Contents \t\t\t\t\t \tTRANSLATOR'S INTRODUCTION \t\t1 \t \tNOTE ON THE TRANSLATION \t\t39 \t OBSERVATIONS ON THE FEELING OF THE BEAUTIFUL AND SUBLIME \t\t\t\t\t \tSECTION ONE: \t\t\t\t \t\tOf the Distinct Objects of the Feeling of the Beautiful and Sublime \t\t45 \tSECTION TWO: \t\t\t\t \t\tOf the Attributes of the Beautiful and Sublime.

The prospect of using genome technologies to modify the human germline has raised profound moral disagreement but also emphasizes the need for wide-ranging discussion and a well-informed policy response. The Hinxton Group brought together scientists, ethicists, policymakers, and journal editors for an international, interdisciplinary meeting on this subject. This consensus statement formulated by the group calls for support of genome editing research and the development of a scientific roadmap for safety and efficacy; recognizes the ethical challenges involved in clinical reproductive (...) applications of genome editing but, importantly, rejects the idea that human reproductive germline modification is necessarily morally unacceptable; and highlights the importance of meaningful engagement in discussions of genome editing and the development of regulation and oversight mechanisms to govern future uses of such technologies. (shrink)

This article aims to clarify the epistemological foundations of the Freudian energetics model, starting with a historical review of the 19th century scientific context in which Freud's research lay down its roots. Beyond the physiological and anatomical references of Project for a Scientific Psychology, the physiology Freud makes reference to is in reality primarily anchored in an epistemological model derived from physics. Whilst across the Rhine, the autonomy of physiology in relation to physics was far from being accomplished, as a (...) counterpoint, in France, the revolution in physiology driven by Claude Bernard established itself autonomously from physics,. In contrast, Freud's scientific landscape is entirely dominated by the physics elevated to the rank of an ideal science. The influence of Helmholtz, who is both a medical doctor and a physicist, has a determining influence on Freud's training. The discoveries in physics at that time, in particular the formulation of the principle of 'conservation of force' - first principle of thermodynamics - will constitute the points of reference upon which Freud will elaborate his energetics model, then subsequently, the idea of economy in his metapsychology. In this way we can trace both the historic and epistemological path that led Freud from a concept based on physics, and more specifically thermodynamic energy, to an idea of nervous energy that constitutes the basis of the concept of "quantity" as it is stated as 'first fundamental idea' in Project for a Scientific Psychology. This notion will subsequently evolve, and lead Freud to the introduction of the concept of 'psychical energy,' this time in a purely metapsychological sense. (shrink)

This paper argues that professionals who make boundary-related decisions should be guided by relationship-based practice. In our roles as service users and professionals, drawing from our lived experiences of professional relationships, we argue we need to move away from distance-based practice. This includes understanding the boundary stories and narratives that exist for all of us – including the people we support, other professionals, as well as the organisations and systems within which we work. When we are dealing with professional boundary (...) issues, we should centre relationship-building skills that are central to many other aspects of our work. Skills that foster relationships at all levels – between professionals, service users, and services – need to be revalued. Our final recommendation is to create, develop, and foster safer spaces within and outside of organisations, as well as inter-professionally, for the discussion and exploration of boundary-related issues and practice. We are interested in hearing from those with experiences of being marginalised by boundaries so that they can inform a reshaping of our collective ideas around boundary related practices. To foster relationship-based practices in organisations, we have outlined several recommendations here; however, we recognize that these do not go far enough, and that collective action is needed to inform systemic change. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

The idea of public reason is at the center of John Rawls's political philosophy. Public reason is a standard by which we measure laws and political institutions. This chapter discusses the practice of public reason, the moral basis of public reason, and the challenge posed by religious critics of public reason. It provides three possible answers to the question: What is the moral basis for endorsing this particular conception of democratic politics – public reason? It is Rawlsian concept of justice (...) – the ideal of a fair system of social cooperation between free and equal citizens – which provides the moral basis for public reason. Given this basis, citizens then engage in the practice of public reason with one another. (shrink)

The Idea of a Moral Economy is the first modern edition and English translation of three questions disputed at the University of Paris in 1330 by the theologian Gerard of Siena. The questions represent the most influential late medieval formulation of the natural law argument against usury and the illicit acquisition of property. Together they offer a particularly clear example of scholastic ideas about the nature and purpose of economic activity and the medieval concept of a moral economy. In his (...) introduction, editor Lawrin Armstrong discusses Gerard's arguments and considers their significance both within the context of scholastic philosophy and law and as a critique of contemporary mainstream economics. His analysis demonstrates how Gerard's work is not only a valuable source for understanding economic thought in pre-modern Europe, but also a fertile resource for scholars of law, economics, and philosophy in medieval Europe and beyond. (shrink)

This chapter contains sections titled: The Aim of Hegel's Science of Society The Method of Hegel's Science of Society Comprehension versus Critique.

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)

It is widely supposed that, in Hilary Putnam’s phrase, there are no “ready-made objects” (Putnam 1982; cf. Putnam 1981, Ch. 3). Instead the objects we consider real are partly of our own making: we carve them out of the world (or out of experience). The usual reason for supposing this lies in the claim that there are available to us alternative ways of “dividing reality” into objects (to quote the title of Hirsch 1993), ways which would afford us every bit (...) as much practical and cognitive mastery as we now possess. Hence there is no warrant for supposing that the objects recognized by such alternative schemes are any less real than the objects we actually consider real—unless we are to appeal to a “God’s-eye perspective”, which virtually no one wants to do. The reasonable conclusion, many philosophers suppose, is that any system of objects exists only relative to a particular conceptual scheme or system of predicates. Our system of objects is, in this sense, partly of our own making. But this claim should not be heard as a reaffirmation of the idealism of Fichte or Husserl. It is more accurate to take it merely as a claim about sameness and difference among the objects of the world. It is the claim that sameness and difference, whether at the level of kinds or of individual objects, do not obtain mind-independently, but only relative to a conceptual scheme or predicate system (see, e.g., Putnam 1981, pp. 53-54). That is, whether two objects are of the same kind, and whether one and the same individual object now exists at such-and-such.. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

To entertain an idea is to take it in, pay attention to it, give it breathing room, dwell with it for a time. The practice of entertaining ideas suggests rumination and meditation, inviting us to think of philosophy as a form of hospitality and a kind of mental theatre. In this collection, organized around key words shared by philosophy and performance, the editors suggest that Shakespeare's plays supply readers, listeners, viewers, and performers with equipment for living. In plays ranging from (...) A Midsummer Night's Dream to King Lear and The Winter's Tale, Shakespeare invites readers and audiences to be more responsive to the texture and meaning of daily encounters, whether in the intimacies of love, the demands of social and political life, or moments of ethical decision. Entertaining the Idea features established and emerging scholars, addressing key words such as role play, acknowledgment, judgment, and entertainment as well as curse and care. The volume also includes longer essays on Shakespeare, Kant, Husserl, and Hegel as well as an afterword by theatre critic Charles McNulty on the philosophy and performance history of King Lear. (shrink)

There is a tendency today to substitute the affirmation of the absolute value of peace for an earlier, fully-formulated ideal of universal peace. This formula, if I am not mistaken, bears the mark of a new exigency: how to maintain the philosophical task, that is, give a basis to the idea of peace that does not arise solely from circumstantial considerations—however imperious they may be, since they come from the knowledge of the danger that a new world war would bring (...) to entire populations—without again falling under Utopian illusions that have fed the projects of perpetual peace. However, some of the difficulties with which the present consideration will deal give a glimpse of the definition of peace as an absolute value. I think it would be wise to examine this definition briefly in order to clear a way for myself. (shrink)

The purpose of this study was to identify the relationship of the philosophy of Moses Maimonides to his educational ideas.It looks at the educational theories and practices that Maimonides advocated and the extent to which these educational ideas related to the philosophical principals expoused by Maimonides.

The influence of Jules Lequier on the development of continental philosophy is currently being revived. Ghislain Deslandes introduces Lequier's thought while highlighting its influence in the development, throughout the twentieth century, including in process thought, pragmatism, existentialism, and phenomenology.

본고의 목적은 고전의 가치를 지닌 존 헨리 뉴먼의 『대학의 이념』이 다루고 있는 중요한 주제들을 요약해서 소개하고, 이를 통해서 오늘날 한국 가톨릭대학교들의 현실을 진단함과 동시에 미래의 발전 전망들을 가늠해보는 것이다. 본론의 첫째 부분은, 뉴먼이 다루고 있는 주제들 중에서 오늘날 여전히 시의성을 지니고 있는 네 가지 주제들을 소개하는 것이다: 가톨릭대학교의 설립목적, 학문으로서의 신학의 통합적 역할, 자유교양교육의 중요성, 가톨릭 인본주의에 입각한 교회의 의무. 이어서 둘째 부분에서는, 뉴먼의 저서에 대한 현대 미국의 대학교육자들의 견해를 소개하는 것인데, 이는 오늘날 대학의 문제 역시 세계화의 맥락에서 반성될 수 (...) 있는 것이기에 우리 현실을 진단하는데 참고하기 위한 것이다. 마지막으로는, 이상의 내용을 토대로 해서 필자가 생각하기에 한국의 가톨릭대학교들이 비전을 세움에 있어서 고려해야 할 사항들을 열거하였다: 가톨릭대학교의 정체성을 드러내는 통합적 비전과 차별성, 교육의 중요성, 교양교육과 전문교육 사이의 균형, 대학의 연구 기능이 실천적인 문제들과 연관성을 확보하는 일, 온라인 교육의 확장 추세와 관련해서 양적 성장보다는 내실화를 기하는 일의 중요성 등이 그것들이다. 결론에서는, 재정건전화의 가능성과 가톨릭대학인들 사이의 연대에 대해서 일언하였다. (shrink)

Reading the complete works of Sigmund Freud would take more time than most of us have to spare. Freud - the Key Ideas condenses all the information you need about the life and work of the great man into one book. With clear explanations and examples drawn from Freud's own cases you will soon have a solid understanding of the main concepts, from psychosexual development to dream analysis.

At first approach the use of the word “superstition” is such that it is impossible to apply the term strictly in the human sciences. Its connotation, that is its content, is particularly subjective and negative. And its extension, that is its area of application, is indefinite and makes of it a concept that can refer to just about anything.

Pierre Bourdieu’s concepts of cultural, social, and symbolic capital have not only enriched sociological theory; they have also clearly established themselves in interdisciplinary and transdiscipli...

This chapter argues that the Great Ideas are integral to Mortimer J. Adler’s Great Books Movement in much the same way that the Four Noble Truths and the Noble Eightfold Path are integral to Buddhism. Both use ‘Great’ and ‘Noble’ to point toward human excellence. For Adler, the Great Ideas are the metaphysical and moral concepts out of which Western civilization developed. They are the main topics in an ongoing great conversation that shapes Western culture. Precisely because these Great Ideas (...) are great, insofar as they point toward human excellence (virtue), they ought not be considered the exclusive property of the West. Instead, as Adler recognized, they should be utilized in the analysis of other cultural traditions. This chapter uses two of Adler’s Great Ideas, freedom and religion, to analyze Buddhism as it is encountered in the early Indian Buddhist texts. It asserts all human philosophy and culture, including that of Buddhism, is ultimately based in religion, thereby making religion the greatest of Adler’s and the Buddha’s Great philosophical and cultural ideas. (shrink)

Excerpt from The Idea of Personality Not since the French Revolution have the masses of men had such a passionate trust in the power of ideas as they have today. Such ideas as society, state, person, are no longer the exclusive concern of the few favored experts in philosophy and political theory. Such other ideas as authority, responsibility, conscience, right, and freedom, have become more than the mere blunted foils of friendly, academic discussion. This democratization of ideas has been, on (...) the whole, a healthy stimulant. No one who recalls the riotous confusion of thought in the nineteenth century will regret a situation that seems to promise a period of redefinition. One does not have to be an obscurantist to regret the uncontrolled and, often uncritical way, in which the findings of physical science were applied in the fields of ethics, religion, politics, sociology, economics, and history. We should have been warned that speculation was moving too rapidly. The careful scientist rarely makes a sweeping and definite conclusion. More rarely still does he make a universal application of deductions, reached in his own sphere of investigation, to all branches of knowledge. If the philosophy of life, built upon the recent biological and sociological premises, has been unsatisfactory, this has been due to an apparent unwillingness to take the time required to distinguish what is of permanent value from what is simply the exaggeration of controversy, in the anxiety to establish a theory. It is conceivable that men should wish, under the impulse of fresh evidence, to re-examine their notions of God, the nature of human progress, society, and free-will; but it is not conceivable that conclusions, reached so rapidly and with so little discrimination between fact and hypothesis, should he always accurate and should really reflect life's problems and complexities. We need to be redeemed from our own overweening confidence. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In fifteen years, one could well say tomorrow, we will enter into the twenty-first century and at the same time cross into a new millennium: the third since the birth of Christ. So the calendar is composed, dates are imposed on us to which we often attach a symbolic value. We celebrate the new year as a happy occasion, full of promises. We exchange wishes of prosperity, health and happiness with our relations and friends. Yet an anniversary is also the (...) opportunity to turn back, to stop for a moment at the roadside and consider the journey so far accomplished. (shrink)

'A breath-taking panorama.' The Sunday Times 'Those seeking a grand overview of science's greatest hits over the past century will find it here.' The Washington Post 'Convincing... A provocative history probes the connections that are helping to unify scientific disciplines.... Watson examines an impressive array of connections... Whether you identify as a biologist, an astrophysicist, or a mathematician, one thing's for certain: We're all ultimately working with the same fabric.' Science 'Anyone interested in science will enjoy this fascinating, fast-paced, intellectual (...) journey through the history of scientific ideas. Watson masterfully weaves the concept of convergence through covering an astonishing breadth of scientific and cultural domains.' Mario Livio, astrophysicist, author of Brilliant Blunders and Why? Convergence is a history of modern science with an original and significant twist. Various scientific disciplines, despite their very different beginnings, and disparate areas of interest have been coming together over the past 150 years, converging and coalescing, to identify one extraordinary master narrative, one overwhelming interlocking coherent story: the history of the universe. Intimate connections between physics and chemistry have been revealed as have the links between quantum chemistry and molecular biology. Astronomy has been augmented by particle physics, psychology has been increasingly aligned with physics, with chemistry and even with economics. Genetics has been harmonised with linguistics, botany with archaeology, climatology with myth. This is a simple insight but one with profound consequences. Convergence is, as Nobel Prize-winning physicist Steven Weinberg has put it, 'The deepest thing about the universe.' This book does not, however, tell the story by beginning at the beginning and ending at the end. It is much more revealing, more convincing, and altogether more thrilling to tell the story as it emerged, as it began to fall into place, piece by piece, converging tentatively at first, but then with increasing speed, vigour and confidence. The overlaps and interdependence of the sciences, the emerging orderthat they are gradually uncovering, is without question the most enthralling aspect of twenty-first-century science. (shrink)

Originally published in Great Britain in 2016 with different subtitle: Convergence: the deepest idea in the universe.

In this critical history of modern philosophy, Cristaudo develops the argument put forward by Thomas Reid that modern philosophy has generally continued along the 'way of ideas' to its own detriment. Its ever-shifting dominant ideas contribute to capturing and imprisoning rather than expands our thinking.