How can we "know"? What does "knowledge" mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism, the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argued, the source of knowledge is sensual experience - mostly vision. Since vision and picture-making are the realm of art, art theory picked up on questions such as: are pictures able to (...) represent knowledge about the world? How does the production of images itself generate knowledge? How does pictorial logic differ from linguistic logic? How can artists contribute to a collective search for truth? Questions concerning the epistemic potential of art can be found throughout the centuries up until the present day. However, these are not questions of art alone, but of the representational value of images in general. Thus, the history of art theory can contribute much to recent discussions in Visual Studies and Bildwissenschaften by showing the historic dimension of arguments about what images are or should be. "What is knowledge?" is as much a philosophic question as "What is an image?" Visual epistemology is a new and promising research field that is best investigated using an interdisciplinary approach that addresses a range of interconnected areas, such as internal and external images and the interplay of producer and perceiver of images. This publication outlines this territory by gathering together several approaches to visual epistemology by many distinguished authors. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Imre Lakatos' philosophical and scientific papers are published here in two volumes. Volume I brings together his very influential but scattered papers on the philosophy of the physical sciences, and includes one important unpublished essay on the effect of Newton's scientific achievement. Volume II presents his work on the philosophy of mathematics (much of it unpublished), together with some critical essays on contemporary philosophers of science and some famous polemical writings on political and educational issues. Imre Lakatos had an influence (...) out of all proportion to the length of his philosophical career. This collection exhibits and confirms the originality, range and the essential unity of his work. It demonstrates too the force and spirit he brought to every issue with which he engaged, from his most abstract mathematical work to his passionate 'Letter to the director of the LSE'. Lakatos' ideas are now the focus of widespread and increasing interest, and these volumes should make possible for the first time their study as a whole and their proper assessment. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Art interprets the visible world, physics charts its unseen workings--making the two realms seem completely opposed. But in Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From teh classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, aritsts have foreshadowed the discoveries of scientists, such as when Money and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and (...) colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughtout history. Provacative and original, Art & Physics is a seamless integration of the romance of art and the drama of science...and exhilarating history of ideas. (shrink)

On several occasions I have pointed out that the lesson taught us by recent developments in physics regarding the necessity of a constant extension of the frame of concepts appropriate for the classification of new experiences leads us to a general epistemological attitude which might help us to avoid apparent conceptual difficulties in other fields of science as well. Since, however, the opinion has been expressed from various sides that this attitude would appear to involve a mysticism incompatible with the (...) true spirit of science, I am very glad to use the present opportunity of addressing this assembly of scientists working in quite different fields but united in their striving to find a common ground for our knowledge, to come back to this question, and above all to try to clear up the misunderstandings which have arisen. (shrink)

The life of Niels Bohr spanned times of revolutionary change in science itself as well as its impact on society. Along with Albert Einstein, Bohr can be considered to be this century's major driving force behind the new philosophical and mathematical descriptions of the structure of the atom and the nucleus. Abraham Pais, the acclaimed biogrpaher of Albert Einstein, here traces Bohr's progress from his well-to-do origins in late nineteenth-century Denmark to his position at centre stage in the world political (...) scene, particularly during the Second World War and the development of atomic weapons. Pais' description moves through the science as it was before Bohr, as it became because of Bohr, and thence to Bohr's scientific and philosophical legacy. That legacy is contained both in theory as it is now universally enshrined, as well as in its practice in such great Danish institutions as Riso. But more than that, Pais captures the essence of Bohr, the intensely private family figure who, despite appalling personal tragedy, became one of the most loved cultural figures of recent times. (shrink)

In this book, a professor of literature and a physicist offer a broad, new, interdisciplinary account of Modernism. Thomas Vargish and Delo E. Mook encompass physics, the visual arts and literature in a thought-provoking analysis of the period from the 1880s to World War II. Uncovering common structures and values underlying each of these disparate fields, the authors define Modernism and its historical location between nineteenth-century intellectual conventions that preceded it and the Postmodernism that followed. Bridging boundaries that traditionally divide (...) disciplines, Vargish and Mook create a uniquely coherent and comprehensive view of the aesthetics and intellectual values that characterize the culture of Modernism. (shrink)

This absorbing intellectual history vividly recreates the unique social, political, and philosophical milieu in which the extraordinary promise of Einstein and scientific contemporaries took root and flourished into greatness. Feuer shows us that no scientific breakthrough really happens by chance; it takes a certain intellectual climate, a decisive tension within the very fabric of society, to spur one man's potential genius into world-shaking achievement. Feuer portrays such men of high imaginative powers as Einstein, Bohr, Heisenberg, de Broglie, influenced by and (...) influencing the social worlds in which they lived. (shrink)