher's website. (shrink)

While there have always been schools of religious and ethical thought favourable to poverty, or a simple life, the general opinion of mankind has always regarded the increasing wealth of an individual or a community as conducive to human happiness. Qualifications have commonly been attached to this judgment in recognition of a certain danger and deceitfulness of riches, especially when rapidly acquired and lavishly expended, but the presumption still stands that wealth in general conduces to well-being. The nature, degree or (...) conditions of this correspondence have, however, received singularly little attention from those thinkers who have given closest study to economic processes. Many of the founders of economic science in this and other countries were manifestly concerned for the general welfare of their fellowmen, and were active workers in many fields of social reform. But, in formulating the concepts and laws of their science, they deemed it unnecessary to give any close or continuous thought to the relations between economic wealth and human welfare. This was due, partly, no doubt to the natural desire to make the subject-matter and the treatment of a new science as definitely concrete and measurable as possible. It was this desire that made monetary valuation paramount in all economic estimates. (shrink)

This book begins with an observation: At the time when empiricism arose and slowly established itself, the word itself had not yet been coined. Hence the central question of this volume: What does it mean to conduct empirical science in early modern Europe? How can we catch the elusive figure of the empiricist? Our answer focuses on the practices established by representative scholars. This approach allows us to demonstrate two things. First, that empiricism is not a monolith but exists (...) in a plurality of forms. Today’s understanding of the empirical sciences was gradually shaped by the exchanges among scholars combining different traditions, world views and experimental settings. Second, the long proclaimed antagonism between empiricism and rationalism is not the whole story. Our case studies show that a very fruitful exchange between both systems of thought occurred. It is a story of integration, appropriation and transformation more than one of mere opposition. We asked twelve authors to explore these fascinating new facets of empiricisms. The plurality of their voices mirrors the multiple faces of the concept itself. Every contribution can be understood as a piece of a much larger puzzle. Together, they help us better understand the emergence of empiricism and the inventiveness of the scientific enterprise. (shrink)