Joseph Agassi

The thesis of the present volume is critical and dual. (1) Present day philosophy of man and sciences of man suffer from the Greek mis taken polarization of everything human into nature and convention which is (allegedly) good and evil, which is (allegedly) truth and fal sity, which is (allegedly) rationality and irrationality, to wit, the polar ization of all fields of inquiry, the natural and social sciences, as well as ethics and all technology, whether natural or social, into the totally positive and the totally negative. (2) Almost all philosophy and sci ences of man share the erroneous work ethic which is the myth of man's evil nature - the myth of the beast in man, the doctrine of original sin. To mediate or to compromise between the first view of human nature as good with the second view of it as evil, sociologists have devised a modified utilitarianism with deferred gratification so called, and the theory of the evil of artificial competition (capitalist and socialist alike) and of keeping up with the Joneses. Now, the mediation is not necessary. For, the polarization makes for abstract errors which are simplistic views of rationality, such as reductionism and positivism of all sorts, as well as for concrete errors, such as the disposition to condemn repeatedly those human weaknesses which are inevitable, namely man's inability to be perfectly rational, avoid all error, etc. , thus setting man against himself as all too wicked.

This book is a first attempt to cover the whole area of aesthetics from the point of view of critical rationalism. It takes up and expands upon the more narrowly focused work of E. H. Gombrich, Sheldon Richmond, and Raphael Sassower and Louis Ciccotello. The authors integrate the arts into the scientific world view and acknowledge that there is an aesthetic aspect to anything whatsoever. They pay close attention to the social situatedness of the arts. Their aesthetics treats art as emerging from craft in the form of luxurious and playful challenge to the audience. In developing it they place emphasis on the number of questions and claims that can be settled by appeal to empirical facts; on the historical character of aesthetic judgements; and on the connection of aesthetic truth to true love and true friendship, i.e. fidelity and integrity, not to informative truth.

Der Kunsthistoriker Ernst Hans Josef Gombrich hat einen „wissenschaftlichen“ oder kognitiven Ansatz zur Erforschung der Geschichte und Psychologie der Künste entwickelt, der sehr maßgeblich von der Wissenschaftstheorie seines engen Freundes Karl Popper beeinflusst worden ist. Die geistige Nähe zwischen beiden wird in Gombrichs zentraler Arbeit zur Wiederentdeckung der Repräsentation in der Renaissance und zur Historiografie der Kunst deutlich. Ihre Differenzen verdienen allerdings ebenfalls Beachtung. Gombrichs Ansicht zufolge verändern sich Geschmack und Stil entsprechend der von ihm so genannten „Logik der Mode“. Gombrich hat dargelegt, auf welch vielfältige Weise Veränderungen in der Kunst sich vollziehen. Während sich die Moden in der Kunst auf unvorhersehbare, launenhafte Weise wandeln, tauchen technische Veränderungen als Lösungen für technische Probleme auf und werden im Modus von Versuch und Irrtum ermittelt. Auf diese Weise stieß Gombrich auf eine Antinomie in der Kunsttheorie: Handwerkliche Fähigkeiten und Können wandeln sich durch rationalen Fortschritt, während sich Stile durch den irrationalen Mitläufereffekt verändern. In der Kunst ist der relativistische Pluralismus zur Mode geworden, und diese Mode hat seine Antinomie ignoriert – und zwar, sofern er richtig liegt, recht willkürlich.

To commemorate the 50th anniversary of his passing, this special book features studies on Alexandre Koyré, one of the most influential historians of science of the 20th century, who re-evaluated prevalent thinking on the history and philosophy of science. In particular, it explores Koyré’s intellectual matrix and heritage within interdisciplinary fields of historical, epistemological and philosophical scientific thought. Koyré is rightly noted as both a versatile historian on the birth and development of modern science and for his interest in philosophical questions on the nature of scientific knowledge. In the 1940s and 1950s his activities in the United States established a crucial bridge between the European historical tradition of science studies and the American academic environments, and an entire generation of historians of science grew up under his direct influence. The book brings together contributions from leading experts in the field, and offers much-needed insights into the subject from historical, nature of science, and philosophical perspectives. It provides an absorbing and revealing read for historians, philosophers and scientists alike.