That is an interesting point.

And then there is the oblique strategies model...

Still it remains that there are things about perfume that are beyond science's ability to help with & things about perfume that only science could ever help with. There isn't any need for opposition. It needn't be hammer vs saw. Both are useful.

I think we're agreed on that, it's banging nails with a saw that is objectionable.
Although I have been known to saw the head off an intransigent screw.

We could look at how often they confuse character, as was done in a test looking at the relative legibility of Constantia, Cambria, and TNR.

And if you are showing glyphs in isolation, as in that test, don't disadvantage Constantia by using a lining zero for the other two fonts in the test and and oldstyle zero for Constantia!

That's who you read the results, not just the conclusion.

"..science can help improve our knowledge of anything."
I totally agree with this. It gets tricky though, when people read it, or the results, as,
"'..science can prove our knowledge of anything.'"

John: "...don’t disadvantage Constantia..."
You can now join People for the Ethical Study of Type Studies.
I have seen to it, that the normal member fees were waived, in a vote of 1 to o.

Cheers!

Knowledge is not the same thing as understanding.

-=®=-

Understanding is not the same as Experience. Experience is not the same thing as insight. Peas are not the same thing as carrots. Yes yes. I have a dictionary too. English is great isn't it? All these words that don't mean precisely the same thing...

and oldstyle zero for Constantia!

 

Left: Times "o", right: Times oldstyle zero.

Oldstyle vs. Oldstyle, Times may still have "disadvantaged" Constantia, as its oldstyle zero is both taller than x-height, and is monolinear rather than stressed.

The issue raised: is it better to have disambiguation to take care of extremely *rare* problems, or live with some ambiguity, for a better *normal* experience (the decision John made with Constantia's oldstyle zero). And how do the designers of reading tests decide on what's normal?

(Please don't call me "softly" in unaccented Greek capitals:-)

The New York Times magazine did a wonderful piece on the design of Clearview, a typeface designed for maximum nighttime and inclement weather visibility for highway signs. It's not quite the same dynamic as print legibility issues, but a fascinating read nonetheless:
http://www.nytimes.com/2007/08/12/magazine/12fonts-t.html?_r=1&ref=magaz...