Professional historians of science generally recognize the importance of Lavoisier's theory of heat. However, it commonly receives scant attention in the historical treatment of his chemical theories except perhaps as an example illustrating his conservatism and giving the impression that the caloric theory, although perhaps important in the development of ideas on the nature of heat, is independent of and bears little relationship to his general chemistry or is incidental to an understanding of that chemistry. An examination of Lavoisier's writings (...) suggests that the caloric theory is not merely a milestone in the development of physics; and rather than an omittable appendage, his concept of heat forms an integral part of his chemical system and plays a central, necessary role in his oxidation theory in particular. The purpose of this paper is to give a general description of Lavoisier's ideas on the nature and action of heat, the origin of these ideas, their development, and their relation to his general chemistry, pointing out his conservatism as well as his innovations. (shrink)

Many writers have attempted to develop criteria to demarcate between competent science and pseudo?science. Such attempts can be aimed at sizeable, organized endeavours, such as mesmerism and astrology, or at the level of individual practice. The latter is seen by some, such as Lugg, as more likely to be feasible and useful. This paper argues that parapsychology, due to its complexity and diversity, illustrates some of the problems of attempting to develop demarcation criteria for extensive endeavours. It is also suggested (...) that parapsychology may offer a productive ground for testing whether demarcation criteria can be successfully applied to practices in respect of predicting which will succeed and which will not. The conclusion is that, for demarcation efforts to be useful, they should pass some of their own criteria, such as falsifiability. (shrink)

To speak of the nature of an image is to initiate a problematic second only to that raised by considerations of the nature of language. To inquire into the relations between image and language is to step into a very old philosophical problem. Nevertheless, I would hope at least to approach the edge of such an encounter in the attempt to see what relevance it might have for recent past art. Certainly the term “image” has had a long and embattled (...) history. A taxonomy and a genealogy of the term might be in order. Do we wish to speak of mental images or of optical ones? What about perceptual images or the verbal images of descriptions and metaphors? To consider the sense data and appearances of the perceptual, or the dreams, fantasies, memories, and ideas of the mental image is to review an entire Western philosophical discourse. We might consider the issue of what may or may not be in the mind as an image; or the relation of visual images to linguistic terms; or the relation between objects and visual images that stand for them. Certainly the ways of formulating such relations have decided the divisions of Western metaphysics. Representational theories of the mind revolve around such issues and imply the persistent division of mind from body, subject from object.Let me say right away that my interests here are not to review an entire philosophical discourse with the hope of establishing a clarity of distinctions between the imagistic and the linguistic. Rather the assumption here is that the two are inextricably entangled, and the interest is to see how certain art in this century has resisted or embraced this entanglement. Robert Morris is an artist and a professor at Hunter College. A collection of his writings is forthcoming. (shrink)