In their recent book, Objectivity, Lorraine Daston and Peter Galison oppose the image of the scientist as a rational, objective, an dispassionate investigator of nature with that of the intuitively guided and emotionally volatile artistic genius. The authors argue that the emergence of objectivity as an epistemic virtue in nineteenth-century scienti?c practices was intimately tied to a newly perceived threat to knowledge: that of the subjective self. In their discussion, Daston and Galison cite the artist's creative imposition of ideas on the world as quintessentially subjective and opposed to science.
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Tonpsychologie und Musikforschung als Katalysatoren wissenschaftlich-experimenteller Praxis und der Methodenlehre im Kreis von Carl Stumpf
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The Victorian Occult Atom: Annie Besant and Clairvoyant Atomic Research
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Chapter
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(2013)
Popular Entomology and Anthropomorphism in the Nineteenth Century: L. M. Budgen's Episodes of Insect Life
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Essay Review
Dear, Peter;
Hacking, Ian;
Jones, Matthew L.;
Daston, Lorraine;
Galison, Peter;
(2012)
Objectivity in Historical Perspective
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Universalgenie Helmholtz: Rückblick nach 100 Jahren
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Stephen W. Link;
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The vision of Helmholtz
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History as a Tool for Natural Science: How Ernst Mach Applied Historical Methods to Physics
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Passagenwerk 1850. Bild und Zahl in den physiologischen Zeitexperimenten von Hermann von Helmholtz
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Anmerkungen zur Empirismus-Nativismus-Kontroverse
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