Edward G. Ballard – författare

HE past does not change; it cannot, for what has happened T cannot be undone. Yet how are we to understand what has happened? Our perspective on it lies in the present, and is subject to continual change. These changes, made in the light of our new knowledge and new experience, call for fresh evaluations and constant reconsideration. It is now one hundred fifty years since the death of Immanuel Kant, and this, the third volume of Tulane Studies in Philosophy is dedicated to the commemoration of the event. The diversity of the contributions to the volume serve as one indication of Kant's persistent importance in philoso­ phy. His work marks one of the most enormous turns in the whole history of human thought, and there is still much to be done in estimating its achievement. His writings have not been easy to assimilate. The exposition is difficult and labored; it is replete with ambiguities, and even with what often appear to be contradictions. Such writings allow for great latitude in interpretation. Yet who would dare ·to omit Kant from the account? The force of a man's work is measured by his influence on other thinkers; and here, Kant has few superiors. Of no man whose impact upon the history of ideas has been as great as that of Kant can it be said with finality: this 5 6 TULANE STUDIES IN PHILOSOPHY is his philosophy.

The year 1959 has been called The Centennial Year in view of the anniversary of the publication of The Origin of SPecies and the centenary of the births of many who later contributed much to the philosophy of the recent past, such as Samuel Alexander, Henri Bergson, John Dewey and Edmund Husser!' The essays in the present volume which are on subjects germane to any of the anniversaries celebrated this year have been placed first in the present volume. CENTENNIAL YEAR NUMBER DARWIN AND SCIENTIFIC METHOD JAMES K. FEIBLEMAN The knowledge of methodology, which is acquired by means of formal education in the various disciplines, is usually com­ municated in abstract form. Harmony and counterpoint in musical composition, the axiomatic method of mathematics, the established laws in physics or in chemistry, the principles of mathematics - all these are taught abstractly. It is only when we come to the method of discovery in experimental science that we find abstract communication failing. The most recent as well as the greatest successes of the experimental sciences have been those scored in modern times, but we know as yet of no abstract way to teach the scientific method. The astonishing pedagogical fact is that this method has never been abstracted and set forth in a fashion which would permit of its easy acquisition. Here is an astonishing oversight indeed, for which the very difficulty of the topic may itself be responsible.

Aesthetics, fledgling of the philosophic brood, is the most suspect of that family. It is suspected of all the philosophical sins: vagueness, disorder, dogmatism, emotionalism, reductionism, compartmentalization. Sometimes its youth is thought to be a sufficient excuse for these divagations. Sometimes the very nature of its content, involving the waywardness of genius, the remoteness of feeling from intellect, the surd of inspiration in even the mildest appreciation, are believed to condemn aes­ thetics irrevocably to the underside of the civilized man's domain. Some philosophers have gloried in this apparently mystical and a-rational quality and have seen in it the very nature of the beautiful; others have come to regard it, rather, as evidence of the unskillfulness of our minds and have turned away from aesthetic problems to the task of sharpening the aesthetician's language and logic. The laughter of the gods is not difficult to discern through the poetry of the more mystical aesthetician or through the prose of the analysts. Meanwhile the manifold complexities and problems of aesthetic experience invite our understanding. For aesthetic experience is a present fact of human life and may, perhaps, be understood by men. Such, at least, will be the present assumption. This is the reason why the title of this book mentions art together with analysis; for if art is intelligible, the work of art and the experience of it may be analyzed into its functional parts.