Preface 1. Introduction 1.1. Strategies of Demonstration 1.2. Errors and Endings 1.3. Presuppositions and the Scope of Experimental Autonomy 1.4. Overview 2. From Aggregates to Atoms 2.1. History versus Statistics 2.2. The Apparatus of Averages 2.3. Molecular Magnets 2.4. The Electron 2.5. Einstein's Experiment 2.6. Einstein's Presuppositions 2.7. The Forgotten Influence of Terrestrial Magnetism 2.8. Expectations Defied 2.9. Ducks, Rabbits, and Errors 2.10. The Scylla and Charybdis of Ending an Experiment 3. Particles and Theories 3.1. Particles One by One 3.2. Millikan's Cosmic Rays 3.3. Beliefs behind the "Birth Cry of Atoms" 3.4. Contesting Instruments and Theories 3.5. Testing Quantum Mechanics 3.6. Quantum Theory Fails 3.7. A New Kind of Radiation 3.8. Regrouping the Phenomena 3.9. Two Cases for a New Particle 3.10. Corroboration by Theory, Corroboration by Experiment 3.11. Persuasive Evidence and the End of Experiments 4. Ending a High-Energy Physics Experiment 4.1. The Scale of High-Energy Physics 4.2. The Collective Wisdom: No Neutral Currents 4.3. Symmetries and Infinities 4.4. Priorities 4.5. Good Reasons for Disbelief 4.6. The Role of Theorists 4.7. Background and Signal 4.8. Do Neutral Currents "Really Exist"? 4.9. A Picture Book Event 4.10. The Expanding Circle of Belief 4.11. Models, Background, and Commitment 4.12. Experiment 1A: Parts and Participants 4.13. Short Circuits and High Theory 4.14. First Data 4.15. "Shadow of a Suspicion" 4.16. Dismantling an Ending 4.17. "I Don't See How to Make These Effects Go Away" 5. Theoretical and Experimental Cultures 5.1. Levels of Theoretical Commitment 5.2. Long-Term Constraints 5.3. Middle-Term Constraints 5.4. Short-Term Constraints 5.5. Carving Away the Background 5.6. Directness, Stability, and the Stubbornness of Phenomena 6. Scale, Complexity, and the End of Experiments 6.1. The Assembly of Arguments 6.2. Collaborations and Communities 6.3. Subgroups, Arguments, and History 6.4. The End Appendix: Authors of Papers on Neutral Currents Abbreviations for Archival Sources Bibliography Index.
In Galison's telling of science, the meters and wires and epoxy and solder come alive as characters, along with physicists, engineers, technicians and others . . . Galison has unearthed fascinating material." ("New York Times").
Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences — and show how the concept differs from alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images. From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences — from anatomy to crystallography — are those featured in scientific atlases: the compendia that teach practitioners of a discipline what is worth looking at and how to look at it. Atlas images define the working objects of the sciences of the eye: snowflakes, galaxies, skeletons, even elementary particles. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology. As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity — or truth-to-nature or trained judgment — is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to any one interested in the elusive and crucial notion of objectivity — and in what it means to peer into the world scientifically.
Engages with the impact of modern technology on experimental physicists. This study reveals how the increasing scale and complexity of apparatus has distanced physicists from the very science which drew them into experimenting, and has fragmented microphysics into different technical traditions.
Unsere Auffassungen von Zeit verändern sich fortwährend auf vielschichtige Art und Weise. Dies ist eine Untersuchung dieser Verschiebungen und Kämpfe in Form von Zeichnungen und Texten, Musik und Bewegung bis hin zu Filmen und Konzepten. Gegen Ende des 19. Jahrhunderts wurde Zeit übergreifend organisiert: Dörfer, Städte, ganze Länder wurden ihrer »eigenen« Zeit beraubt, als die Uhren mithilfe von Signalen synchronisiert wurden. Albert Einstein stieß mit seiner radikalen Idee, die die Vorstellung eines »überallhörbaren Tik-Tak« zugunsten von Zeiten, die nicht Zeit sind, außer Kraft setzte, auf erbitterten Widerstand. Auch in unserem eigenen Zeitalter wird die Zeit wieder durcheinandergewirbelt – die Zeit wird mit Informationen gekreuzt, sie wird herausgefordert am Horizont Schwarzer Löcher oder sogar von vielen Stringtheoretikern als pure Illusion dargestellt. In einer kongenialen langfristigen Partnerschaft mit Peter L. Galison, Historiker, Autor, Filmemacher sowie Professor für die Geschichte der Wissenschaften und der Physik an der Harvard University, widmet sich der südafrikanische Künstler William Kentridge der Erforschung dieser Ideen in Die Ablehnung der Zeit, ein Projekt für die dOCUMENTA (13), in dessen Entstehen das vorliegende Notizbuch Einblick gewährt. Sprache: Deutsch/Englisch William Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012William Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012
More than fifty years after his death, Albert Einstein's vital engagement with the world continues to inspire others, spurring conversations, projects, and research, in the sciences as well as the humanities. Einstein for the 21st Century shows us why he remains a figure of fascination. In this wide-ranging collection, eminent artists, historians, scientists, and social scientists describe Einstein's influence on their work, and consider his relevance for the future. Scientists discuss how Einstein's vision continues to motivate them, whether in their quest for a fundamental description of nature or in their investigations in chaos theory; art scholars and artists explore his ties to modern aesthetics; a music historian probes Einstein's musical tastes and relates them to his outlook in science; historians explore the interconnections between Einstein's politics, physics, and philosophy; and other contributors examine his impact on the innovations of our time. Uniquely cross-disciplinary, Einstein for the 21st Century serves as a testament to his legacy and speaks to everyone with an interest in his work. The contributors are Leon Botstein, Lorraine Daston, E. L. Doctorow, Yehuda Elkana, Yaron Ezrahi, Michael L. Friedman, Jürg Fröhlich, Peter L. Galison, David Gross, Hanoch Gutfreund, Linda D. Henderson, Dudley Herschbach, Gerald Holton, Caroline Jones, Susan Neiman, Lisa Randall, Jürgen Renn, Matthew Ritchie, Silvan S. Schweber, and A. Douglas Stone.
Re-Thinking Science presents an account of the dynamic relationship between society and science. Despite the mounting evidence of a much closer, interactive relationship between society and science, current debate still seems to turn on the need to maintain a 'line' to demarcate them. The view persists that there is a one-way communication flow from science to society - with scant attention given to the ways in which society communicates with science. The authors argue that changes in society now make such communications both more likely and more numerous, and that this is transforming science not only in its research practices and the institutions that support it but also deep in its epistemological core. To explain these changes, Nowotny, Scott and Gibbons have developed an open, dynamic framework for re-thinking science. The authors conclude that the line which formerly demarcated society from science is regularly transgressed and that the resulting closer interaction of science and society signals the emergence of a new kind of science: contextualized or context-sensitive science. The co-evolution between society and science requires a more or less complete re-thinking of the basis on which a new social contract between science and society might be constructed. In their discussion the authors present some of the elements that would comprise this new social contract.
Unsere Auffassungen von Zeit verändern sich fortwährend auf vielschichtige Art und Weise. Dies ist eine Untersuchung dieser Verschiebungen und Kämpfe in Form von Zeichnungen und Texten, Musik und Bewegung bis hin zu Filmen und Konzepten. Gegen Ende des 19. Jahrhunderts wurde Zeit übergreifend organisiert: Dörfer, Städte, ganze Länder wurden ihrer »eigenen« Zeit beraubt, als die Uhren mithilfe von Signalen synchronisiert wurden. Albert Einstein stieß mit seiner radikalen Idee, die die Vorstellung eines »überallhörbaren Tik-Tak« zugunsten von Zeiten, die nicht Zeit sind, außer Kraft setzte, auf erbitterten Widerstand. Auch in unserem eigenen Zeitalter wird die Zeit wieder durcheinandergewirbelt – die Zeit wird mit Informationen gekreuzt, sie wird herausgefordert am Horizont Schwarzer Löcher oder sogar von vielen Stringtheoretikern als pure Illusion dargestellt. In einer kongenialen langfristigen Partnerschaft mit Peter L. Galison, Historiker, Autor, Filmemacher sowie Professor für die Geschichte der Wissenschaften und der Physik an der Harvard University, widmet sich der südafrikanische Künstler William Kentridge der Erforschung dieser Ideen in Die Ablehnung der Zeit, ein Projekt für die dOCUMENTA (13), in dessen Entstehen das vorliegende Notizbuch Einblick gewährt. Sprache: Deutsch/EnglischWilliam Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012William Kentridge (*1955 in Johannesburg, Südafrika) schloss 1976 ein Studium der Politik und Afrikanistik an der Witwatersrand-Universität in Johannesburg ab. 1976-1978 studierte er Druckgrafik an der Johannesburg Art Foundation. 1981/82 nahm er an der École internationale de théâtre Jacques Lecog in Paris Pantomime- und Schauspielunterricht. Seit den 1980er-Jahren wurde sein Werk in zahlreichen Einzel- und Gruppenausstellungen gezeigt, Fünf Themen etwa war 2010 am MoMA, New York, dem Jeu de Paume, Paris, und an der Albertina, Wien, zu sehen. Kentridge war Teilnehmer der documenta X (1997) sowie der Documenta11 (2002) und ist auch auf der dOCUMENTA (13) (2012) vertreten. Er wurde mit verschiedenen Preisen ausgezeichnet, darunter 2003 mit dem Kaiserring der Stadt Goslar, 2010 mit dem Kyoto-Preis für Kunst und Philosophie. Der Künstler lebt und arbeitet in Johannesburg. Stand: Juni 2012
L’artiste Sud-Africain William Kentridge présentera à la 13e Documenta de Kassel, de juin à septembre 2012, une installation-spectacle intitulée The Refusal of Time. Événement culturel international, la Documenta expose tous les cinq ans les artistes majeurs de l’art contemporain autour d’une problématique faisant émerger les enjeux actuels de l’art. Le spectacle sera également accueilli au Festival d’Avignon, au Festival RomaEuropa et dans divers lieux culturels européens. Né de la rencontre avec le compositeur Philip Miller et d’une série d’échanges avec l’historien des sciences Peter Galison, Refusal of Time mêle musique, lecture, danse, chants, vidéos, dessins, performance et met en scène les interrogations de Kentridge sur la notion de temps. Connu, depuis trente ans, pour ses dessins au fusain, ses films d’animation et ses installations dénonçant l’apartheid et le colonialisme, Kentridge poursuit actuellement un travail aux frontières de l’art et de la science.
William Kentridge's recent work is situated on the border between art and science: by examining our perception and understanding of time, he reconsiders the creative process. A work in progress in the truest sense, The Refusal of Time continues and deepens the polymorphic, dreamlike, political and humanist body of work developed by Kentridge from his very earliest days as an artist. An installation with performance elements, The Refusal of Time was conceived by Kentridge and science historian Peter Galison for Documenta 13, and realized in collaboration with video filmmaker Catherine Meyburgh and composer Philip Miller, both of whom worked with Kentridge and Galison for a year. Time in its various manifestations--narrative, fragmented, slowed down and speeded up; distortions of space-time; simultaneity--is explored through various media, including dance, film, music and spoken word. The book itself is a work of art; it includes sketches and notebooks, all the texts read during the performance, pictures from the rehearsals and workshop as well as highlights of the show, interviews and drawings created specially for it by Kentridge.
In May 1905 Albert Einstein changed time forever; his theory of relativity had practical consequences that changed the world. Only a century ago Europe had a huge number of local time zones and no proper system of synchronizing them. This threatened chaos, particularly on the railways and communications. Synchronized time was necessary to create timetables for passengers and stop trains from crashing as they hurtled in opposite directions along single tracks.
In his Epistle to the Philippians, Paul positions himself as an example of 'being in Christ'. The way in which he does this points out that he consciously positions himself in the tradition of classical rhetoric, where the use of paradigms (exempla) was a standard element in deliberative arguing. Paul describes his life as coloured by Christ in such a way that he represents Christ to the Philippians, and the response he hopes to evoke in their congregation is that of similar behaviour. The analysis of Smit combines observations on classical rhetoric, exegetical analyses of Philippians, and views from the perspective of gender and masculinity studies into a new and fresh analysis of the material. He shows that ancient ideals of deliberative rhetoric have influenced Philippians in much the same way in which they appear in e.g. Aristotle, Plutarch, and (also) 2 Maccabees. This study both positions Paul in the cultural context of his day and indicates the newness of his enterprise.
Motivational hedonism (often called “psychological hedonism”) claims that everything we do is done in pursuit of pleasure (in the widest sense) and to avoid pain and displeasure (again, in the widest sense). Although perennially attractive, many philosophers and experimental psychologists have claimed to refute it. Human Motives shows how decision-science and the recent science of affect can be used to construct a form of motivational hedonism that evades all previous critiques. On this view, we take decisions by anticipating and responding affectively to the alternatives, with the pleasure / displeasure component of affect constituting the common currency of decision-making. But we do not have to believe that the alternatives will bring us pleasure or displeasure in the future. Rather, those feelings get bound into and become parts of the future-directed representation of the options, rendering the latter attractive or repulsive. Much then depends on what pleasure and displeasure really are. If they are intrinsically good or bad properties of experience, for example, then motivational hedonism results. Carruthers argues, in contrast, that the best account is a representational one: pleasure represents its object (nonconceptually, in a perception-like manner) as good, and displeasure represents it (nonconceptually) as bad. The result is pluralism about human motivation, making room for both genuine altruism and intrinsic motives of duty. Clearly written and deeply scientifically informed, Human Motives has implications for many areas of philosophy and cognitive science, and will be of interest to anyone wanting to understand the foundations of human motivation.
Is science unified or disunified? Over the last century, the question has raised the interest (and hackles) of scientists, philosophers, historians, and sociologists of science, for at stake is how science and society fit together. Recent years have seen a turn largely against the rhetoric of unity, ranging from the please of condensed matter physicists for disciplinary autonomy all the way to discussions in the humanities and social sciences that involve local history, feminism, multiculturalism, postmodernism, scientific relativism and realism, and social constructivism. Many of these varied aspects of the debate over the disunity of science are reflected in this volume, which brings together a number of scholars studying science who otherwise have had little to say to each other: feminist theorists, philosophers of science, sociologists of science. How does the context of discover shape knowledge? What are the philosophical consequences of a disunified science? Does, for example, an antirealism, a realism, or an arealism become defensible within a picture of local scientific knowledge? What politics lies behind and follows from a picture of the world of science more like a quilt than a pyramid? Who gains and loses if representation of science has standards that vary from place to place, field to field, and practitioner to practitioner.
Since 1963, substantial objections have been raised against the traditional view of the Pauline doctrine of justification, mainly by New Testament scholars such as Krister Stendahl, E. P. Sanders and James D. G. Dunn. This book evaluates the "New Perspective on Paul" and finds it wanting. With appreciation for the important critique already offered by Donald Hagner, which is included in this volume, Peter Stuhlmacher mounts a forthright and well-supported challenge based on established and more recent scholarship concerning Paul's understanding of justification. In particular he argues that the forensic and mystical elements of Paul's doctrine of justification should not be played off against one another. Rather Paul's understanding can be faithfully rendered only within the context of his apostolic mission to Jews and Gentiles and the expectation of the coming kingdom of God. This book will be of interest to students and teachers of biblical studies, biblical theology and systematic theology, and to those engaged in Jewish-Christian dialogue, Protestant-Roman Catholic conversation about the doctrine of justification, or discussions of rival views of justification within Protestantism.
While interest in Paul's relationship to Judaism has been growing recently, this study adds an important aspect by comparing Paul’s practical instruction with the ancient halakha or Jewish traditional law. First Corinthians is found to be a source of prime importance, and surprisingly, halakha appears to be basic to Paul's instruction for non-Jewish Christians. The book includes thorough discussion of hermeneutic and methodological implications, always viewed in relation to the history of Pauline and Judaic study. Attention is also being paid to the setting within Hellenistic culture. Finally, conclusions are drawn about the texture of Paul's thought and these are applied to two ‘theological’ passages decisive for his place in Judaism. Historical and theological implications are vast, both regarding Paul's relationship to Judaism, his attitude towards Jesus and his Apostles, and the meaning of his teaching concerning justification and the Law.
My book consists of some analyses of my own person and the way i see the world through my experiences in every day life.Having been raised in a religious environment has also given me an outlook on life and it's pitfalls as well as the good things that came out of it. Religion is the staple of most societies and each has a way oi life to it and a promise for a heaven or a place that will give peace and an absence of any evil. Where freedom reigns and happiness is around us like a coat. Whether there are many ways to get there I can not say but I am sure that most people think that their way is the one and only way. I will in no way dispute these facts because sitting in judgment over others is like walking in quicksand and in the end the results may still be the same
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