Trust is a central pillar of the scientific enterprise. Much work in the philosophy of science can be seen as coping with the problem of establishing trust in a certain theory, a certain model, or even science as a whole. However, trust in science is threatened by various developments. With the advent of more complex models and the increasing usage of computer methods such as machine learning and computer simulation, it seems increasingly challenging to establish trust in (...) science. How and on what basis can an appropriate trust in science be built? We are interested in how trust is established in such cases of increasing complexity (of models and communication) and what could be appropriate measures to alleviate doubt. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In conventional medicine, healing is effected mainly by treating the symptoms of the physical body disease, while in mind?body medicine the cure is performed by the mind itself (thoughts and emotions). In fact, the holographic mind theory claims that the mind could be either the healer or the slayer. Thus, this article is a contribution toward a more in-depth study of this theme of conventional medicine versus mind?body medicine, particularly to understand the gifts of quantum physics to life science (...) and the art of healing, so that we might find an integrative medicine model (a holistic approach to health) that could explain some ?incurable? diseases. (shrink)

The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of (...) the Second Empire we find a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model. (shrink)

SummaryHistorians have explored the continuities between science and the arts in the Industrial Revolution, with much recent historiography emphasizing the hybrid nature of the activities of men of science around 1800. Chemistry in particular displayed this sort of hybridity between the philosophical and practical because the materials under investigation were important across the research spectrum. Inflammable gases were an example of such hybrid objects: pneumatic chemists through the eighteenth century investigated them, and in the process created knowledge, (...) processes and instruments essential for the creation of a new gaslight industry from 1800. Once this industry began to expand and mature, the interests and experiments of the gas industry stimulated new research work which in turn had relevance for theoretical debates.This paper explores how the emergence of the gas industry from 1800 provided an impetus for new work in theoretical chemistry. Boulton & Watt, important pioneers of the gas industry, explored the compositions of inflammable gases for practical purposes: the composition of these gases had an important effect on the luminosity of gaslights, and hence the economics of the new technology compared to older forms of lighting. As they explored these questions in their engineering work, they stimulated their friend William Henry to explore the nature of these gases further, and he carried out a series of experiments to determine their composition more exactly than Boulton & Watt had done. Henry published a series of paper between 1805 and 1820 where he made arguments about the compositions of inflammable airs, and further related these to contemporary debates about the laws of multiple and definite proportions, as well as John Dalton's atomism. Henry's research was also a hybrid of the theoretical and practical in that he tried to develop results useful for the fledgling gas industry. Specifically, he suggested the best kind of coal to use, and showed how gas quality varied with distillation time and temperature. (shrink)

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists (...) drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

Abstract The concepts of consciousness and the unconscious have been problematic for cognitive science. This paper is an attempt to determine if artistic and, especially, scientific creativity, taken as a paradigm of cognitive activity, can be explained without recourse to the concept of the unconscious. It opens with a description of creative experience, guided by the works of Arthur Koestler and Abraham Pais and illustrated by anecdotes from the history of science. It then offers a summary and critique (...) of the classical Freudian account of creativity. Next, adopting the perspective of connectionism or parallel distributed processing, the paper proceeds to examine the possibility of creative insight in neural networks. It closes with some observations on the brain/mind problem and with remarks on the necessity and usefulness of the unconscious as an explanatory construct. (shrink)

Cognitive Science, Literature, and the Arts is the first student-friendly introduction to the uses of cognitive science in the study of literature, written specifically for the non-scientist. Patrick Colm Hogan guides the reader through all of the major theories of cognitive science, focusing on those areas that are most important to fostering a new understanding of the production and reception of literature. This accessible volume provides a strong foundation of the basic principles of cognitive science, (...) and allows us to begin to understand how the brain works and makes us feel as we read. (shrink)

Exemplification is the relation of an example to whatever it is an example of. Goodman maintains that exemplification is a symptom of the aesthetic: although not a necessary condition, it is an indicator that symbol is functioning aesthetically. I argue that exemplification is as important in science as it is in art. It is the vehicle by which experiments make aspects of nature manifest. I suggest that the difference between exemplars in the arts and the sciences lies in (...) the way they exemplify. Density and repleteness are characteristic of aesthetic exemplars but not of scientific ones. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Your Cell Will Teach You Everything":Old Wisdom, Modern Science, and the Art of AttentionNoreen HerzfeldA brother came to Scetis to visit Abba Moses and asked him "Father, give me a word." The old man said to him "Go, sit in your cell, and your cell will teach you everything." 1 Among the Desert Fathers, Christian monks of the fourth and fifth centuries, it was customary for a novice (...) to go to an elder and ask for "a word," a word of advice, of counsel, a word to take home and reflect on. What does this word of advice say to us today?A Multitasking World"Your cell will teach you everything." To my students, this seems like very strange advice indeed. "Your cell?" When I quoted Abba Moses to a colleague he instinctively reached for his phone. But a monk's cell? Isn't a monk's cell empty, isolated? What can that cell possibly have to teach? And how? The lives of the young men and women I teach are the very antithesis of sitting in a cell. Their attention is fragmented, divided by an array of modern technologies. I watch them walk by my office window, iPod plugged into the ears, cell phone or Blackberry in hand as they check e-mail or send a text message. Time in their rooms is characterized by one eye on the television and another on the computer, on which are open their theology paper, an instant messaging box or two connecting them to friends, their Facebook page, in case one of their friends should post a status update, and perhaps a Twitter feed or their favorite blog. They assure me that they have grown up multitasking. Young Americans spend an average of six hours a day using nonprint media, and at least a quarter of that time they are using more than one screen, device, or channel.2 They are connected, linked in, logged on.It is not just the student who multitasks while doing homework. The average office worker is interrupted roughly every three minutes during the workday, interruptions that the worker herself often initiates.3 These include the phone, e-mail, [End Page 83] checking websites. As more jobs move to the knowledge and service sectors, more of us find the temptation to multitask at work irresistible.But what effect does all this multitasking have on the person? We're not getting more done, for one thing. Several recent studies have shown that, contrary to self-perception, people really can't multitask. The brain cannot concentrate on several things simultaneously. Instead it switches focus from task to task the same way a computer does. This means that all tasks are slowed down somewhat by the switching process, and the attempt to coordinate too many tasks can lead to more time being devoted to the switching than to the tasks at hand, a phenomenon computer scientists have long been aware of, known as "thrashing." Earl Miller, a neuroscientist at MIT, notes: "Think about writing an e-mail and talking on the phone at the same time. You cannot focus on one while doing the other. That's because of interference between the two tasks."4 Miller notes that in an MRI you can actually see the brain struggling as it shifts rapidly from one to the other.One can see that this might have a deleterious effect on one's work life. Research shows that, once interrupted by an e-mail or a phone call, the average worker can take up to half an hour to return to full concentration on the task at hand.5 But why does this matter for the spiritual life? Over time, multitasking erodes our ability to pay focused, close attention, and this eventually eats away at traits such as patience, tenacity, judgment, and problem solving. This is most evident in the latter. In a test of fifteen-year-olds, the United States ranks twenty-fourth out of the twenty-nine developed countries in the Organization for Economic Co-operation and Development on problem solving skills, with nearly 60 percent of them scoring below the most basic level of using a single... (shrink)

Rousseau's Critique of Science is the first book-length treatment of Rousseau's first philosophic work. It argues that the Discourse is indispensable, both for those interested in the genesis and meaning of Rousseau's philosophic system, and for those interested in the moral consequences of our liberal democratic commitment to scientific progress.

How does the mind lend itself to artistic creation and appreciation? How should we study minds and arts in ways that transform our understanding of both? This book examines the concepts of art and cognition from the complementary perspectives of philosophy, the empirical sciences, and the humanities. Central chapters combine examples of visual art, music, literature, and film with the properties of cognition that they illuminate, including 4E cognition, predictive processing, and theories of affect and emotion. These aspects of (...) cognition are undergoing theoretical shifts that complicate established understandings of the mind and its encounter with the arts. As the book takes stock of recent developments in aesthetics that have incorporated empirical findings (Naturalized Aesthetics), it also envisions a new generation of cognitive science with robust ties to history and literature (the Cognitive Humanities). In this way, Cognition and the Arts can be seen as a model of interdisciplinary scholarship. (shrink)

A readable attempt to reconcile methods, materials, and results in the arts and sciences. The author stresses similarities, but does not overlook crucial differences, in key notions such as patterns of discovery and methods of formulation.--E. S. C.

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, 'impressively atful minds'. Cognitively modern minds produced a staggering list of behavioural singularities - science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art - that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the (...) basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this book, which emerged from a year-long Getty-funded research project hosted by the Centre for Advanced Study in the Behavioural Sciences at Stanford. (shrink)

There are now countless social scientific disciplines—listed either as the science of … X … or as an -ology of one kind or another—each with their own internal controversies as to what are their “proper objects of their study.” This profusion of separate sciences has emerged, and is still emerging, tainted by the classical Cartesian-Newtonian assumption of a mechanistic world. We still seem to assume that we can begin our inquiries simply by reflecting on the world around us, and (...) by allowing our conceptualizations to guide our actions in our inquiries. Beginning our inquiries in this retrospective manner, however, means that our concepts and conceptualizations are both after-the-fact and beside the point, for ‘something else’ altogether is guiding us in the performance of our situation-sensitive actions than merely our conceptualizations. We need before-the-fact, hermeneutically-structured inquiries that can ‘set out’ inner ‘landscapes of possibilities’, to think-with and to provide guidance, as we try in our more scientifically organized efforts to achieve socially desired outcomes in particular socially shared situations. Conducting such preliminary inquiries is thus an art, requiring not only judgment, but also imagination and poetic forms of expression aimed at creating such shared, inner landscapes among all concerned. (shrink)

An interdisciplinary exploration of the forms, implications, and potentials of cinematic thinking.

The thesis of this essay can be stated quite directly: Slavoj Žižek, despite having little to say about mashup and remixing in any direct way, engages this new media phenomena in both theory and practice, providing contemporary culture with both a conceptual understanding of the mashup and a carefully executed illustration of its methodology. The examination of this will proceed by way of two movements. The first investigates how Žižek's work, especially his general interest in "short circuiting," provides theoretical insight (...) for understanding the mashup and its cultural significance. The second turns things around, demonstrating how the mashup explains and describes Žižek's own compositional practices. In other words, the first part explains the mashup by way of Žižek, while the second explains Žižek by way of the mashup. (shrink)

The Iconic, Indexical and Intellective are conceptions derived from Charles Sanders Peirce's use of his sign theory. In characterizing different kinds of interpretative activity, they can be used to address certain problems in science, technology and the arts.

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, _Logic and the Art of Memory_ Italian philosopher and historian Paolo Rossi argues that this view is belied by an (...) examination of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, _Logic and the Art of Memory_ documents an essential chapter in the development of human reason. (shrink)

The concept of the art of healing is intrinsically connected with the idea of healing powers. There are at least three possible approaches to that idea and all of them have different implications for the problem of medical wisdom. These are: the idea of the healing powers of nature, the idea of the healing powers of science, and the idea of the healing powers of physician's personality. Having critically discussed those ideas I sketch an ideal of a wise physician (...) as someone who has a particular kind of knowledge, good judgement, and self-trust. Medical knowledge is certainly a necessary condition of being a wise doctor but it is not the sufficient one. And this is why patients generally prefer to seek help of “naturally wise physicians”. (shrink)

For fifteen years, from 1662 until his death in 1677, Henry Oldenburg served the Royal Society as second Secretary and was charged with almost the entire burden of its correspondence, domestic and foreign. During this time he acted as a centre for the communication of scientific news, searching out new sources of information, encouraging men everywhere to make their work public, acting as an intermediary between scientists and, through the Philosophical Transactions, providing a medium for the publication of short scientific (...) papers. Oldenburg's contribution to scientific communication was unique in the seventeenth century, not least because he represented the Royal Society and served all its members impartially. It is not too much to say that he invented the professions of scientific administrator and scientific journalist. (shrink)

Thomas Kuhn's philosophy of science, which he developed by focusing on physics, was later applied by other authors to virtually all areas or disciplines of culture. What interests me here, however, is the movement in the opposite direction: the role that one of these disciplines, history of art, played in the conception of Kuhn'stheoryof science.In a 1969 article, his only published text concerning science and art, Kuhn makes a brief and intriguing observation about The Structure of Scientific (...) Revolutions. He says the book was a belated product of his discovery of the parallels between science and art. This is a retrospective assertion about Structure, as well as that of the... (shrink)

What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy (...) of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein. (shrink)

Philosophy and Science are subject to conflicting interpretations, such as the rules of positivism and analytic thought. Bernard Lonergan and Gilles Deleuze have both assessed such issues in complementary fashion. This book examines their arguments through the application of mathematical theories and Buddhist-Christian ethics in an attempt to bridge the religious-secularist divide exacerbated by postmodernism.

There is a bookshop in Cambridge, England, which only sells books published by the Cambridge University Press. It is a common experience for browsers to pull a book off the shelf, attracted by the...

The era of Big Data comes with the omnipresent metaphor of the Cloud, a term suggesting an ephemeral and seemingly endless storage space, unhindered by time and place. Similar to the satellite image of the Whole Earth, which was the icon of technological progress in the late 60s, the Cloud as a metaphor breathes the promise of technology, whilst obfuscating the hardware reality of server farms and software infrastructure necessary to enable the proliferation of data. This article presents projects from (...) the fields of humanities, social sciences and the arts that formulate a response to Big Data and its human and automated practices, from data analytics dashboards to critical reflections on smart technologies and objects. (shrink)

Hepburn argues that all education, and so Arts Education, educates a person's subjectivity, his or her Lebenswelt; though the sciences take the ‘objectifying way’ they too educate our subjectivity. I show why there can be no decision procedures, involving the use of logical operators for interpreting a work of art, but argue that Hepburn's view that music etc. can furnish ‘authoritative imaginative realisations’, nevertheless presupposes a ‘soft’ objectivist position. Whilst Hepburn is right in thinking that the subjective provides the (...) context for objectifying procedures in education (and more generally), it cannot be the case, as he implies, that aesthetic criteria could have a role in the selection of preferred scientific explanations and theories. It is, however, argued that the aesthetic can be generative of objectifying ways, or theoryenabling. (shrink)

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)

In three volumes, a distinguished group of scholars from a variety of disciplines in the natural and social sciences, the humanities and the arts contribute essays in honor of Robert S. Cohen, on the occasion of his 70th birthday. The range of the essays, as well as their originality, and their critical and historical depth, pay tribute to the extraordinary scope of Professor Cohen's intellectual interests, as a scientist-philosopher and a humanist, and also to his engagement in the world (...) of social and political practice. Science, Mind and Art, Volume III of Essays in honor of Robert S. Cohen focuses on issues in contemporary epistemology, aesthetics, and philosophy of mind as well as on the relations of science and human values in ethical and religious thought. It also has important new work in contemporary metaphysics, as well as in the history of philosophy, and on questions of multiculturalism in science education. Contributors include Paul Feyerabend, Adolf Grünbaum, Joseph Margolis, Joëlle Proust, Erazim Kohak, Elie Wiesel, Miriam Bienenstock, and John Silber, among others. (shrink)