Observations of a sea urchin larvae show that most species adopt one of two life history strategies. One strategy is to make numerous small eggs, which develop into a larva with a required feeding period in the water column before metamorphosis. In contrast, the second strategy is to make fewer large eggs with a larva that does not feed, which reduces the time to metamorphosis and thus the time spent in the water column. The larvae associated with each strategy have (...) distinct morphologies and developmental processes that reflect their feeding requirements, so that those that feed exhibit indirect development with a complex larva, and those that do not feed form a morphologically simplified larva and exhibit direct development. Phylogenetic studies show that, in sea urchins, a feeding larva, the pluteus, is the ancestral form and the morphologically simplified direct‐developing larva is derived. The current hypothesis for evolution of the direct‐developing larval form in sea urchins suggests that major developmental changes occur by neutral loss of larval features after the crucial transition to a nonfeeding life history strategy. We present evidence from Clypeaster rosaceus, a sea urchin with a life history intermediate to the two strategies, which indicates that major developmental changes for accelerated development have been selected for in a larva that can still feed and maintains an outward, pluteus morphology. We suggest that transformation of larval form has resulted from strong selection on early initiation and acceleration of adult development. BioEssays 29:566–571, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

ArgumentThis article adopts a historical perspective to examine the development of Laboratory Animal Science and Medicine, an auxiliary field which formed to facilitate the work of the biomedical sciences by systematically improving laboratory animal production, provision, and maintenance in the post Second World War period. We investigate how Laboratory Animal Science and Medicine co-developed at the local level (responding to national needs and concerns) yet was simultaneously transnational in orientation (responding to the scientific need that knowledge, practices, objects and animals (...) circulate freely). Adapting the work of Tsing (2004), we argue that national differences provided the creative “friction” that helped drive the formation of Laboratory Animal Science and Medicine as a transnational endeavor. Our analysis engages with the themes of this special issue by focusing on the development of Laboratory Animal Science and Medicine in Norway, which both informed wider transnational developments and was formed by them. We show that Laboratory Animal Science and Medicine can only be properly understood from a spatial perspective; whilst it developed and was structured through national “centers,” its orientation was transnational necessitating international networks through which knowledge, practice, technologies, and animals circulated. (shrink)

Philosophers have ever declared that their problems lie at a different level from the problems of the empirical sciences. Perhaps one may agree with this assertion; the question is, however, where should one seek this level. The metaphysicians wish to seek their object behind the objects of empirical science; they wish to enquire after the essence, the ultimate cause of things. But the logical analysis of the pretended propositions of metaphysics has shown that they are not propositions at all, but (...) empty word arrays, which on account of notional and emotional connections arouse the false appearance of being propositions. This conception that the “propositions” of metaphysics, including those of ethics, have no theoretical content, is to be sure still disputed. We shall not, however, enter here on its demonstration, but, under its guidance, will limit ourselves to non-metaphysical and non-ethical philosophical problems. (shrink)

Dieser Buchtitel ist Teil des Digitalisierungsprojekts Springer Book Archives mit Publikationen, die seit den Anfängen des Verlags von 1842 erschienen sind. Der Verlag stellt mit diesem Archiv Quellen für die historische wie auch die disziplingeschichtliche Forschung zur Verfügung, die jeweils im historischen Kontext betrachtet werden müssen. Dieser Titel erschien in der Zeit vor 1945 und wird daher in seiner zeittypischen politisch-ideologischen Ausrichtung vom Verlag nicht beworben.

Das Betreiben von Wissenschaft ist eine spezifische Form von Erkenntnistätigkeit, die bezüglich ihrer methodischen Vorgangsweise von konkreten heuristischen Zielsetzungen und korrespondierenden Maßstäben geleitet ist. Die Wissenschaftstheorie verfolgt das Ziel einer Analyse der wissenschaftlichen Erkenntnistätigkeit vor dem Hintergrund der Erkenntnistheorie. Das Kernproblem der traditionellen philosophischen Erkenntnistheorie, und mit ihr der gängigen Wissenschaftstheorie, so meine These, besteht in dem heuristischen Kurzschluss des Inhalts mit dem Gegenstand der Erkenntnis. Dieser manifestiert sich auf direkte Weise in ihrem Fokus auf den heuristischen Maßstab der Gewissheit (...) unseres Wissens, gestützt auf die metaphysische Annahme der Bestimmtheit der Dinge an sich (der die Annahme von Deskription als Paradigma von Erkenntnis im allgemeinen korrepondiert). Die Hauptthese dieser Abhandlung wird sein, dass dieser Kurzschluss zu einer Ausblendung der Rolle der Heuristik als grundlegender Erkenntnisfaktor führt, und in seiner Konsequenz zum deskriptiven Missverständnis der dekonstruktiven mathematischen Heuristik der Physik (mit ihrem Fokus auf die dynamnischen Phänomene) im Sinne von bloßer Dekomposition. Die Folgen dieses Missverständnisses sind, der Rolle der Physik als Grundlagenwissenschaft geschuldet, weitreichend. Insbesondere für das wissenschaftliche Selbstverständnis der Biologie, im Sinne des Ziels, biologische Entitäten analytisch in physikalische zu zerlegen und biologische Phänomene auf physikalische Gesetze zu reduzieren. Dieses Ziel widerspricht klar der dekonstruktiven methodischen Vorgangsweise der Physik, deren einziger Maßstab in der Angemessenheit der Rekonstruktion der betreffenden Phänomene besteht. (shrink)

The major part of this paper is devoted to the task of showing that Husserl's account of knowledge and truth in terms of a synthesis of fulfilment falls prey neither to a form of “metaphysics of presence” nor to a “myth of interiority” or mentalism. Husserl's presentation of the desire to know, his awareness of irreducible forms of absence at the heart of the intuitive presence of the object of knowledge and his formulation of general rules concerning the possible accomplishment (...) of a synthesis of fulfilment are therefore carefully examined. Special attention is also given to the fact that the determination of knowledge and truth provided by the Sixth Logical Investigation rests on an account of an original interweaving between the thing, consciousness, and language. Unlike in Husserl's earlier and later works, no attempt is thereby made to subordinate any of these three elements involved in all knowledge to one of the others. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...) permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Into the central theme of necessity, chance, and providence, Steiner introduces a fascinating description of the nature spirits, particularly the gnomes.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

Consumers have the power to influence the social performance of corporations, but in the United States this power has gone largely unused. And too little attention has been paid to consumer issues by IABS scholars. To better understand why and when consumer boycotts are either effective or successful, this paper studies the reaction to two oil industry incidents: the Exxon Valdez oil spill in Alaska and the Shell Oil Brent Spar controversy. Five ingredients are identified as important to the understanding (...) of consumer activism: culture, context, cause, challenge, and charisma. (shrink)