This paper argues that since the last decades of the twentieth century the discipline of modern finance has directed fiduciaries to act "rationally"—that is, in the sole financial interest of their funds--downplaying the effects of their investments on others. This approach has deemphasized a previous, more "reasonable" interpretation of fiduciary duty that drew on a conception of prudence characterized by wisdom, discretion and intelligence—one that accounts to a greater degree for the relationship between one's investments and their effects on others (...) in the world. The reasonable approach allows fiduciaries to a greater degree to assess the objective well-being of beneficiaries, to recognize fundamental sources of investment reward in the economy, and to fulfill their obligations to allocate benefits impartially between current and future generations. Reason and rationality can work in a complementary fashion to make investment long-term in its perspective and beneficial to society and the economy as well as to specific funds or portfolios. Determining how to accomplish this challenging task is part of the obligation of fiduciaries as they seek to realize the full potential of the investment assets entrusted to their care. (shrink)

Thomas Kuhn's _The Structure of Scientific Revolutions_ is one of the best known and most influential books of the twentieth century. Whether they adore or revile him, critics and fans alike have tended to agree on one thing: Kuhn's ideas were revolutionary. But were they? Steve Fuller argues that Kuhn actually held a profoundly conservative view of science and how one ought to study its history. Early on, Kuhn came under the influence of Harvard President James Bryant Conant, who (...) had developed an educational program intended to help deflect Cold War unease over science's uncertain future by focusing on its illustrious past. Fuller argues that this rhetoric made its way into _Structure,_ which Fuller sees as preserving and reinforcing the old view that science really is just a steady accumulation of truths about the world. Fuller suggests that Kuhn, deliberately or not, shared the tendency in Western culture to conceal possible negative effects of new knowledge from the general public. Because it insists on a difference between a history of science for scientists and one suited to historians, Fuller charges that _Structure_ created the awkward divide that has led directly to the "Science Wars" and has stifled much innovative research. In conclusion, Fuller offers a way forward that rejects Kuhn's fixation on paradigms in favor of a conception of science as a social movement designed to empower society's traditionally disenfranchised elements. Certain to be controversial, _Thomas Kuhn_ must be read by anyone who has adopted, challenged, or otherwise engaged with _The Structure of Scientific Revolutions._ "Structure will never look quite the same again after Fuller. In that sense, he has achieved one of the main aims of his ambitious and impressively executed project."—Jon Turney, _Times Higher Education Supplement_ "Philosophies like Kuhn's narrow the possible futures of inquiry by politically methodizing and taming them. More republican philosophies will leave the future open. Mr. Fuller has amply succeeded in his program of distinguishing the one from the other."—William R. Everdell, _Washington Times_. (shrink)

In this challenging and provocative book, Steve Fuller contends that our continuing faith in science in the face of its actual history is best understood as the secular residue of a religiously inspired belief in divine providence. Our faith in science is the promise of a life as it shall be, as science will make it one day. Just as men once put their faith in God's activity in the world, so we now travel to a land promised by (...) science. In "Science", Fuller suggests that the two destinations might be the same one. Fuller sympathetically explores what it might mean to live scientifically. Can science give a sense of completeness to one's life? Can it account for the entirety of what it is to be human? And what does our continuing belief in scientific progress say about us as a species? In answering these questions, Fuller ranges widely over the history of science and religion - from Aristotle and the atomists to Dawkins and the neo-Darwinists - and takes a close look at what science is, how its purpose has changed over the years, and what role religion and in more recent years atheism have played in its progression. Science, argues Fuller, is now undergoing its own version of secularization. We are ceasing to trust science in its institutional forms, formulated by an anointed class of science priests, and instead we are witnessing the emergence of what Fuller calls Protscience' - all sorts of people, from the New Age movement to anti-evolutionists, claiming scientific authority as their own. Fuller shows that these groups are no more anti-scientific than Protestant sects were atheistic. Fearless and thought-provoking, Science questions some of our most fundamental beliefs about the nature and role of science, and is a distinct and important contribution to debates about evolution, intelligent design, atheism, humanism, the notion of scientific progress, and the public understanding of science. (shrink)

As the field of Science and Technology Studies has become more established, it has increasingly hidden its philosophical roots. While the trend is typical of disciplines striving for maturity, Steve Fuller, a leading figure in the field, argues that STS has much to lose if it abandons philosophy. In his characteristically provocative style, he offers the first sustained treatment of the philosophical foundations of STS and suggests fruitful avenues for further research. With stimulating discussions of the Science Wars, the (...) Intelligent Design Theory controversy, and theorists such as Donna Haraway and Bruno Latour, _Philosophy of Science and Technology_ _Studies_ is required reading for students and scholars in STS and the philosophy of science. (shrink)

In this article, we posit that a cross-scale perspective is valuable for studies of organizational resilience. Existing research in our field primarily focuses on the resilience of organizations, that is, the factors that enhance or detract from an organization’s viability in the face of threat. While this organization level focus makes important contributions to theory, organizational resilience is also intrinsically dependent upon the resilience of broader social-ecological systems in which the firm is embedded. Moreover, long-term organizational resilience cannot be well (...) managed without an understanding of the feedback effects across nested systems. For instance, a narrow focus on optimizing organizational resilience from one firm’s perspective may come at the expense of social-ecological functioning and ultimately undermine managers’ efforts at long-term organizational survival. We suggest that insights from natural science may help organizational scholars to examine cross-scale resilience and conceptualize organizational actions within and across temporal and spatial dynamics. We develop propositions taking a complex adaptive systems perspective to identify issues related to focal scale, slow variables and feedback, and diversity and redundancy. We illustrate our theoretical argument using an example of Unilever and palm oil production in Borneo. (shrink)

Based on an original ethnographic study of a translational cancer research institute in the United States, we propose calibration as a process that makes interdisciplinary collaboration without consensus possible. Calibration refers to ongoing, day-to-day negotiation and alignment of personal identities, disciplinary commitments, and research group customs that occur during face-to-face group deliberations around everyday research concerns. Calibration provides a mechanism that explains how collaboration without consensus is possible. Crucially, it does not presuppose that interdisciplinary collaboration either indicates or causes the (...) blurring or softening of disciplinary boundaries. We argue that at the microsociological level it may be disciplinary robustness, rather than synthesis, that contributes to interdisciplinary innovation. (shrink)

Aimed directly at those who aspire to be university leaders in these turbulent times, and written as an academic counterpart to Machiavelli's The Prince, The Academic Caesar explores four themes that are central to the contemporary university: its Caesar-leaders, its economics, its disciplines, and whether academics have a future in the universities. Drawing on a wealth of experience writing about the social epistemology of higher education, Steve Fuller makes a witty, robust and provocative contribution to the ongoing debate about (...) where the university has come from and where it is going. The Academic Caesar will prove a fascinating read for those seeking new insights into current crisis in higher education as well as researchers and academics interested in the sociology of leadership. (shrink)

I respond to William Lynch’s critique of the sympathetic reading of my work provided by Remedios and Dusek in Knowing Humanity in the Social World: The Path of Steve Fuller’s Social Epistemology. Lynch harks back to my early works, which he sees as a promoting a ‘naturalism’ lacking in the later works. In response, I observe that my commitment to naturalism has always been ‘reflexive’, which has led me to break with conventional forms of naturalism, though sticking closely to (...) the spirit of science. (shrink)

The combination of sex and horror may be disquieting to many, but the two are natural (if perhaps gruesome) bedfellows. In fact, sex and horror coincide with such regularity in contemporary horror fiction that the two concepts appear to be at least partially intertwined. The sex–horror relationship is sometimes connotative rather than overt; examples of this relationship range from the seduction overtones of 'Nosferatu' and the juxtaposition of nudity and horror promised by European exploitation filmmakers to the sadomasochistic iconography of (...) 'Hellraiser'. In other cases, sex and horror are balanced in a manner that thoroughly blurs the distinction between porn and horror. The sustained presence of sex-horror in film suggests that these two elements fit together and the combination is a source of pleasure (entertainment, fascination, intellectual stimulation and so forth) for many. Yet sex-horror is broadly perceived to be disturbing and these negative reactions indicate that sex-horror is a source of trepidation, moral disdain or disgust for some. Thus, it appears that sex-horror inspires directly competing responses. One might conclude that sex-horror itself is paradoxical; that it holds two directly oppositional meanings simultaneously. However, as I will illustrate in this chapter, these dual responses are not as contradictory as they might first appear to be. (shrink)

Erotic Nights of the Living Dead (1980) may have featured both animated corpses and hardcore sex scenes, but only recently have Re-Penetrator (2004) and Porn of the Dead (2006) managed to fully eroticise the living dead, allowing these creatures to engage in intercourse. In doing so, the usually a-subjective zombie is allotted a key facet of identity - sexuality. This development within the sub-genre needs accounting for outside of the contexts of porn studies, where it has only been briefly touched (...) upon in relation to its "extremity". -/- Moreover, the gendering of the undead opens a discussion which expand the horizons of zombie studies away from the overt critiques of capitalism, race and psychoanalysis that have pervaded analyses of these narratives. The dichotomy of binary oppositions so often associated with psychoanalytic approaches dictates that "passive (non-phallic) = female", and "active (phallic) = male". In these terms, the zombies are feminine - soft-bodied and passive, despite their murderous intent (which has been accounted for, by Barabara Creed (1993) amongst others, by invoking the vagina-dentata motif). Humans (active) are deemed masculine, not least since they tend to dispatch zombies with "phallic guns". Taking this logic to an extreme, the zombie may be read as allegorising feminism: the "feminised" figures (zombies) become fearsome in their will to exert themselves despite their seeming disempowerment in the face of "masculine" hegemony. Ultimately, by grouping together as a force, they overthrow or at least significantly damage that "normality" (an ideological paradigm usually read in terms of race, class and economics). (shrink)

In proportion to the increased emphasis placed on abortion in partisan political debate since the early 2000s, there has been a noticeable upsurge in cultural representations of abortion. This article charts ways in which that increase manifests in contemporary survival-horror. This article contends that numerous contemporary survival-horror films foreground pregnancy. These representations of pregnancy reify the pressures that moralistic, partisan political campaigning places on individuals who consider terminating a pregnancy. These films contribute to public discourse by engaging with abortion as (...) an individual, emotional matter, rather than treating abortion as a matter of political principle or a political “means to an end.” This article not only charts a relationship between popular culture and its surrounding political context, but also posits that survival-horror—a genre that has been disparaged by critics and largely ignored by scholars—makes an important contribution to sexual-political discourse. These films use horror to articulate the things we cannot say about abortion. (shrink)

The Sophists, and the Socratic response they provoked, are considered in order to elucidate issues raised by present-day skill-talk. These issues include: whether skills avoid questions of ends and truth; the existence of general skills, such as critical thinking; the importance of knowledge; skills and the personality; and some implications for teaching and philosophy.

On the ten year anniversary of 2Girls1Cup, this article examines the complex balance of shock, pleasure and disgust elicited by this viral video.

This chapter explores the relationship between ‘hardcore’ horror films, and the discursive context in which mainstream horror releases are being dubbed ‘extreme’. This chapter compares ‘mainstream’ and ‘hardcore’ horror with the aim of investigating what ‘extremity’ means. I will begin by outlining what ‘hardcore’ horror is, and how it differs from mainstream horror (both in terms of content and distribution). I will then dissect what ‘extremity’ means in this context, delineating problems with established critical discourses about ‘extreme’ horror. Print press (...) reviewers focus on theatrically released horror films, ignoring microbudget direct-to-video horror. As such, their adjudications about ‘extremity’ in horror begin from a limited base that misrepresents the genre. Moreover, ‘extremity’ is not a universally shared value, yet it is predominantly presented as if referring to an objective, universally agreed-upon standard. Such judgements change over time. Moreover, in contrast to marketers’ uses of ‘extreme’, press critics predominantly use the term as a pejorative. Although academics have sought to defend and contextualise particular maligned films and directors, scholars have focused on a handful of infamous examples. As I will explain, academic publishers implicitly support that narrow focus. As such, the cumulative body of scholarly work on ‘extreme’ horror inadvertently replicates print press critics’ mischaracterisation of the genre. These discursive factors limit our collective understandings of ‘horror’, its ostensible ‘extremity’. and of ‘extremity’ qua concept. Given that the discourse of ‘extremity’ is so commonly employed when censuring representations that challenge established genre conventions, it is imperative that horror studies academics attend to peripheral hardcore horror texts, and seek to develop more robust conceptual understandings of extremity. (shrink)

Torture porn has been vilified on grounds that are at best unconvincing and at worst incoherent. The subgenre’s remonstrators too often ignore the content of the films themselves, and fail to make sufficiently detailed connections between the subgenre and the cultural sphere. Reactions to torture porn rarely consider what values the films apparently contravene, and why, if the films are offensive, they are simultaneously so popular. The central derisive mechanism in operation is the ill-conceived combination of ‘torture’ and ‘porn’ itself. (...) The use of ‘porn’ as a label works to illegitimate torture porn and demand that body-horror retreat to its more ‘fitting’ position on the outskirts of the cultural radar. However, this approach is too busy pointing at violence, and fails to deal with the fact that sex is displaced. If violence is now pornographic, it is unclear what position sexual portrayals occupy, or whether they are still perceived as more offensive than violent representations. Furthermore, it is uncertain how we are to describe sexual images if that is the case, since the lexicon of offense has been waylaid. Torture porn’s critics commonly fail to account for the new context of ‘porn plus horror’, and what that combination says about visual representation and its limits. This chapter is a step towards rectifying that oversight. (shrink)

This chapter explores the tentative line between erotic spectacle and horror; a judgement that is problematic given that is based on an axis of moral or ideological normality. The contexts of viewing impact on the status of ‘obscene’ images, both in terms of the communities that view them and their motivation for viewing; for sexual arousal, out of morbid curiosity or malevolence, or perhaps all three simultaneously. The reception of an obscene image is largely based upon the issue of viewer (...) consent, but this itself comes at the expense of the reality of bodies depicted, that are pushed to (and beyond) their limits. The chapter examines the moral and philosophical implications of desires that place the body in extreme states of sexualized deconstruction - both real and faked – and how these apply to images and communities in cyberspace. (shrink)

Despite the closure of virtually all original grindhouse cinemas, ‘grindhouse’ lives on as a conceptual term. This article contends that the prevailing conceptualization of ‘grindhouse’ is problematized by a widening gap between the original grindhouse context (‘past’) and the DVD/home-viewing context (present). Despite fans’ and filmmakers’ desire to preserve this part of exploitation cinema history, the world of the grindhouse is now little more than a blurry set of tall-tales and faded phenomenal experiences, which are subject to present-bias. The continuing (...) usefulness of grindhouse-qua-concept requires that one should pay heed to the contemporary contexts in which ‘grindhouse’ is evoked. (shrink)

This article explores the various ethical and legal limitations faced by researchers studying extreme or ‘ shock’ pornographies, beginning with generic and disciplinary contexts, and focusing specifically upon the assumption that textual analysis unproblematically justifies certain pornographies, while legal contexts utilize a prohibitive gaze. Are our academic freedoms of speech endangered by legislations that restrict our access to non-mainstream images, forcing them further into taboo locales? If so, is the ideological normalization of sexuality inextricable from our research methodologies? Simultaneously, can (...) we justify researchers being allowed access to materials that are not deemed suitable for general consumption, which may further bolster normalized hierarchies of class-privilege and cultural capital? (shrink)

Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...) and offense) on which those judgements are made. Six’s films are far more sophisticated than has been accounted for. These films wear their generic lineage on their grimy sleeves, contextualising conventional motifs such as the mad scientist archetype against contemporary cultural anxieties regarding the body, sex and violence. Furthermore, Six’s constructed persona exposes the interplay between commercial success, grotesquery and censoriousness as a cyclic system that can be abused. Thus, the series epitomises how repulsion can be strategically utilised. Six anticipates his detractors’ offense, and disarms them of their ability to critique his films without adding to their notoriety. The Human Centipede films demonstrate how controversy can be tactically generated to create meaning. (shrink)

Since 1990, The Simpsons’ annual “Treehouse of Horror” episodes have constituted a production sub-context within the series, having their own conventions and historical trajectory. These specials incorporate horror plots and devices, as well as general references to science fiction, into the series’ base in situation comedy. The Halloween specials disrupt the series usual family-oriented sitcom structure, dissolving the ideological balances that stabilise that society. By depicting the Family and community in extreme circumstances, in seeing the horror of ‘how things could (...) be’, the Treehouse episode leave us with hanging questions about the nature of social being that bleed into the regular sitcom-style episodes. By breaking from the comparatively realistic social-satire that characterizes the series as a whole, the Halloween specials cast a reflexive gaze back onto “The Simpsons” itself. As a result, the “Treehouse” episodes are valuable as a means of examining the strategies and implications of the series as a whole. Bakhtin’s model of the carnivalesque is utilised to underscore these disruptive traits that characterise the Treehouse episodes. (shrink)

Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to Rambo, (...) I argue, stems from relying on critical patterns that do not fit the film itself. (shrink)

Horror film sequels have not received as much serious critical attention as they deserve – this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner ‘Torture Porn’. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations – in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far (...) from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations. -/- . (shrink)

The undead have been evoked in philosophical hypotheses regarding consciousness, but such discussions often come across as abstract academic exercises, inapplicable to personal experience. Movie zombies illuminate these somewhat opaque philosophical debates via storytelling devices – narrative, characterization, dialogue and so forth – which approach experience and consciousness in an instinctively accessible manner. This chapter focuses on a particular strand of the subgenre: transition narratives, in which human protagonists gradually turn into zombies. Transition stories typically centralize social relationships; affiliations and (...) interactions with other beings that give her (human) life meaning. These narratives routinely posit that consciousness and sociosexuality are intertwined aspects of experience that distinguish human from zombie, foregrounding a core romantic coupling and charting its decline as the protagonist transforms into a flesh-eating monster. These notions are explored via an indicative case study: Pretty Dead (2013). The film brings two views on the self – intuitive and empirical – into direct conflict, questioning their compatibility. The protagonist’s sociosexual decline is employed to illustrate that a) there is a troubling disjuncture between rationalist-theoretical conceptions of selfhood and selfhood as it is experienced in the real, social realm, and b) there is a natural bridge between personal, introspective self-knowledge and external social selfhood. By depicting a form of selfhood that defies rationalist logic (zom-being), transitional zombie films not only animate philosophical debates about consciousness, but also challenge their viewers to develop new conceptual (theoretical and imaginative) vocabularies via which to describe and engage with both selfhood and sociosexuality. (shrink)

Long-running horror series are reputed to yield diminishing returns (both in terms of profit and quality). At first glance, the A Nightmare on Elm Street series appears to fit that established pattern. For instance, lead antagonist Freddy supposedly ‘deteriorates’ from sinister, backlit child molester to comic-book ‘Las Vegas lounge’ stand-up act by the end of the 1980s (Schoell and Spencer 1992, 116). However, interviews from the period indicate that comedy was a central component from the outset of the series; it (...) is not, as has been often suggested, that the series’ horror was diluted by the introduction of humour in later sequels. Such misremembrances are entrenched by the writers’, directors’ and actors’ retrospective reflections on Elm Street, which colour how the series is understood more broadly. This chapter will focus on one of the most common misremembrances embedded into Elm Street’s lore; that the series began with hard rules about the relationship between dream and reality, which became looser (to the point of incoherence) as the series progressed. As close textual analysis and examination of archival interviews will demonstrate, the series’ “rules” were never as clearly established as creator Wes Craven intended. Moreover, rather than complaining that the continuing story did not hold together—indeed, Craven dismissed parts 2-6 of the series on these grounds—I argue that the series ought to be taken on its own terms. The individual films may vary in aesthetic and quality for various industrial reasons, but they are nevertheless chapters in a continuing narrative, and ought to be understood as such. Given that the diegesis is based on shared experiences—secrets held by Springwood’s parents, nightmares and abilities shared by the teens—it is reductive to understand the Elm Street films as anything other than an imbricated whole. As such, this chapter will demonstrate that the series’ narrative is best understood as a recurring nightmare. Its logic is dreamlike, being constituted by events, characters and motifs that are echoed across the series. Thus, this chapter contends that to dismiss the Elm Street sequels as a product of diminishing returns is to overlook the series’ narrative richness. More broadly, this chapter makes a case for understanding sequels as valuable parts of a whole, rather than dismissing them as inferior copies of the original. (shrink)

Since a few decades, policy evaluation is a main topic in Western democracies. lt identifies, measures and appreciates effects, outcomes and impacts of a policy. Yet, there is not a common way to institutionalise that policy instrument; one can observe many differences in terms of its intensity and maturity, as well as a diversity of institutional device. Compared to other countries, Belgium is characterized by a low visibility and weak decisional impact of evaluation. Public demand for enlightening state action rarely (...) takes the form of a demand for evaluation. The word 'Evaluation' is frequently pronounced, but most often in a political sense.In this article three types of arguments can be put forward to explain this Jack of evaluation: a lacking commitment of Parliament and political staff, the fragmentation and weak autonomy of the civil service and the domination of political parties upon the Belgian political and administrative system. (shrink)

When the policies and activities of one country or generation harm both other nations and later generations, they constitute serious injustices. Recognizing the broad threat posed by anthropogenic climate change, advocates for an international climate policy development process have expressly aimed to mitigate this pressing contemporary environmental threat in a manner that promotes justice. Yet, while making justice a primary objective of global climate policy has been the movement's noblest aspiration, it remains an onerous challenge for policymakers. -/- Atmospheric Justice (...) is the first single-authored work of political theory that addresses this pressing challenge via the conceptual frameworks of justice, equality, and responsibility. Throughout this incisive study, Steve Vanderheiden points toward ways to achieve environmental justice by exploring how climate change raises issues of both international and intergenerational justice. In addition, he considers how the design of a global climate regime might take these aims into account. Engaging with the principles of renowned political philosopher John Rawls, he expands on them by factoring in the needs of future generations. Vanderheiden also demonstrates how political theory can contribute to reaching a better understanding of the proper human response to climate change. By showing how climate policy offers insights into resolving contemporary controversies within political theory, he illustrates the ways in which applying normative theory to policy allows us to better understand both. -/- Thoroughly researched and persuasively argued, Atmospheric Justice makes an important step toward providing us with a set of carefully elaborated first principles for achieving environmental justice. (shrink)

Theoretical conceptions of realness can indicate what is fundamental or invariant in our experience of the world but are bound to miss a main point of realism due to the practical detachment of theoretical world modeling. The central sense in recognizing beings we encounter as real is accepting that we are or might be sharing existence with them, partnering with them in some significant way in the development of the world. This stance of engagement belongs to our modeling of how (...) to live. The intentional sharing of existence makes for a dramatic situation, the sharers being viewed as interesting agents or quasi-agents who bear watching because the results of their combining actions might be important (possibly in a fictional world). Dramatizing life realistically is a basic expression of intentional vitality and is presupposed in highly serious forms of moral and aesthetic engagement (such as reverence and enchantment). (shrink)

This chapter assesses the prospects and limits of human rights as ethical constructs and political mechanisms for protecting against forms of environmental harm that threaten human well-being. Advantages of a rights-based ethical framework include the linking of ethical norms of environmental protection or stewardship with international law and commitments to promoting humanitarian objectives, which provide those norms with an institutional foundation and help narrow the gap between environmental imperatives and those with global justice imperatives and development objectives. It considers the (...) role of recognized human rights in efforts to better guard against anthropogenic environmental harm as well as specifically environmental rights that have been proposed for inclusion alongside them, and it finds rights to confer more political advantages through the social empowerment of right holders and linkage with rights-protecting institutions than philosophical ones in clarifying or motivating the obligations of individual or collective agents. (shrink)

The examination of the notion of science from a sociological perspective has begun to transform the attitudes to science traditionally upheld by historians and philosophers.