: The distinction between science and philosophy plays a central role in methodological, programmatic and institutional debates. Discussions of disciplinary identities typically focus on boundaries or else on genealogies, yielding models of demarcation and models of dynamics. Considerations of a discipline's self-image, often based on history, often plays an important role in the values, projects and practices of its members. Recent focus on the dynamics of scientific change supplements Kuhnian neat model with a role for philosophy and yields a model (...) of the evolution of philosophy of science. This view illuminates important aspects of science and itself contributes to philosophy of science. This interactive model is general yet based on exclusive attention to physics. In this paper and two sequels, I focus on the human sciences and argue that their role in the history of philosophy of science is just as important and it also involves a close involvement of the history of philosophy. The focus is on Gestalt psychology and it points to some lessons for philosophy of science. But, unlike the discussion of natural sciences, the discussion here brings out more complication than explication, and skews certain kinds of generalizations. (shrink)

This article analyses the skills and knowledges involved in multiplayer first-person shooting games, specifically Call of Duty 4 for the Xbox 360 games console. In doing so, it argues that the environments of first-person shooting games are designed to be intense spaces that produce captivated subjects – users who play attentively for long periods of time. Developing Heidegger’s concept of attunement and Stiegler’s account of retention, the article unpacks the somatic and sensory skills involved in videogame play and discusses how (...) videogame environments cultivate a sense of captivation. In conclusion the article reflects on the politics of captivation for the bodies that engage with these games through the idea of vulnerability as an ‘opening of the body’s capacity for sense’. (shrink)

Biomechanical engineering is marked by highly experimental efforts to craft mechanical devices that might one day alleviate the scarcity of transplantable organs in the USA. A pronounced desire among bioengineers involves melding humans with machines, bearing the promise of perfecting the natural yet messy flaws of the ‘natal’ body. Not all bodies are considered equal within this field, however. Visual renderings of heart devices — as an unusual sort of body prosthesis — foreground a specialized aesthetic, where the well-toned male (...) form defines an idealized generic of beauty and perfection. This analysis considers the moral underpinnings of the embodied aesthetic in specific reference to engineers’ efforts to fabricate implantable ‘artificial’ hearts. Of central concern are the sociomoral consequences of a standardized male beauty, set alongside the striking absence — or invisibility — of the female form within this rarified field of science. (shrink)

This article argues that the mid-1960s saw a dramatic shift in how ‘brainwashing’ was popularly imagined, reflecting Anglo-American developments in the sciences of mind as well as shifts in mass media culture. The 1965 British film The Ipcress File provides a rich case for exploring these interconnections between mind control, mind science and media, as it exemplifies the era’s innovations for depicting ‘brainwashing’ on screen: the film’s protagonist is subjected to flashing lights and electronic music, pulsating to the ‘rhythm of (...) brainwaves’. This article describes the making of The Ipcress File’s brainwashing sequence and shows how its quest for cinematic spectacle drew on developments in cybernetic science, multimedia design and modernist architecture. I argue that often interposed between the disparate endeavours of 1960s mind control, psychological science and media was a vision of the human mind as a ‘cybernetic spectator’: a subject who scrutinizes how media and other demands on her sensory perception can affect consciousness, and seeks to consciously participate in this mental conditioning and guide its effects. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

This paper deals with Ludwik Fleck’s theory of thought styles and Michael Polanyi’s theory of tacit knowledge. Though both concepts have been very influential for science studies in general, and both have been subject to numerous interpretations, their accounts have, somewhat surprisingly, hardly been comparatively analyzed. Both Fleck and Polanyi relied on the physiology and psychology of the senses in order to show that scientific knowledge follows less the path of logical principles than the path of accepting or rejecting specific (...) conventions, where these may be psychologically or sociologically grounded. It is my aim to show that similarities and differences between Fleck and Polanyi are to be seen in the specific historical and political context in which they worked. Both authors, I shall argue, emphasized the relevance of perception in close connection to their respective understanding of science, freedom, and democracy. (shrink)

Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces? This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete (...) scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue. Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible. (shrink)

In recent years, attention has become a matter of increasing public concern. New digital technologies have transformed human attention materially and discursively, reorganizing perceptual practices and inciting debates about them. The essays in this special issue emerged from a set of panels focused on attention at the 4S conference in New Orleans in 2019. They are all, in various ways, concerned with shifts among attention’s many meanings: between payment and care, instinct and agency, or vulnerability and power. Drawing on Science (...) and Technology Studies sensibilities, these pieces examine how scientific and technical actors are invested in theorizing and capturing attention, while simultaneously engendering new forms of care, resistance, and critique. At a moment where the attention economy appears to be in transformative crisis, this collection maps a set of incipient directions that ask us to pay attention to not only attention itself but also to the many sociotechnical settings where experts and publics are shifting attention’s meaning and value. (shrink)

The sociocultural landscape of contemporaneity can be represented as a porous inhomogeneous space consisting of border zones. These zones, understood by P. Galison as “local coordination of beliefs and actions,” can be deployed due to already existing conditions, for example, a project may arise at a university. However, such zones do not create sustainable social configurations and infrastructures associated with new areas of knowledge. In this article, we expand the concept of trading zones and call them zones requiring local ontologies (...) that arise on the border between different knowledge and imagination systems and, in turn, require their own infrastructure. This approach supports the view on humanities not as “pre-packaged” knowledge, but as special “technique” forming local ontologies. For a humanities-as-technique to emerge, it is necessary that two or more systems of knowledge coincide in time and form an intermediate zone, on the basis of which some local ontology can unfold. Thus, for example, when combining contemporary philosophy and contemporary mathematics, new images of knowledge emerge. Humanities-as-technique are considered as the basis for the establishment of trading zones, which are understood as local ontologies. We also propose a system of concepts that can be used to describe and construct these trading zones on the territory of the humanities in a techno-oriented cultural environment. (shrink)

Observation and experiment as categories for analysing scientific practice have a long pedigree in writings on science. There has, however, been little attempt to delineate observation and experiment with respect to analysing scientific practice; in particular, scientific experimentation, in a systematic manner. Someone who has presented a systematic account of observation and experiment as categories for analysing scientific experimentation is Ian Hacking. In this paper, I present a detailed analysis of Hacking’s observation versus experiment account. Using a range of cases (...) from various fields of scientific enquiry, I argue that the observation versus experiment account is not an adequate framework for delineating scientific experimentation in a systematic manner. (shrink)

The third issue of the Journal for the Philosophy of Language, Mind and the Arts is centered on a series of questions related to the nature of images. What properties characterize them? Do they exist also in our minds? What relationship do they have with phenomena such as perception, memory, language and interpretation? The authors participating in this issue have been asked to answer these and other questions starting from and in dialogue with the two philosophical perspectives that have most (...) enriched the study of our object of research since the second half of the twentieth century: analytical philosophy and visual culture studies. The first four essays address problems related to ontology (Didi-Huberman, Prinz, Bantinaki, Manzotti). In their pages the question will be asked not only about the nature of images but also about what it means for an image to represent an object or an action realistically. The second part contains discussions related to the topics of perception, appreciation and creation of pictures (Ferretti; Gavaler, Goldberg; Pigoni, Coraci, Carlenzi). The third section goes through the problems related to the very concept of representing by images (Biggs; Weichert; Derby). The last section of the issue is devoted to two cases in which images are used not so much and not only to represent something, but also to convey ethical-political values (Fasnacht; Olesiejuk). (shrink)

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This (...) article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977), a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions. (shrink)

The essay examines both the dances and the dance notation of renowned nineteenth century choreographer Carlo Blasis. It looks in detail at Blasis major treatise The Code of Terpsichore in an effort to evaluate how Blasis linked a science of movement to a conception of the body oriented around the prevailing aesthetics informing all of the fine arts. Identifying Blasis as both a philosopher and a mechanist, this essay analyzes his approach to teaching basic ballet vocabulary, and in particular the (...) arabesque. Whereas Kleist, with his Marionettentheater, proposes the puppet as a figure of grace, located somewhere between animal and doll, Blasis brings together the movement science of mechanics and the descriptive theory of grace in a poetics of the arabesque, a synthesis of elevation and evanescence, which we see when we conjure up pictures of nineteenth century Romantic ballet. (shrink)

This article compares notes on different and new concepts of ‘the Human’, developed both within disciplinary and interdisciplinary academic scientific research and in broader social practices. The main focus is on the shifting relationship between the ‘two cultures’ of the humanities and science in the light of contemporary developments, such as the sophisticated forms of interdisciplinary research that have emerged in the fields of biotechnologies, neural sciences, environmental and climate change research and Information and Communication technologies. These rapid changes affect (...) the very definitions of the human and of human evolution. The question is how and to what extent they have an impact on both the practice of the humanities and on their self-representation. Is humanism challenged or strengthened by these developments? To what extent is anthropocentrism called to task by what is becoming known as posthuman theory? (shrink)

The Trump Administration's governance of COVID-19 racial health disparities data has become a key front in the viral war against the pandemic and racial health injustice. In this paper, I analyze how the COVID-19 pandemic joins an already ongoing racial spectacle and system of structural gaslighting organized around “racial health disparities” in the United States and globally. The field of racial health disparities has yet to question the domain assumptions that uphold its field of investigation; as a result, the entire (...) reform program called for by racial health disparities science is already featured on the menu of the white supremacist power structure. The societal infrastructure that produces scientific knowledge about patterns of health and disease in the human population needs to confront its structural position as part of the racial spectacle organized around racial health disparities in the United States. This paper offers an interpretation of racial antimatter to explain why the data will not save us in the COVID-19 pandemic, drawing on articulations of racial spectacle and structural gaslighting within critical race theory and Afropessimist thought. By positioning events in the COVID-19 pandemic together within the same racially speculative frame, I show how the collection of racial health disparities data came up against white supremacists’ political ambitions in a time-space where the demand for human life to matter and the iterative regeneration of racial antimatter collided. This paper highlights the need for ongoing analysis of the unfolding and future spectacles organized around racial health disparities. (shrink)

In the early twenty-first century, liberal democracies have witnessed their foundational norms of critique and deliberation being disrupted by a combination of populist and technological forces. A distinctive style of dispute has appeared, in which a speaker denounces the unfairness of all liberal and institutional systems of equivalence, including the measures of law, economics and the various other ‘tests’ which convention scholars have deemed core to organisations. The article reviews how sociologists of critique have tended to treat critical capacities as (...) oriented towards consensus but then considers how technologies of real-time ‘control’ circumvent liberal critique altogether. In response, a different type of dispute emerges in the digital public sphere, which abandons equivalences in general, instead adopting a non-representational template of warfare. This style of post-liberal dispute is manifest in the rhetoric of populists but does not originate there. (shrink)

This article takes a genealogical approach to the problem of affective communication that we find coalescing around the phenomenon of ‘affective transfer’ identified in experiences such as voice-hearing, telepathy and hypnotic suggestion. These experiences breach the boundaries between the self and other, inside and outside, and material and immaterial, and make visible some of the central issues that are important in re-thinking affect, relationality and embodiment. The article will attempt to re-engage the problematic of subjectivity by asking what a turn (...) to affect entails within such technologies of listening and attention. This is particularly important when such turning or opening to affect engenders a conversation with traumatic memories, albeit a conversation that does not occur primarily in a verbal register. The key focus will be on the marginalized status of telepathic modalities of affective transfer throughout the histories of the development of the psychological sciences. The article uses this as a platform to consider the connections between what is occluded or excluded from the psychological sciences, and what is being silenced within work on affect taking form across the humanities. Taking us back to the practice of telepathy in the 19th century and the problem of hypnotic suggestion in the mid 20th century (the Macy Conferences), the article discloses how both function as carriers of what is being overlooked and silenced in the engagement by many affect scholars with the knowledge-practices of the psychological and neurosciences. (shrink)

Representations of rape and sexual violence abound in Victorian painting, but art historical analysis of this phenomenon has been scarce. This article uses Arthur Hacker’s 1892 painting Syrinx to examine late nineteenth-century approaches and responses to visually representing rape. How did the representation of rape relate to the newly respectable aesthetic category of the artistic nude? Syrinx depicts a standing unclothed young woman attempting to cover her body with reeds, subject matter derived from Book I of Ovid’s Metamorphoses. The painting (...) has been on public display in Manchester Art Gallery since 1893. This article examines how a rape narrative from antiquity was remade as part of the public culture of Victorian Britain, examining the aesthetic, material, literary, legal, medical and museum contexts in which its meanings were produced. It also considers how the representation of rape in this Victorian painting continues to be rethought in Manchester Art Gallery today. (shrink)