This fascinating study in the sociology of science explores the way scientists conduct, and draw conclusions from, their experiments. The book is organized around three case studies: replication of the TEA-laser, detecting gravitational rotation, and some experiments in the paranormal. "In his superb book, Collins shows why the quest for certainty is disappointed. He shows that standards of replication are, of course, social, and that there is consequently no outside standard, no Archimedean point beyond society from which we can lever (...) the intellects of our fellows. "- -Donald M. McCloskey, Journal of Economic Psychology "Collins is one of the genuine innovators of the sociology of scientific knowledge.... Changing Order is a rich and entertaining book. "- - Isis "The book gives a vivid sense of the contingent nature of research and is generally a good read. "- -Augustine Brannigan, Nature "This provocative book is a review of [Collins's] work, and an attempt to explain how scientists fit experimental results into pictures of the world.... A promising start for new explorations of our image of science, too often presented as infallibly authoritative. "- -Jon Turney, New Scientist. (shrink)

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and a (...) thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized? (shrink)

A general account of modeling in physics is proposed. Modeling is shown to involve three components: denotation, demonstration, and interpretation. Elements of the physical world are denoted by elements of the model; the model possesses an internal dynamic that allows us to demonstrate theoretical conclusions; these in turn need to be interpreted if we are to make predictions. The DDI account can be readily extended in ways that correspond to different aspects of scientific practice.

An extraordinary history of humanity's changing vision of the universe. In this masterly synthesis, Arthur Koestler cuts through the sterile distinction between 'sciences' and 'humanities' to bring to life the whole history of cosmology from the Babylonians to Newton. He shows how the tragic split between science and religion arose and how, in particular, the modern world-view replaced the medieval world-view in the scientific revolution of the seventeenth century. He also provides vivid and judicious pen-portraits of a string of great (...) scientists and makes clear the role that political bias and unconscious prejudice played in their creativity. (shrink)

This ground-breaking book brings together researchers from a wide range of disciplines to discuss the control and coordination of processes involved in perceptually guided actions. The research area of motor control has become an increasingly multidisciplinary undertaking. Understanding the acquisition and performance of voluntary movements in biological and artificial systems requires the integration of knowledge from a variety of disciplines from neurophysiology to biomechanics.

Discussions of representation in science tend to draw on examples from art. However, such examples need to be handled with care given a) the differences between works of art and scientific theories and b) the accommodation of these examples within certain philosophies of art. I shall examine the claim that isomorphism is neither necessary nor sufficient for representation and I shall argue that there exist accounts of representation in both art and science involving isomorphism which accommodate the apparent counterexamples and, (...) moreover, allow us to understand how “impossible” artistic objects and inconsistent scientific theories can be said to represent. (shrink)