The Politics of Paradigms shows that America’s most famous and influential book about science, The Structure of Scientific Revolutions of 1962, was inspired and shaped by Thomas Kuhn’s political interests, his relationship with the influential cold warrior James Bryant Conant, and America’s McCarthy-era struggle to resist and defeat totalitarian ideology. Through detailed archival research, Reisch shows how Kuhn’s well-known theories of paradigms, crises, and scientific revolutions emerged from within urgent political worries—on campus and in the public sphere—about the invisible, unconscious powers of ideology, language, and history to shape the human mind and its experience of the world.
“This book raises and explores important questions about the ideological background of some of the most important work in the philosophy of science in the twentieth century. It challenges conventional wisdom about the ideological neutrality of that work.” — Peter S. Fosl, editor of The Big Lebowski and Philosophy: Keeping Your Mind Limber with Abiding Wisdom
George A. Reisch is managing editor of The Monist and series editor for Open Court Publishing Company’s series Popular Culture and Philosophy.
In this collection of essays, sixteen scholars expert in various branches of philosophy set the controls for the heart of the sun to critically examine the themes, concepts, and problems—usually encountered in the pages of Heidegger, Foucault, Sartre, or Orwell—that animate and inspire Pink Floyd's music. These include the meaning of existence, the individual's place in society, the interactions of knowledge and power in education, the contradictions of art and commerce, and the blurry line—the tragic line, in the case of Floyd early member Syd Barrett (died in 2006)—between genius and madness. Having dominated pop music for nearly four decades, Pink Floyd's dynamic and controversial history additionally opens the way for these authors to explore controversies about intellectual property, the nature of authorship, and whether wholes—especially in the case of rock bands—are more than the sums of their parts.