This volume addresses relations between macroscopic and microscopic description; essential roles of visualization and representation in chemical understanding; historical questions involving chemical concepts; the impacts of chemical ideas on wider cultural concerns; and relationships between contemporary chemistry and other sciences. The authors demonstrate, assert, or tacitly assume that chemical explanation is functionally autonomous. This volume should he of interest not only to professional chemists and philosophers, but also to workers in medicine, psychology, and other fields in which relationships between (...) explanations based on diverse levels of description and investigation are important. (Listed on Google books). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a standard (...) body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is a standard (...) body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work came (...) to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

This chapter contains sections titled: Introduction What is Chemistry about? Is Chemistry Reducible to Physics? Are There Fundamental Limits to Chemical Knowledge? Is Chemical Research Ethically Neutral? Conclusion References.

Some important results about art gallery theorems are proposed, starting from Chvátal’s essay, using also polygon triangulations and orthogonal polygons.

The place of chemistry in the metaphysics of science may be viewed as peripheral compared to physics and biology. However, a metaphysics of science that disregards chemistry would be incomplete and ill-informed. This Element establishes this claim by showing how key metaphysical issues are informed by drawing on chemistry. Five metaphysical topics are investigated: natural kinds, scientific realism, reduction, laws and causation. These topics are spelled out from the perspective of ten chemical case studies, each of which (...) illuminates the novel ways that metaphysics of science can be informed by chemistry. (shrink)

Chemistry and physics are two sciences that are hard to connect. Yet there is significant overlap in their aims, methods, and theoretical approaches. In this book, the reduction of chemistry to physics is defended from the viewpoint of a naturalised Nagelian reduction, which is based on a close reading of Nagel's original text. This naturalised notion of reduction is capable of characterising the inter-theory relationships between theories of chemistry and theories of physics. The reconsideration of reduction also (...) leads to a new characterisation of chemical theories. This book is primarily aimed at philosophers of chemistry and chemists with an interest in philosophy, but is also of interest to the general philosopher of science. (shrink)

Livings things are so very strange -- The quest for a theory of life -- Understanding 'understanding' -- Stability and instability -- The knotty origin of life problem -- Biology's crisis of identity -- Biology is chemistry -- What is life?

In 1931 eminent chemist Fritz Paneth maintained that the modern notion of “element” is closely related to (and as “metaphysical” as) the concept of element used by the ancients (e.g., Aristotle). On that basis, the element chlorine (properly so-called) is not the elementary substance dichlorine, but rather chlorine as it is in carbon tetrachloride. The fact that pure chemicals are called “substances” in English (and closely related words are so used in other European languages) derives from philosophical compromises made by (...) grammarians in the late Roman Empire (particularly Priscian [fl. ~520 CE]). When the main features of the constitution of isotopes became clear in the first half of the twentieth century, the formal (IUPAC) definition of a “chemical element” was changed. The features that are “essential” to being an element had previously been “transcendental” (“beyond the sphere of consciousness”) but, by the mid-twentieth century the defining characteristics of elements, as such, had come to be understood in detail. This amounts to a shift in a “horizon of invisibility” brought about by progress in chemistry and related sciences. Similarly, chemical insight is relevant to currently-open philosophical problems, such as the status of “the bundle theory” of the coherence of properties in concrete individuals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJessica Evett-Miller (bio) Click for larger view View full resolutionImage 1. Click for larger view View full resolutionImage 2. Click for larger view View full resolutionImage 3. Click for larger view View full resolutionImage 4. Click for larger view View full resolutionImage 5. Click for larger view View full resolutionImage 6. Click for larger view View full resolutionImage 7. Click for larger view View full resolutionImage 8. Click (...) for larger view View full resolutionImage 9. Click for larger view View full resolutionImage 10. Click for larger view View full resolutionImage 11. Click for larger view View full resolutionImage 12. Click for larger view View full resolutionImage 13. Click for larger view View full resolutionImage 14. Click for larger view View full resolutionImage 15. Click for larger view View full resolutionImage 16.Jessica Evett-Miller Jessica Evett-Miller took these photographs during a trip to Italy and Sicily and assembled them for her senior project at the Alternative Community School in Ithaca’ New York. Now a freshman at Cornell University, she is planning to design an independent major in visual studies. She would like to dedicate thesephotographs toherfather, John Miller, and to thank him for his inspiration.She paired the front and back cover images (the first and the last) to create an interplay between the two. They function together rather than separately.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual Gallery*Neil Hertz Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full (...) resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz.Footnotes* The photographs on the cover and back cover and pages 2, 14, 29, 43, 53, 66, and 80 were taken in Baltimore by Neil Hertz.Copyright © 1999 The Johns Hopkins University Press... (shrink)

Summary Opinion is divided as to whether chemistry is reducible to physics. The problem can be given a satisfactory solution provided three conditions are met: that a science not be identified with its theories; that several notions of theory dependence be distinguished; and that quantum chemistry, rather than classical chemistry, be compared with physics. This paper proposes to perform all three tasks. It does so by analyzing the methodological concepts concerned as well as by examining the way (...) a chemical rate constant is derivable with the help of the quantum atomic theory. The conclusion is that chemistry, and in particular quantum chemistry, is not a part of physics although it is certainly based on the latter. (shrink)

This book reflects on the significant and highly original scientific contributions of Hans Primas. A professor of chemistry at ETH Zurich from 1962 to 1995, Primas continued his research activities until his death in 2014. Over these 50 years and more, he worked on the foundations of nuclear magnetic resonance spectroscopy, contributed to a number of significant issues in theoretical chemistry, helped to clarify central topics in quantum theory and the philosophy of physics, suggested innovative ways of addressing (...) interlevel relations in the philosophy of science, and introduced cutting-edge approaches in the flourishing young field of scientific studies of consciousness. His work in these areas of research and its continuing impact is described by noted experts, colleagues, and collaborators of Primas. All authors contextualize their contributions to facilitate the mutual dialog between these fields. (shrink)

Using the Public Value Mapping framework, I address the values successes and failures of chemistry as compared to the emerging field of green chemistry, in which the promoters attempt to incorporate new and expanded values, such as health, safety, and environmental sustainability, to the processes of prioritizing and conducting chemistry research. I document how such values are becoming increasingly public. Moreover, analysis of the relations among the multiple values associated with green chemistry displays a greater internal (...) coherence and logic than for conventional chemistry. Although traditional chemistry research has successfully contributed to both economic and values gains, there have been public values failures due to imperfect values articulations, failure to take a longer-term view, and inertia within a system that places too much emphasis on science values. Green chemistry, if implemented effectively, has potential to remedy these failures. (shrink)

Recently, philosophers have come forth with approaches to chemistry based on its actual practice, imparting to it a proper aim and character of its own. These approaches add to the currently growing movement of pluralist philosophies of science. We draw on recent pluralist accounts from chemistry and analyse three notions from modern chemical practice and theory in terms of these accounts, in order to complement the so far more general pluralist approaches with specific evidence. Our survey reveals that (...) the concept of element indicates conceptual pluralisms in chemistry. that electronegativity illustrates methodological pluralism in determining one and the same concept, and that acidity is an instance of plurality hidden behind ‘one notion’. (shrink)

In his Metaphysische Anfangsgründe der Naturwissenschaft (MAN), Kant claims that chemistry is an improper, though rational science. The chemistry to which Kant confers this status is the phlogistic chemistry of, for instance, Georg Stahl. In his Opus Postumum (OP), however, Kant espouses a broadly Lavoiserian conception of chemistry. In particular, Kant endorses Antoine Lavoisier's elements, oxygen theory of combustion, and role for the caloric. As Lavoisier's lasting contribution to chemistry, according to some histories of the (...) science, was his emphasis on quantitative methods, Kant's assimilation of the chemical revolution raises the question: did Kant continue to think of chemistry as an improper, though rational, science in OP? In this paper, I answer this question affirmatively. I explain that a proper science requires a priori laws for the mathematical construction of its objects: the mere use of quantitative measurements is insufficient for the satisfaction this requirement. Further, I argue, contra Burkhard Tuschling, that in OP Kant retains a central role for mathematical construction in the foundations of proper natural science. Finally, I contend that the prominent a priori components of chemistry discussed in OP—the aether and the enumeration of the elements—do not make chemistry into a proper science. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolutionFront Cover.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 1.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 2.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 3.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 4.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 5.Photograph by Dylan Litchman. (...) Click for larger view View full resolutionFigure 6.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 7.Photograph by Dylan Litchman. Click for larger view View full resolutionBack Cover.Photograph by Dylan Litchman.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionThe photographs in this issue were taken in and around Ithaca in 1999 by Dylan Litchman. He studied (...) photography at Fordham University and lives in Ithaca.Copyright © 2000 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

Along with exploring some of the necessary conditions for the chemistry of our world given what we know about quantum mechanics, I will also discuss a different reductionist challenge than is usually considered in debates on the relationship of chemistry to physics. Contrary to popular belief, classical physics does not have a reductive relationship to quantum mechanics and some of the reasons why reduction fails between classical and quantum physics are the same as for why reduction fails between (...) chemistry and quantum physics. However, a neoreductionist can accept that classical physics has some amount of autonomy from quantum mechanics, but still try to maintain that classical+quantum physics taken as a whole reduces chemistry to physics. I will explore some of the obstacles lying in the neoreductionist’s path with respect to quantum chemistry and thereby hope to shed more light on the conditions necessary for the chemistry of our world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Emoretta Yang (...) Photographs by Emoretta Yang. She lives in Ithaca, New York.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 1.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 2.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 3.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 4.Artwork by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press...

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by (...) Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFront Cover. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionBack Cover.Emoretta (...) Yang Emoretta Yang lives in Ithaca, New York, and is a frequent contributor to diacritics. Her photographs and captions are on pages 2, 4, 19, 35, 51, 62, and 88. The cover and back cover photographs are also hers.Copyright © 1999 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryCarlo Zei Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Carlo Zei took (...) these photographs at Forte Belvedere in Florence, at the seaside at Forte dei Marmi, and in Prato. He is a PhD candidate in Comparative Literature at Cornell University and has published a few short works of fiction.Mario Ceroli’s sculptures are reproduced by kind permission of the artist.Copyright © 1997 The Johns Hopkins University Press... (shrink)

Chemistry and dynamics are closely related in G.W. Leibniz's thinking, from the corpuscularism of his youth to the theory of conspiracy movements that he proposes in his later years. Despite the importance of chemistry and chemical thought in Leibniz's philosophy, interpreters have not paid enough attention to this subject, especially in the recent decades. This work aims to contribute to filling this gap in Leibnizian studies. In this first part of the work I will expose the theory of (...) matter that the young Leibniz conceives under the influence of chemical corpuscularism. Leibniz uses R. Boyle's interpretation of the Aristotelian idea of form in order to give an explanation of the unity and cohesion of bodies. As opposed to the Cartesians, Leibniz puts forth the idea of a dependence between the variables of extension, movement and figure, without losing analytical clarity and with the aim of extending the explanatory power of physics to natural phenomena difficult to approach by Cartesian mechanics. (shrink)

Chemical structures are among the trademarks of our profession, as surely chemical as flasks, beakers and distillation columns. When someone sees one of us busily scribbling formulas or structures, he or she has no trouble identifying a chemist. Yet these familiar objects, which accompany our work from start to end, from the initial doodlings (Fig. I) to the final polished artwork in a publication (Fig. II), are deceptively simple. They raise interesting and difficult questions about representation. It is the intent (...) of this article to reflect upon molecular graphics. (shrink)

In this paper we wish to raise the following question: which conceptual obstacles need to be overcome to arrive at a scientific and theoretical understanding of the mind? In the course of this examination, we shall encounter methodological and explanatory challenges and discuss them from the point of view of the philosophy of chemistry and quantum mechanics. This will eventually lead us to a discussion of emergence and metaphysics, thereby focusing on the status of objects. The question remains whether (...) this could be interpreted in terms of a re-description or dissolution of seemingly troubling problems in the philosophy of mind, or whether it further emphasizes the problematic: the ubiquitous and irreducible role of mind and consciousness in scientific activities. (shrink)

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

Chemistry, especially its historical practice, has in the philosophy of science in recent decades attracted more and more attention, influencing the turn from the vision of science as a timeless logic-centred system of statements towards the history- and practice-centred approach. The problem of pluralism in science has become a popular topic in that context. Hasok Chang’s “active normative epistemic pluralism” manifested in his book Is water H2O? Evidence, realism and pluralism, pursuing an integrated study of history and philosophy of (...) science, has provoked quite a widespread debate. It provides a good opportunity to discuss the topical philosophical issue of the nature of disagreements. The differences among disagreements in different domains have been pointed out in the disagreement literature. It has been noticed that in mathematics and science consensus is established more clearly than in philosophy where it remains largely unachievable. However, this conclusion is derived in the context of traditional logic-centred view of science. The aim of this paper is to consider the different nature of disagreements in science and in philosophy in the context of the history- and practice-centred approach. The analysis is focused on the critique of the received view of the Chemical Revolution which played quite a central role in Chang’s becoming a pluralist about science. Unlike Chang, however, a modified Kuhnian paradigm-conception of science and scientific revolutions is defended. (shrink)

This is an attempt to take a look at chemistry from the point of view of practical realism. Besides its social–historical and normative aspects, the latter involves a direct reference to experimental research. According to Edward Caldin chemistry depends on our being able to isolate pure substances with reproducible properties. Thus, the very basis of chemistry is practical. Even the laws of chemistry are not stable but are subject to correction. At the same time, these statements (...) do not necessarily make Edward Caldin a predecessor of practical realism. The latter has other predecessors, like Rom Harré’s policy realism or Sami Pihlström’s pragmatic realism. Chemistry is an experimental science. The experiment is a purposeful and critically theory-guided constructive, manipulative, material interference with nature according to Rein Vihalemm, the founder of practical realism. Chemistry is physics-like science but just partly so. This is an important point in the context of the current paper. (shrink)

Are there circumstances under which scientists and engineers doing their ordinary jobs can be thought of as participants in a social movement? The technoscientists analyzed in this article are at the forefront of a new way of doing chemistry; they are attempting to redesign chemical products and synthesis pathways to significantly reduce health effects and environmental damage from industrial chemicals. Green chemistry practitioners and entrepreneurs now constitute a small minority of chemists and chemical engineers in the university, government, (...) and corporate sectors, but the innovators gradually are institutionalizing their efforts and winning converts. Drawing on concepts from social movement theory, the authors argue that examining green chemistry as a social movement sheds light on the intentional social organization of emerging scientific and engineering disciplines, advances thinking about the role of expertise in social change, and uncovers a possible pathway toward reconstructing chemical technologies on a more environmentally sustainable basis. The article closes with questions about potential coalitions among green chemists and engineers, regulators, and activist sectors of civil society. (shrink)

In 1931 eminent chemist Fritz Paneth maintained that the modern notion of “element” is closely related to (and as “metaphysical” as) the concept of element used by the ancients (e.g., Aristotle). On that basis, the element chlorine (properly so-called) is not the elementary substance dichlorine, but rather chlorine as it is in carbon tetrachloride. The fact that pure chemicals are called “substances” in English (and closely related words are so used in other European languages) derives from philosophical compromises made by (...) grammarians in the late Roman Empire (particularly Priscian [fl. ~520 CE]). When the main features of the constitution of isotopes became clear in the first half of the twentieth century, the formal (IUPAC) definition of a “chemical element” was changed. The features that are “essential” to being an element had previously been “transcendental” (“beyond the sphere of consciousness”) but, by the mid-twentieth century the defining characteristics of elements, as such, had come to be understood in detail. This amounts to a shift in a “horizon of invisibility” brought about by progress in chemistry and related sciences. Similarly, chemical insight is relevant to currently-open philosophical problems, such as the status of “the bundle theory” of the coherence of properties in concrete individuals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryHans Bellmer (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8. Click (...) for larger view View full resolutionFigure 9.Hans Bellmer Hans Bellmer (1902–1975), whose early work was published by Le Minotaure, is perhaps best known for Die Puppe, his variations on the Doll. The engravings in this issue were made for the 1955 edition of Georges Bataille’s novel Madame Edwarda [© 1996 Artists Rights Society (ARS), N. Y./ADAGP, Paris].Copyright © 1996 The Johns Hopkins University Press... (shrink)