Robert Morris, a leading figure in postwar American art, is best known as a pioneer of minimalist sculpture, process art, and earthworks. Yet Morris has resisted affiliation with any one movement or style. An extraordinarily versatile artist, he has produced dances, performance pieces, prints, paintings, drawings, and installations, working with materials including plywood, felt, dirt, aluminum, steel mesh, fiberglass, and encaustic. Throughout his career, Morris has written influential critical essays, commenting on his own work as well as that of other artists, and exploring through text many of the theoretical concerns addressed in his artwork—about perception, materiality, space, and the process of artmaking. Have I Reasons presents seventeen of Morris’s essays, six of which have never been published before. Written over the past fifteen years, the essays, along with the volume’s many illustrations, provide an invaluable record of the recent thought of a major American artist.

The writings are arranged chronologically, beginning with “Indiana Street,” a vivid autobiographical account of the artist’s early years in Kansas City, Missouri. Have I Reasons includes reflections on Morris’s own site-specific installations; transcripts of seminars he conducted in conjunction with exhibitions; and the textual element of The Birthday Boy, the two-screen video-and-sound piece he installed at the Galleria dell’Accademia in Florence, Italy, on the occasion of the five hundredth anniversary of Michelangelo’s David. Essays range from original interpretations of Cézanne’s Mont Sainte-Victoire paintings and Jasper Johns’ early work to engagements with one of Morris’s most significant interlocutors, the philosopher Donald Davidson. Have I Reasons conveys not only Morris’s enduring deep interest in philosophy and issues of resemblance and representation but also his more recent turn toward directly addressing contemporary social and political issues such as corporate excess and preemptive belligerence.

The implicit questions that inevitably underlie German bioethics are the same ones that have pervaded all of German public life for decades: How could the Holocaust have happened? And how can Germans make sure that it will never happen again? In Reasons of Conscience, Stefan Sperling considers the bioethical debates surrounding embryonic stem cell research in Germany at the turn of the twenty-first century, highlighting how the country’s ongoing struggle to come to terms with its past informs the decisions it makes today.

           

Sperling brings the reader unmatched access to the offices of the German parliament to convey the role that morality and ethics play in contemporary Germany. He describes the separate and interactive workings of the two bodies assigned to shape German bioethics—the parliamentary Enquiry Commission on Law and Ethics in Modern Medicine and the executive branch’s National Ethics Council—tracing each institution’s genesis, projected image, and operations, and revealing that the content of bioethics cannot be separated from the workings of these institutions. Sperling then focuses his discussion around three core categories—transparency, conscience, and Germany itself—arguing that without fully considering these, we fail to understand German bioethics. He concludes with an assessment of German legislators and regulators’ attempts to incorporate criteria of ethical research into the German Stem Cell Law.

What makes a good experiment? Although experimental evidence plays an essential role in science, as Franklin argues, there is no algorithm or simple set of criteria for ranking or evaluating good experiments, and therefore no definitive answer to the question. Experiments can, in fact, be good in any number of ways: conceptually good, methodologically good, technically good, and pedagogically important. And perfection is not a requirement: even experiments with incorrect results can be good, though they must, he argues, be methodologically good, providing good reasons for belief in their results. Franklin revisits the same important question he posed in his 1981 article in the British Journal for the Philosophy of Science, when it was generally believed that the only significant role of experiment in science was to test theories. But experiments can actually play a lot of different roles in science—they can, for example, investigate a subject for which a theory does not exist, help to articulate an existing theory, call for a new theory, or correct incorrect or misinterpreted results. This book provides details of good experiments, with examples from physics and biology, illustrating the various ways they can be good and the different roles they can play.