This is an introductory overview of theories of scientific method.

The central theme running throughout this outstanding new survey is the nature of the philosophical debate created by modern science's foundation in experimental and mathematical method. More recently, recognition that reasoning in science is probabilistic generated intense debate about whether and how it should be constrained so as to ensure the practical certainty of the conclusions drawn. These debates brought to light issues of a philosophical nature which form the core of many scientific controversies today. _Scientific Method: A Historical and (...) Philosophical Introduction_ presents these debates through clear and comparative discussion of key figures in the history of science. Key chapters critically discuss * Galileo's demonstrative method, Bacon's inductive method, and Newton's rules of reasoning * the rise of probabilistic `Bayesian' methods in the eighteenth century * the method of hypotheses through the work of Herschel, Mill and Whewell * the conventionalist views of Poincaré and Duhem * the inductivism of Peirce, Russell and Keynes * Popper's falsification compared with Reichenbach's enumerative induction * Carnap's scientific method as Bayesian reasoning The debates are brought up to date in the final chapters by considering the ways in which ideas about method in the physical and biological sciences have affected thinking about method in the social sciences. This debate is analyzed through the ideas of key theorists such as Kuhn, Lakatos, and Feyerabend. (shrink)

The book moves from descriptive through to more interpretative phenomenological methods to enable the reader to learn to use the main approaches to ...

The definition of the human -- Perceiving paintings as paintings I -- Perceiving paintings as paintings II -- "One and only one correct interpretation" -- Toward a phenomenology of painting and literature -- "Seeing-in," "make-believe," transfiguration" : the perception of pictorial representation -- Beauty and truth and the passing of transcendental philosophy.

The aim of psychology is to understand the human mind and behavior. In contemporary psychology, the method of choice to accomplish this incredibly complex endeavor is the experiment. This dominance has shaped the whole discipline from the self-concept as an empirical science and its very epistemological and theoretical foundations, via research practice and the scientific discourse to teaching. Experimental psychology is grounded in the scientific method and positivism, and these principles, which are characteristic for modern thinking, are still upheld. Despite (...) this apparently stalwart adherence to modern principles, experimental psychology exhibits a number of aspects which can best be described as facets of postmodern thinking although they are hardly acknowledged as such. Many psychologists take pride in being “real natural scientists” because they conduct experiments, but it is particularly difficult for psychologists to evade certain elements of postmodern thinking in view of the specific nature of their subject matter. Postmodernism as a philosophy emerged in the 20th century as a response to the perceived inadequacy of the modern approach and as a means to understand the complexities, ambiguities, and contradictions of the times. Therefore, postmodernism offers both valuable insights into the very nature of experimental psychology and fruitful ideas on improving experimental practice to better reflect the complexities and ambiguities of human mind and behavior. Analyzing experimental psychology along postmodern lines begins by discussing the implications of transferring the scientific method from fields with rather narrowly defined phenomena—the natural sciences—to a much broader and more heterogeneous class of complex phenomena, namely the human mind and behavior. This ostensibly modern experimental approach is, however, per se riddled with postmodern elements: creating phenomena in an experimental setting, including the hermeneutic processes of generating hypotheses and interpreting results, is no carbon copy of “reality” but rather an active construction which reflects irrevocably the pre-existing ideas of the investigator. These aspects, analyzed by using postmodern concepts like hyperreality and simulacra, did not seep in gradually but have been present since the very inception of experimental psychology, and they are necessarily inherent in its philosophy of science. We illustrate this theoretical analysis with the help of two examples, namely experiments on free will and visual working memory. The postmodern perspective reveals some pitfalls in the practice of experimental psychology. Furthermore, we suggest that accepting the inherently fuzzy nature of theoretical constructs in psychology and thinking more along postmodern lines would actually clarify many theoretical problems in experimental psychology. (shrink)

The thesis of the present volume is critical and dual. (1) Present day philosophy of man and sciences of man suffer from the Greek mis taken polarization of everything human into nature and convention which is (allegedly) good and evil, which is (allegedly) truth and fal sity, which is (allegedly) rationality and irrationality, to wit, the polar ization of all fields of inquiry, the natural and social sciences, as well as ethics and all technology, whether natural or social, into the (...) totally positive and the totally negative. (2) Almost all philosophy and sci ences of man share the erroneous work ethic which is the myth of man's evil nature - the myth of the beast in man, the doctrine of original sin. To mediate or to compromise between the first view of human nature as good with the second view of it as evil, sociologists have devised a modified utilitarianism with deferred gratification so called, and the theory of the evil of artificial competition (capitalist and socialist alike) and of keeping up with the Joneses. Now, the mediation is not necessary. For, the polarization makes for abstract errors which are simplistic views of rationality, such as reductionism and positivism of all sorts, as well as for concrete errors, such as the disposition to condemn repeatedly those human weaknesses which are inevitable, namely man's inability to be perfectly rational, avoid all error, etc. , thus setting man against himself as all too wicked. (shrink)

_The Arts and the Definition of the Human_ introduces a novel theory that our selves—our thoughts, perceptions, creativity, and other qualities that make us human—are determined by our place in history, and more particularly by our culture and language. Margolis rejects the idea that any concepts or truths remain fixed and objective through the flow of history and reveals that this theory of the human being as culturally determined and changing is necessary to make sense of art. He shows that (...) a painting, sculpture, or poem cannot have a single correct interpretation because our creation and perception of art will always be mitigated by our historical and cultural contexts. Calling upon philosophers ranging from Parmenides and Plato to Kant, Hegel, and Wittgenstein, art historians from Damisch to Elkins, artists from Van Eyck to Michelangelo to Wordsworth to Duchamp, Margolis creates a philosophy of art interwoven with his philosophical anthropology which pointedly challenges prevailing views of the fine arts and the nature of personhood. (shrink)