 Feyerabend embraced the relativism implied by the positions just described. In a late work, Science as Art, influenced by the prominent Viennese art historian Alois Riegl, he spoke of distinct, self-contained scientific styles at different periods that are much like the distinct styles in art (Ginzburg 1998). Such a view fit well with his sometime assertion that there is no scientific progress, just a succession or multiplicity of styles. Here there is a faint connection to Kuhn’s early views, although the two men reportedly did not interact as much as one might expect while both were at Berkeley.