Joseph Agassi

The idea of verisimilitude is implicit in the writings of Albert Einstein ever since 1905, when he declared the distribution of field energy according to Maxwell's theory an approximation to that according to quantum-radiation theory, and Newtonian kinetic energy an approximation to his relativistic mass-energy. All his life Einstein presented new ideas as yielding older established ones as special cases and first approximations. The news has reached the philosophical community via the writings of Sir Karl Popper half-a-century after Einstein's trailblazing conception — first in his epoch-making "Note on Berkeley as a Precursor to Mach" and then in his classic "Three Views Concerning Human Knowledge"

Both a Popper biography and an autobiography, Agassi's "A Philosopher's Apprentice" tells the riveting story of his intellectual formation in 1950s London, a young brilliant philosopher struggling with an intellectual giant - father, mentor, and rival, all at the same time. His subsequent rebellion and declaration of independence leads to a painful break, never to be completely healed. No other writer has Agassi's psychological insight into Popper, and no other book captures like this one the intellectual excitement around the Popper circle in the 1950s and the struggles of the 1960s and 1970s - personal, academic, political, all important philosophically. Agassi's Popper - whether one agrees with it or not - is an enormous contribution to scholarship. This second revised edition includes also Popper's and Agassi's last correspondence and, in a postscript it shows Agassi leafing through Popper's archives, reaching a sort of reconciliation, an appropriate ending to the drama. A must read. Malachi Hacohen, Duke University.

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.