Advertisement

Evolution in Science

  • Tönu Puu
Chapter

Abstract

Logical empiricist philosophy of Science, as represented by Sir Karl Popper and others around 1950, provided the perfect philosophical foundation for modern empirical science. It finally did away with the naive empiricism founded on Hume’s induction logic. The abstraction and idealization process, always present in scientific modelling, be it zero dimensional mass points or utility maximizing consumers, was allowed for. The same was true about the theoretical concepts, such as gravity, electron shells, or the subconscious, which could not be completely defined in terms of empirically observed facts. Yet there was a linkage to reality through the empirical generalizations, deductively derived statements in which the theoretical concepts had been eliminated, only empirically meaningful concepts, observable through operational rules, remaining.

Keywords

Logical Empiricism Empirical Generalization Female Scientist Teleological Explanation Great Mathematician 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

References

  1. Alberti LB (1436) Della pitturaGoogle Scholar

Classics (Before 1800)

  1. Bach CPE (1752) Versuch über die wahre Art Klavier zu spielenGoogle Scholar
  2. Castiglione B (1513) Il CortegianoGoogle Scholar
  3. Cellini B (1565) VitaGoogle Scholar
  4. d’Alambert JR, Diderot D (1751) Encyclopédie ou Dictionnaire raisonné des science, des arts et des métiersGoogle Scholar
  5. de Brosses C (1739) Voyage en ItalieGoogle Scholar
  6. Descartes R (1649) Traité des passions de l’âmeGoogle Scholar
  7. du Tillet T (1732) Le Parnasse FrancoisGoogle Scholar
  8. Dürer A (1533) Institutionem geometricamGoogle Scholar
  9. Dürer A (1557) De symmetria partium humanorum corporumGoogle Scholar
  10. Gibbon E (1776) Decline and fall of the Roman empireGoogle Scholar
  11. le Blanc H (1740) Défense de la basse de viole contre les Entreprises du violon et les Prétentions du violoncelGoogle Scholar
  12. Lilly W (1647) Christian astrology modestly treated in three booksGoogle Scholar
  13. Mace T (1676) Musick’s monumentGoogle Scholar
  14. Mattheson J (1739) Der vollkommene KapellmeisterGoogle Scholar
  15. Mozart L (1756) Gründliche ViolinschuleGoogle Scholar
  16. Mozart WA (1763–1791) Letters, various editions, Gesamtausgabe. Hrsg. von Mozarteum Salzburg, BärenreiterGoogle Scholar
  17. Praetorius M (1614–1620) Syntagma MusicumGoogle Scholar
  18. Quantz JJ (1752) Versuch einer Anweisung die Flute Traversière zu spielenGoogle Scholar
  19. Smith A (1776) An inquiry into the nature and causes of the wealth of NationsGoogle Scholar
  20. Vasari G (1568) Le vite de’più eccellenti Architetti, Pittori, et Scultori ItalianiGoogle Scholar
  21. von Goethe JW (1786) Italienische ReiseGoogle Scholar

Modern (1800 to Our Days)

  1. Abraham R, Shaw R (1992) Dynamics. Addison-Wesley, ReadingGoogle Scholar
  2. Arthur B (1990) Positive feedbacks in the economy. Sci Am 262:92–99CrossRefGoogle Scholar
  3. Banchoff TF (1990) Beyond the third dimension. Freeman, San FranciscoGoogle Scholar
  4. Bailly A (1968) La serenissima repubblica di Venzia, dall’OglioGoogle Scholar
  5. Barnsley M (1988) Fractals Everywhere. Academic Press Inc., San DiegoGoogle Scholar
  6. Basalla G (1988) The evolution of technology. Cambridge University Press, CambridgeGoogle Scholar
  7. Berenson B (1957) Italian pictures of the reanaissance. Phaidon, LondonGoogle Scholar
  8. Beyle MH (pseud. Stendhal) (1827) Promenades dans RomeGoogle Scholar
  9. Bol H (1973) La basse de viole au temps de Marin Marais et d’Antoine Forqueray, CreychtonGoogle Scholar
  10. Böttger D (2003) Wolfgang Amadeus Mozart. DTV, MünchenGoogle Scholar
  11. Carcopino J (1961) La vie quotidienne a Rome à l’apogée de l’empire. Hachette, ParisGoogle Scholar
  12. Dart T (1954) The interpretation of music. Hutchinson & Co, LondonGoogle Scholar
  13. Davis PJ, Hersch R (1981) The mathematical experience. Birkhäuser, BaselGoogle Scholar
  14. de Smit B, Lenstra Jr HW (2003) The mathematical structure of Escher’s print gallery. Notices AMS 0:446–451Google Scholar
  15. Deppisch W (1968) Richard Strauss, RowolthGoogle Scholar
  16. Devaney R (1989) Film and video as a tool in mathematical research. Math Intell 11:33CrossRefGoogle Scholar
  17. Ernst B (1978) Der Zauberspiegel des M.C. Escher. Taco, BerlinGoogle Scholar
  18. Field M, Golubitsky M (1992) Symmetry in chaos. Oxford University Press, OxfordGoogle Scholar
  19. Fletcher NH, Rossig TD (1991) The physics of musical instruments. Springer, BerlinCrossRefGoogle Scholar
  20. Forkel JN (1802) Über Johann Sebastian Bach - Leben, Kunst und Kunstwerke. Bärenreiter, LeipzigGoogle Scholar
  21. Frances G (1987) Topological picturebook. Springer, BerlinGoogle Scholar
  22. Frazer Sir J (1890) The golden bough. Macmillan, LondonGoogle Scholar
  23. Frey BS (2000) Arts & economics. Springer, BerlinCrossRefGoogle Scholar
  24. Gimbel S (2012) Einstein’s Jewish science. Physics at the intersection of politics and religion. Johns Hopkins University Press, BaltimoreGoogle Scholar
  25. Gombrich EH (1950) The story of art. Phaidon, LondonGoogle Scholar
  26. Gombrich EH (1960) Art and illusion - a study in the psychology of pictorial representation. Phaidon, LondonGoogle Scholar
  27. Goodstein DL, Goodstein JR (1997) Feyneman’s lost lecture. Vintage Books, LondonGoogle Scholar
  28. Haken H (1983) Advanced synergetics. Springer, BerlinGoogle Scholar
  29. Harnoncourt N (1982) Musik als Klangrede. Residenz-Verlag, SalzburgGoogle Scholar
  30. Harnoncourt N (1984) Der Musikalische Dialog. Residenz-Verlag, SalzburgGoogle Scholar
  31. Haskell E (1988) The early music revival. Thames and Hudson, LondonGoogle Scholar
  32. Heremerén G (1972) Värdering och objektivitet [Value and objectivity]. Studentlitteratur, LundGoogle Scholar
  33. Heron-Allen E (1885) Violin making as it was and is. Ward Lock, London (reprint 1976)Google Scholar
  34. Hockney D (2001) Secret knowledge: rediscovering the lost techniques of the old masters. Viking Studio, New YorkGoogle Scholar
  35. Hogwood C (1988) Handel. Thames & Hudson, LondonGoogle Scholar
  36. Hofstaedter D (1980) Gödel, Esher, Bach - an Eternal Golden Braid. Vintage Books, LondonGoogle Scholar
  37. Hubbard F (1967) Three centuries of harpsichord making. Harvard University Press, CambridgeGoogle Scholar
  38. Janik H, Toulmin S (1973) Wittgenstein’s Vienna. Touchstone, New YorkGoogle Scholar
  39. Jaquier P (1991) Rediscovery of a portrait of Jean-Baptiste Forqueray - discovery of some elements of the represented basse de viole (Proceedings of the Viola da Gamba Symposium Utrecht), STIMU PublicationsGoogle Scholar
  40. Jeans J (1937) Science and music. Cambridge University Press, CambridgeGoogle Scholar
  41. Kirkpatrick R (1953) Domenico Scarlatti. Princeton University Press, PrincetonGoogle Scholar
  42. Kirkpatrick R (1983) Fifty years of harpsichord playing. Early Music 11:31CrossRefGoogle Scholar
  43. Kolneder W (1965) Antonio Vivaldi. Breitkopf und Härtel, WiesbadenGoogle Scholar
  44. Kuhn T (1962) The structure of scientific revolutions. University of Chicago Press, ChicagoGoogle Scholar
  45. Laidler KJ (2004) The harmonious universe: the beauty and unity of scientific understanding. Prometheus Books, AmherstGoogle Scholar
  46. Lancaster K (1971) Consumer demand - a new approach. Columbia University Press, New YorkGoogle Scholar
  47. Lenard P (1936) Deutsche physik in vier bänden. J.F. Lehmann, MunichGoogle Scholar
  48. Lucie-Smith E (1981) The story of craft - the Craftsman’s role in society. Phaidon, LondonGoogle Scholar
  49. Mandelbrot BB (1977) The fractal geometry of nature. Freeman, San FranciscoGoogle Scholar
  50. Mossetto G (1992) The economics of a city of art: a tale of two cities. Ricerche Econom 46:121Google Scholar
  51. Mossetto G (1993) Aesthetics and economics. Kluwer Academic, DordrechtCrossRefGoogle Scholar
  52. Mumford D, Series C, Wright D (2002) Indra’s pearls - the vision of Felix Klein. Cambridge University Press, CambridgeCrossRefGoogle Scholar
  53. Myrdal G (1930) Vetenskap och politik i nationalekonomin. Norstedts, StockholmGoogle Scholar
  54. Parry H (1886) Studies of the great composers. G. Routledge, LondonGoogle Scholar
  55. Penrose R (1969) The emperor’s new mind. Oxford University Press, OxfordGoogle Scholar
  56. Peitgen HO, Richter PH (1986) The beauty of fractals. Springer, BerlinCrossRefGoogle Scholar
  57. Pickover CA (1990) Computers, pattern, chaos, and beauty. Alan Sutton, GloucestershireGoogle Scholar
  58. Popper KR (1959) The logic of scientific discovery. Hutchinson, LondonGoogle Scholar
  59. Poston T, Stewart I (1978) Catastrophe theory. Pitman, LondonGoogle Scholar
  60. Radetzki M (2010) The fallacies of concurrent climate policy efforts. Ambio 39:211–222CrossRefGoogle Scholar
  61. Savart F (1819) Mémoire sur les instruments à musique aux cordes et à l’archet. Deterville, ParisGoogle Scholar
  62. Schorske K (1961) Fin-de-siècle Vienna. Knopf, New YorkGoogle Scholar
  63. Schumpeter J (1954) History of economic analysis. Allen and Unwin, LondonGoogle Scholar
  64. Singh S (1997) Fermat’s last theorem. Fourth Estate, LondonGoogle Scholar
  65. Stewart I (1989) Does god play dice? Blackwell, OxfordGoogle Scholar
  66. Stewart I, Golubitsky M (1993) Fearful symmetry. Penguin, LondonGoogle Scholar
  67. Taine H (1866) Voyage en ItalieGoogle Scholar
  68. Tromba A (1984) Mathematics and optimal form. Scientific American Books, New YorkGoogle Scholar
  69. von Böhm-Bawerk E (1889) Kapital und Kapitalzins. Wagner, InnsbruckGoogle Scholar
  70. Weissenberger R (1984) Wien 1890–1920. Überreuter, WienGoogle Scholar
  71. Wentworth-Thompson D (1917) On growth and form. Cambridge University Press, CambridgeGoogle Scholar
  72. Wölfflin H (1948) Kunstgeschichtliche Grundbegriffe - Das Problem der Stilentwicklung in der Neueren Kunst. Benno Schwabe & Co, BaselGoogle Scholar
  73. Wölfflin H (1952) Classic art, an introduction to the Italian renaissance. Phaidon, LondonGoogle Scholar
  74. Zuckermann WJ (1969) The modern Harpsichord. Peter Owen, LondonGoogle Scholar

Copyright information

© Springer-Verlag Berlin Heidelberg 2015

Authors and Affiliations

  • Tönu Puu
    • 1
  1. 1.CERUMUmeå UniversityUmeåSweden

Personalised recommendations