This paper aims to map out the links between style and science. Two moments mark the migration of style from the discursive field of the arts to that of the history and philosophy of science: the first occurred in the German-speaking world during the first decades of the twentieth century; the second appeared in an Anglo-American context between the late 1970s and the early 1990s, when the category of style became involved in the so-called “pluralist turn” in the history and (...) philosophy of science. Taking this framework as its point of departure, the paper uncovers neglected contributions to the epistemology of style in order to foreground the concept of style as both a vector of inclusion (highlighting the plurality, historicity, and locality of scientific ways of knowing) and of exclusion (by generalizing the most correct ways of doing science and side-lining alternative ways of knowing). (shrink)

Thought style and thought collective are two well-known concepts from Ludwik Fleck’s theory of science, which he originally formulated in Polish and German. This paper contends that these two concepts cannot be fully understood without a third—Stimmung/nastrój, which is one of the musical metaphors that play an important role in Fleck’s thinking. Because it is most often translated into English as “mood”, Fleck’s musical metaphors are mostly lost in translation, appearing as mere rhetoric. Only if and when we understand Stimmung/nastrój (...) in the musical meaning of attunement, we can fully understand thought collectives, for which Stimmung/nastrój is sine qua non, and thought style, which appears if and when a collective turns out to be an enduring and not a momentary one. (shrink)