Mainstream modern science, with its analytical methods and its “objective” teachings, is the dominant force in modern culture. If science simply discovered and taught the truth about reality, who could object? But mainstream science does not simply “discover the truth”; instead it relies in part on a set of unscientific, false philosophical presuppositions as the basis for many of its conclusions. Thus, crucial aspects of what modern science teaches us are simply shabby philosophy dressed up in a white lab coat.

John Pocock's edition of Burke's _Reflections_ is two classics in one: Burke's Reflections and Pocock's reflections on Burke and the eighteenth century.

Very little has been written in recent decades about the temporal nature of art. The two principal explanations provided by our Western cultural tradition are that art is timeless (`eternal') or that it belongs within the world of historical change. Neither account offers a plausible explanation of the world of art as we know it today, which contains large numbers of works which are self-evidently not timeless because they have been resurrected after long periods of oblivion with significances quite different (...) from those which they originally held, and which also seem to have escaped history because, though long-forgotten, they have `come alive' again for us today. In his two key works on the theory of art, "Les Voix du silence" and "La Métamorphose des dieux", André Malraux offers an entirely new account of the temporal nature of art based on the concept of metamorphosis. Unlike the traditional explanations, Malraux's account makes sense of the world of art as we now know it. He revolutionizes our understanding of the relationship between art and time. (shrink)

How is music implicated in the politics of belonging? Provocatively fusing recent European philosophy with music theory, Music and Belonging explores the instrumental music of Haydn, Mozart, and Beethoven, reveals connections between listening and constructions of community, and testifies to Classical music's enduring political significance in an age of neoliberal exclusion.

In this book, Roland Kupers argues that the climate crisis is well suited to the bottom-up, rapid, and revolutionary change complexity science theorizes; he succinctly makes the case that complexity science promises policy solutions to address climate change.

Examining the emergence, in the inter-war years, of what came to be called 'Keynesian macroeconomics'. This study accepts the novelty of the latter, as represented by the IS-LM model, which in various forms came to dominate the sub-discipline for three decades. It argues, however, that this model did not represent a radical change in economic thinking but rather an extremely selective synthesis of those which had permeated the preceding literature, including Keynes's own contributions to it, not least the General Theory. (...) Hence the book questions the appropriateness of thinking of this development as the outcome of a 'Keynesian Revolution' in economic thought, partly because the most radical aspects of Keynes's own intended contribution were excluded from it, but mainly because IS-LM is better viewed as the end result of twenty years or more of intellectual development to which many others besides Keynes contributed. (shrink)