One of the clearest signs that Psychology has impacted popular culture is the public’s familiarity with the Rorschach ink-blot test. An excellent example of the Rorschach in popular culture can be found in Watchmen, the comic/graphic novel written by Alan Moore and Dave Gibbons (1987). In the mid-20th century Psychology had an especially contentious relationship with comics; some psychologists were very anxious about the impact comics had on young people, whereas others wrote comics to subvert dominant norms about gender and (...) sexuality. Yet historians of Psychology have had almost nothing to say about this popular and critically acclaimed novel. We read Watchmen here for its narratives that most concern the history of Psychology. We focus on such themes as anti-psychiatry, sexual violence, homophobia, lesbian erasure and social psychological research on bystander intervention. We argue it is possible to align Psychology and comics more closely despite their sometimes contentious history. In doing so we demonstrate the active role of the public in the history of the Rorschach, and the public engagement of Psychology via comics, and also reveal what is possible when historians consider comics within their histories. (shrink)

Describing how the study of artifacts is greatly enhanced by an understanding of the history of museums, Ken Arnold remarks that there is “an implicit faith in the power of objects to tell, or at least ask, historians things that the written word alone cannot” (1999, p. 145). Rather than remaining mute objects or passive accessories to textual descriptions, artifacts (and the museums that house them) are tangible incarnations of the culture from which they emerged, providing unique information on the (...) attitudes and behaviors of the past. In practice, studying and learning from artifacts can sometimes pose methodological problems, as a text-oriented historian may have no idea of how to “read” an object in order to reveal its secrets of the past. Historians and philosophers are trained almost exclusively to work with written and oral documents, limiting their analysis by neglecting such a valuable group of sources. However, as outlined in a special issue of Studies in the History and Philosophy of Science (2007, vol. 38, no. 2), it is apparent that a new historiographical tide has swept over scholars, encouraging new studies and methodologies for working with artifacts, objects, and images. (shrink)

The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such (...) as Gerhard Richter, Adam Fuss and Cornelia Parker whose work has explored the photographic medium. Through an exegesis and accompanying photobook this thesis addresses the question as to why the trace has proven to be such an enduring paradigm for explaining the nature of photographs, and how the paradigm can be perceived in art practice in recent decades. The subject of the photograph as a trace is investigated through conducting a review of the history of theoretical uses of the paradigm of the trace to explain the nature of photography. The work of visual artists whose practice can be seen as in agreement with or in opposition to these theoretical approaches was also reviewed. In conjunction with this research a series of photographic works was produced using alternative photographic techniques including pinhole photography, photographs and techniques combining digital film projection and phosphorescent plates. Seeing photographs as traces links these forms of image making to one of humanity’s earliest “discoveries”, the ability to interpret traces found in nature. Through such a connection photographs can be seen as a continuation of humanity’s ability to read traces and thereby understand and deal with the passage of time, to buttress processes of memory and belief. This thesis thereby explores a key means through which the photographic object is explained and understood, at a time when the use of photographs as a means of documenting and understanding the world is expanding at an exponential rate. (shrink)

A life form and its environment constitute an essential unit, a microcosm. This microcosm is sustained by a privileged dialectic relationship in which the embedded agent- an entity endowed with a particular physical architecture- and its specific environment, coupled, mutually influence each other. Identical principles rule both the basic forms of semiotic organisation and the upper forms. When we distinguish these two levels of semiotic structuring we are distinguishing the semiotic relations that involve a stimulus-response relationship, which is dyadic in (...) nature, from those that involve a more complex relationship where the capacity of symbolically encoding allows organisms to go beyond the immediacy of sensory awareness. However in all instances of semiotic structuring, there is the presence of a living system that evolves in an environment individuating and assigning a value to typical environmental features. Acknowledging this fact is crucial: the inquiry into how elemental life forms interact with their environments leads to the identification of the fundamental role played by the physical architecture of the agent and sheds light on the semiotic process that is common to all life forms, ultimately highlighting the very nature of meaning and reality. (shrink)

In the 20th century, the boundaries of psychosis emerged as an area in which psychiatric judgement faced numerous and profound uncertainties. Between obvious neuroses and personality and reactive disorders on the one hand, and unquestionable psychoses on the other, psychiatrists faced a world of suspected cases of schizophrenia, doubtful personality disorder diagnoses or probable cases of psychosis constituting a garden of equivocal clinical presentations in which both individual psychiatrists and the discipline as a whole were confronted with the limits of (...) their knowledge. This article examines how psychiatrists from two German university clinics managed the multiple uncertainties involved in diagnosing cases of early psychosis between 1950 and 1980. Based on the analysis of a sample of records, we propose a pragmatic interpretation of the ways in which these uncertainties were recorded by psychiatrists. How were uncertainties and doubts expressed in the records and managed by clinicians? What means were used to dispel doubt? What were the consequences for patients of these diagnostic uncertainties? The article defines an uncertainty diagnosis as a diagnosis expressed with reservations by its author and recorded as such in a medical file. Depending on the nature of the uncertainty, the types of evidence used by the professionals and how this evidence was dealt with, we have identified three types of uncertainty diagnoses: suspicion, plausibility and probability diagnoses. The article then reflects on the role of the patients themselves in shaping these uncertain situations. (shrink)