From the early nineteenth century, the successful use of fossils in stratigraphy oriented paleontology towards geology. The consequent marginalising of biological objectives was countered in the twentieth century by the rise of ‘Paläobiologie’, first in the German cultural area and only later, as ‘paleobiology’, in the anglophone world. Several kinds of paleobiological research flourished internationally after the Second World War, among them the novel field of ‘paleoecology’. Within this field there were attempts to apply functional morphology to the problematical cases (...) of fossil organisms, for which functions cannot be observed directly. This article describes the origins of the kind of functional inference for fossils that I proposed in 1961 as the method of ‘paradigms’. Here I summarize some of my ‘worked exemplars’, which were intended to show the paradigm method in action. These case-studies were all taken from the paleontologically important phylum of the Brachiopoda, but the method was claimed to have much wider implications for the interpretation of the fossil record in terms of adaptive evolution. This article takes the history of the paradigm method as far as the late 1960s. I hope to trace, in a sequel, its ambivalent fate during the 1970s and beyond, when for example Gould’s critique of ‘the adaptationist programme’ and the rise of computer-based quantitative methods for the evolutionary interpretation of the fossil record led to the relative eclipse of functional morphology in paleontology. (shrink)

An earlier article described the mid-twentieth century origins of the method of “paradigms” in paleobiology, as a way of making testable hypotheses about the functional morphology of extinct organisms. The present article describes the use of “paradigms” through the 1970s and, briefly, to the end of the century. After I had proposed the paradigm method to help interpret the ecological history of brachiopods, my students developed it in relation to that and other invertebrate phyla, notably in Euan Clarkson’s analysis of (...) vision in trilobites. David Raup’s computer-aided “theoretical morphology” was then combined with my functional or adaptive emphasis, in Adolf Seilacher’s tripartite “constructional morphology.” Stephen Jay Gould, who had strongly endorsed the method, later switched to criticizing the “adaptationist program” he claimed it embodied. Although the explicit use of paradigms in paleobiology had declined by the end of the century, the method was tacitly subsumed into functional morphology as “biomechanics.”. (shrink)

Cílem článku je ukázat, že německá raná romantika, která položila filosofické základy romantického hnutí, nebere příklon k subjektivitě prožívání jako odklon od poznání, nýbrž jako jiný způsob poznání. Romantická niternost nachází svůj protějšek ve zkušenosti světa, jemuž umění dokáže propůjčit hlubší význam než racionální filosofie a věda. Tento nový pohled na poznání je romantiky použit jak na výklad přírody, tak duchovní lidské skutečnosti. Článek upozorňuje na to, že vedle dědictví spinozismu měla romantická epistemologie důležitý zdroj v některých úvahách Kantovy Kritiky (...) soudnosti. Tato vazba je sledována zvláště na příkladu filosofie umění F. W. J. Schellinga. Argumentace článku je rozvinuta v kritické konfrontaci se subjektivistickou interpretací romantiky H.-G. Gadamera, čímž se ozřejmuje její širší epistemologický dosah i aktuálnost. Návaznost německých romantiků na Kantovu Kritiku soudnosti se spíše než tendencí k subjektivizaci estetiky projevovala ve snaze o estetizaci poznání. (shrink)

This is a brief review of the significance of Martin Rudwick’s article, ‘The Emergence of a Visual Language for Geological Science 1760–1840’, published in this journal 40 years ago.

The most important philosopher of science since Francis Bacon, Sir Karl Popper finally solved the puzzle of scientific method, which in practice had never seemed to conform to the principles or logic described by Bacon -- see The Great Devonian Controversy, by Martin J. S. Rudwick, for a case study of Baconian rhetoric and expectations being contradicted by actual practice and results. Instead of scientific knowledge being discovered and verified by way of inductive generalizations, leaping from perceptual data (...) into blank minds, in terms that go back to. (shrink)

The Routledge International Handbook of Neuroaesthetics is an authoritative reference work that provides the reader with a wide-ranging introduction to this exciting new scientific discipline. The book brings together leading international academics to offer a well-balanced overview of this burgeoning field while addressing two questions central to the field; how the brain computes aesthetic appreciation for sensory objects, and how is art created and experienced.

Few words in both everyday parlance and theoretical discourse have been as rhapsodically defended or as fervently resisted as "experience." Yet, to date, there have been no comprehensive studies of how the concept of experience has evolved over time and why so many thinkers in so many different traditions have been compelled to understand it. _Songs of Experience _is a remarkable history of Western ideas about the nature of human experience written by one of our best-known intellectual historians. With its (...) sweeping historical reach and lucid comparative analysis—qualities that have made Martin Jay's previous books so distinctive and so successful—_Songs of Experience _explores Western discourse from the sixteenth century to the present, asking why the concept of experience has been such a magnet for controversy. Resisting any single overarching narrative, Jay discovers themes and patterns that transcend individuals and particular schools of thought and illuminate the entire spectrum of intellectual history. As he explores the manifold contexts for understanding experience—epistemological, religious, aesthetic, political, and historical—Jay engages an exceptionally broad range of European and American traditions and thinkers from the American pragmatists and British Marxist humanists to the Frankfurt School and the French poststructuralists, and he delves into the thought of individual philosophers as well, including Montaigne, Bacon, Locke, Hume and Kant, Oakeshott, Collingwood, and Ankersmit. Provocative, engaging, erudite, this key work will be an essential source for anyone who joins the ongoing debate about the material, linguistic, cultural, and theoretical meaning of "experience" in modern cultures. (shrink)

I am on record as a fan of Rock, Bone, and Ruin, and I was pleased to discover that, in our paired cover blurbs, Martin Rudwick and I make essentially the same point: the great virtue of Rock, Bone, and Ruin is that Adrian Currie combines what you might describe as a jeweler’s-eye view, in his attention to the messy details of research practice in the historical sciences, with a cartographer’s breadth of vision that, as Rudwick puts (...) it, leads him to “explore the surprising commonalities that underlie these superficially diverse sciences.” Rather than appraising the epistemic prospects of the historical sciences against an abstract, trans-contextual template, Currie builds this breadth from close analysis of the strategies by which epistemically “unlucky” historical scientists parlay their limited evidential resources into a robust understanding of temporally remote geological events, evolutionary processes and cultural dynamics. As a demonstration of how productive such a turn to practice can be, Currie’s approach has meta-philosophical implications to which I return at the end, but first I offer a selective review of his appraisal of the limitations of trace-centric accounts. (shrink)