Scientists and 'anti-scientists' alike need a more realistic image of science. The traditional mode of research, academic science, is not just a 'method': it is a distinctive culture, whose members win esteem and employment by making public their findings. Fierce competition for credibility is strictly regulated by established practices such as peer review. Highly specialized international communities of independent experts form spontaneously and generate the type of knowledge we call 'scientific' - systematic, theoretical, empirically-tested, quantitative, and so on. Ziman shows (...) that these familiar 'philosophical' features of scientific knowledge are inseparable from the ordinary cognitive capabilities and peculiar social relationships of its producers. This wide-angled close-up of the natural and human sciences recognizes their unique value, whilst revealing the limits of their rationality, reliability, and universal applicability. It also shows how, for better or worse, the new 'post-academic' research culture of teamwork, accountability, etc. is changing these supposedly eternal philosophical characteristics. (shrink)

As histories of nanotechnology are created, one question arises repeatedly: how influential was Richard Feynman’s 1959 talk, “There’s Plenty of Room at the Bottom”? It is often said by knowledgeable people that this talk was the origin of nanotech. It preceded events like the invention of the scanning tunneling microscope, but did it inspire scientists to do things they would not have done otherwise? Did Feynman’s paper directly influence important scientific developments in nanotechnology? Or is his paper being retroactively read (...) into the history of nanotechnology? To explore those questions, I trace the history of “Plenty of Room,” including its publication and republication, its record of citations in scientific literature, and the comments of eight luminaries of nanotechnology. This biography of a text and its life among other texts enables us to articulate Feynman’s paper with the history of nanotechnology in new ways as it explores how Feynman’s paper is read. (shrink)

According to ‘standard histories’ of nanotechnology, the colorful pictures of atoms produced by scanning probe microscopists since the 1980s essentially inspired visions of molecular nanotechnology. In this paper, I provide an entirely different account that, nonetheless, refers to aesthetic inspiration, First, I argue that the basic idea of molecular nanotechnology, i.e., producing molecular devices, has been the goal of supramolecular chemistry that emerged earlier, without being called nanotechnology. Secondly, I argue that in supramolecular chemistry the production of molecular devices was (...) inspired by an aesthetic phenomenon of gestalt switch, by certain images that referred to both molecules and ordinary objects, and thus symbolically bridged the two worlds. This opened up a new way of perceiving and drawing molecular images and new approaches to chemical synthesis. Employing Umberto Eco’s semiotic theory of aesthetics, I analyze the gestalt switch and the inspiration to build molecular devices and to develop a new sign language for supramolecular chemistry. More generally, I argue that aesthetic phenomena can play an important role in directing scientific research and that aesthetic theories can help understand such dynamics, such that they need to be considered in philosophy of science. (shrink)