In this work the distinguished physical chemist and philosopher, Michael Polanyi, demonstrates that the scientist's personal participation in his knowledge, in both its discovery and its validation, is an indispensable part of science itself. Even in the exact sciences, "knowing" is an art, of which the skill of the knower, guided by his personal commitment and his passionate sense of increasing contact with reality, is a logically necessary part. In the biological and social sciences this becomes even more evident. The (...) tendency to make knowledge impersonal in our culture has split fact from value, science from humanity. Polanyi wishes to substitute for the objective, impersonal ideal of scientific detachment an alternative ideal which gives attention to the personal involvement of the knower in all acts of understanding. His book should help to restore science to its rightful place in an integrated culture, as part of the whole person's continuing endeavor to make sense of the totality of his experience. In honor of this work and his The Study of Man Polanyi was presented with the Lecomte de Noüy Award for 1959. (shrink)

Reinvestigating the work of the anatomist Wilhelm His (1831-1904) shows how engaging with models in three dimensions can revise our accounts of scientific change. His is known to historians of biology for articulating a mechanical approach to embryology and for inventing a section cutter, or microtome. Focusing on the wax models that he also made in the late 1860s shows how the other two innovations were linked; reconstructing embryos from the sections, His claimed, provided compelling evidence for mechanical views. The (...) next generation of embryologists appropriated His's work selectively. In the 1880s anatomists took up "plastic reconstruction" to visualize the complex forms of higher vertebrate, especially human, embryos. An increasingly dominant experimental embryology, by contrast, drew on His's mechanical approach but had little use for the waxes and effaced them from the history of his work. Recovering these models offers a fresh perspective on the transformation of a central science of animal life and enriches our understanding of the relations between representation in two dimensions and three. (shrink)

Linking the process of rational decision making to emotions, an award-winning scientist who has done extensive research with brain-damaged patients notes the dependence of thought processes on feelings and the body's survival-oriented regulators. 50,000 first printing.

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who (...) held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)

Examines the processes of scientific creativity and discovery, and proposes a model of scientific development.

The purpose of this article is to integrate two outstanding problems within the philosophy of science. The first concerns what role aesthetics plays in scientific thinking. The second is the problem of how logically testable ideas are generated (the so-called "psychology of research" versus "logic of (dis)proof" problem). I argue that aesthetic sensibility is the basis for what scientists often call intuition, and that intuition in turn embodies (in a literal physiological sense) ways of thinking that have their own meta-logic. (...) Thus, aesthetics is a form of cognition. Scientists think not in equations or words or other logical abstractions, but emotionally and sensually, using visual and aural images, kinesthetic and other proprioceptive feelings, sensations, patterns, and analogies. These aesthetic forms of thinking have their own logics that I call "synosia", from the root words synaesthesia (a combining of senses) and gnosis, "to know". Synosia denotes understanding that integrates feeling that one knows with feeling what one knows. Eminent scientists universally describe an explicitly secondary process in which such personal knowledge must be "translated" into a formal language, such as words or equations, in order to be communicated to other people. Many of the unsolved problems that philosophers of science (as well as psychologists and artificial intelligence researchers) have had in making sense of scientific thinking have arisen from confusing the form and content of the final translations with the hidden means by which scientific insights are actually achieved. (shrink)

This collection of essays from Nobel Laureate Max Perutz explores a wide range of scientific and personal topics with insight and lucidity. It includes lively anecdotes about key figures in 20th-century science.

Agnes Arber's international reputation is due in part to her exceptional ability to interpret the German tradition of scholarship for the English-speaking world. The Mind and the Eye is an erudite book, revealing its author's familiarity with philosophy from Plato and Aristotle through Aquinas to Kant and Hegel; but it is not dull, because the quiet enthusiasm of the author shines through. In this book she turns from the work of a specialist in one science to those wider questions which (...) any scientist must ask at intervals. What, in short, is the relationship between the eye that sees and the mind that weighs and pronounces? An important feature of this Cambridge Science Classics reissue is the introduction provided by Professor P. R. Bell, who as a Cambridge botany student at the time that Agnes Arber was writing The Natural Philosopby of Plant Form, is uniquely able to set The Mind and the Eye in the context of contemporary biological research. (shrink)