Bruno Latour was once asked : "Do you believe in reality?" This text is an attempt to answer this question.

Modest_Witness@Second_Millennium. FemaleMan_Meets_OncoMouse explores the roles of stories, figures, dreams, theories, facts, delusions, advertising, institutions, economic arrangements, publishing practices, scientific advances, and politics in twentieth- century technoscience. The book's title is an e-mail address. With it, Haraway locates herself and her readers in a sprawling net of associations more far-flung than the Internet. The address is not a cozy home. There is no innocent place to stand in the world where the book's author figure, FemaleMan, encounters DuPont's controversial laboratory rodent, OncoMouse. (...) Haraway sees the world of contemporary technoscience as a drama. Information sciences and life sciences are at the center of the dramatic action. Scenes are set in landscapes where maps of human genetic differences are stored in databases, racialized bodies are reconfigured by morphing for photographs in popular magazines, and transgenic mice important to breast cancer research are patented intellectual property. The actors are many, and not all are human. Beginning with the Modest Witness, the key figure in the Science Revolution, Haraway shows us the trouble lurking in race and gender- marked practices for attesting to matters of fact. In later scenes, Haraway explores the kinship relations among the many cyborg creatures produced in the late twentieth-century--in nuclear research, genetic engineering, reproductive technologies, computer-mediated representational practices, and mutations in biological approaches to "race.". (shrink)

Especially troublesome in this dispute is the status of the natural sciences, and this is where Hacking finds some of his most telling cases, from the conflict ...

From the moment of discovery, the Piltdown "fossils" were the center of controversy. Piltdown apparently provided a human fossil on English soil, a maker for the eoliths, and proof that the brain came first in human evolution and that an anatomically modern braincase was present at the beginning of the Ice Age. Every conclusion was important and controversial, and for many years it was not possible to discuss human evolution without considering Piltdown. Hundreds of papers were written about the discoveries, (...) but the problem remained. Anatomically it seemed impossible to associate the skull and jaw, but the chance association of an ape's jaw and a human skull in England seemed at least as improbable. The solution came when J.S. Weiner, Kenneth Oakley, and W.L. le Cros Clark showed that everything was fake–the bones had been stained, ape's teeth filed down, and fossils added to the assemblage to determine the antiquity. The whole matter is carefully reviewed in Weiner's The Piltdown Forgery ( 1955). (shrink)

Why does an object or phenomenon become the subject of scientific inquiry? Why do some of these objects remain provocative, while others fade from center stage? And why do objects sometimes return as the focus of research long after they were once abandoned? Addressing such questions, _Biographies of Scientific Objects_ is about how whole domains of phenomena—dreams, atoms, monsters, culture, society, mortality, centers of gravity, value, cytoplasmic particles, the self, tuberculosis—come into being and sometimes pass away as objects of scientific (...) study. With examples drawn from both the natural and social sciences, and ranging from the sixteenth to the twentieth centuries, this book explores the ways in which scientific objects are both real and historical. Whether discovered or invented, these objects of inquiry broaden and deepen in meaning—growing more "real"—as they become entangled in webs of cultural significance, material practices, and theoretical derivations. Thus their biographies will matter to anyone concerned with the formation of scientific knowledge. Contributors are Jed Z. Buchwald, Lorraine Daston, Rivka Feldhay, Jan Goldstein, Gerard Jorland, Doris Kauffman, Bruno Latour, Theodore M. Porter, Hans-Jörg Rheinberger, Marshall Sahlins, and Peter Wagner. (shrink)

During the first decades of the 20th century, many anthropologists who had previously adhered to a linear view of human evolution, from an ape via Pithecanthropus erectus and Neanderthal to modern humans, began to change their outlook. A shift towards a branching model of human evolution began to take hold. Among the scientific factors motivating this trend was the insight that mammalian evolution in general was best represented by a branching tree, rather than by a straight line, and that several (...) new fossil hominids were discovered that differed significantly in their morphology but seemed to date from about the same period. The ideological and practical implications of imperialism and WWI have also been identified as formative of the new evolutionary scenarios in which racial conflict played a crucial role. The paper will illustrate this general shift in anthropological theory for one particular scientist, William Sollas. Sollas achieved a synthesis of human morphological and cultural evolution in what I will refer to as an imperialist model. In this theoretical framework, migration, conflict, and replacement became the main mechanisms for progress spurred by 'nature's tyrant,' natural selection. (shrink)

The American scientist Henry Fairfield Osborn (1857-1935) stood at the forefront of the debate over the evolution of man. Study of his theories, however, has been overshadowed by the perception that racism influenced his ideas. Henry Fairfield Osborn argues that his views were motivated by his science, itself grounded in religious doctrine. Osborn rejected ideas of primate ancestry and constructed his own non-Darwinian theory that human evolution was the long adventurous story of individuals and groups exerting personal will-power and inborn (...) characteristics to achieve both biological success and spiritual salvation. This biography charts Osborn's intellectual development, from a Christian childhood, through the influences of Arnold Guyot, James McCosh and T.H. Huxley, to his career at the American Museum of Natural History. (shrink)