This paper compares the views of styles of science of Alistair Crombie and Ian Hacking with the notion of styles of art, as developed by Alois Riegl at the end of the 19th Century. Important similarities are noted, notably in the conceptualization of the autonomy of styles. Riegl developed in particular the notion of Kunstwollen , which encompasses an implied relation to the world, in both a cognitive and an ethical sense, and a relation to the public of art. The (...) latter aspect will be examined as the “role of the spectator”. Finally, a number of Riegl’s view on art are tentatively applied to styles of science. (shrink)

It was customary in traditional approaches to the sociology of knowledge to bracket either questions about the possibility of the social determination of natural scientific ideas or questions about the ability of the sociology of knowledge to evaluate other types of knowledge claims. The current strong program in the sociology of knowledge, a typical representative of the new approach to the sociology of science, wants to study the production of natural scientific knowledge scientifically and simultaneously bracket normative considerations. We criticize (...) this neglect of the normative dimension in the strong program on the basis of the role that Marx envisioned for his sociology of knowledge. For example, the sociology of knowledge should be understood as a critique of power that does not merely accept the status quo as a datum. In addition, we attempt to extend Marx's discussion of the social bases of such a critique. (shrink)