When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ and (...) explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history. (shrink)

Objectivity has a history, and it is full of surprises. In Objectivity, Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences--and show how the concept differs from its alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday practices in the making of scientific images. From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences--from anatomy to crystallography--are those featured in (...) scientific atlases, the compendia that teach practitioners what is worth looking at and how to look at it. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology. As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity--or truth-to-nature or trained judgment--is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. Moreover, the very point at which they visibly converge is in the very act of seeing not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image, therefore, are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to anyone interested in the elusive and crucial notion of objectivity-- and in what it means to peer into the world scientifically. Lorraine Daston is Director at the Max Planck Institute for the History of Science in Berlin, Germany. She is the coauthor of Wonders and the Order of Nature, 1150-1750 and the editor of Things That Talk: Object Lessons from Art and Science. Peter Galison is Pellegrino University Professor of the History of Science and of Physics at Harvard University. He is the author of Einstein's Clocks, Poincaré's Maps: Empires of Time, How Experiments End, and Image and Logic: A Material Culture of Microphysics, and other books, and coeditor of The Architecture of Science. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

Photographs are used as documents, evidence, and records every day in courtrooms, hospitals, and police work, on passports, permits, and licenses. But how did such usages come to be established and accepted, and when? What kinds of photographs were seen seen as purely instrumental and able to function in this way? What sorts of agencies and institutions had the power to give them this status? And more generally, what conception of photographic representation did this involve, and what were its consequences?

The essay presents a set of interlinked claims about posture in modern culture. Over the past two centuries it has come to define a wide range of assumptions in the West from what makes human beings human (from Lamarck to Darwin and beyond) to the efficacy of the body in warfare (from Dutch drill manuals in the 17th century to German military medical studies of soldiers in the 19th century). Dance and sport both are forms of posture training in terms (...) of their own claims. Posture separates ‘primitive’ from ‘advanced’ peoples and the ‘ill’ from the ‘healthy.’ Indeed an entire medical sub-specialty developed in which gymnastics defined and recuperated the body. But all of these claims were also part of a Western attempt to use posture (and the means of altering it) as the litmus test for the healthy modern body of the perfect citizen. Focusing on the centrality of posture in two oddly linked moments of modern thought—modern Zionist thought and Nationalism in early 20th century China—in terms of bodily reform, we show how “posture” brings all of the earlier debates together to reform the body. (shrink)

The status of photographs as keystones of historical explanation has become a topic of urgent intellectual and cultural interest around the world, at the same time as methods of shaping historical narratives are also changing in ways that compel attention to the employment of photographs in historiography. By exposing the questions we ought to raise about all historical evidence, photographs reveal not simply the potential and limits of photography as a historical source, but the potential and limits of all historical (...) sources and historical inquiry as an intellectual project. As the papers in this issue make apparent, this is precisely the promise and ultimate potential of the historical study of photographs—that it pushes their interpreters to the limits of historical analysis. This essay, which serves as an introduction to the Theme Issue, contextualizes issues raised by the articles and offers a critical synthesis of their impact on future scholarship about photography in historical analysis. (shrink)

This book makes a compelling case for the significance of the long, surprising, and epistemologically significant history of scientific observation, a history ...

One of science's greatest intellects examines how people and animals display fear, anger, and pleasure. Darwin based this 1872 study on his personal observations, which anticipated later findings in neuroscience. Abounding in anecdotes and literary quotations, the book is illustrated with 21 figures and seven photographic plates. Its direct approach, accessible to professionals and amateurs alike, continues to inspire and inform modern research in psychology.

Today there is a thriving 'emotions industry' to which philosophers, psychologists and neuroscientists are contributing. Yet until two centuries ago 'the emotions' did not exist. In this path-breaking study Thomas Dixon shows how, during the nineteenth century, the emotions came into being as a distinct psychological category, replacing existing categories such as appetites, passions, sentiments and affections. By examining medieval and eighteenth-century theological psychologies and placing Charles Darwin and William James within a broader and more complex nineteenth-century setting, Thomas Dixon (...) argues that this domination by one single descriptive category is not healthy. Overinclusivity of 'the emotions' hampers attempts to argue with any subtlety about the enormous range of mental states and stances of which humans are capable. This book is an important contribution to the debate about emotion and rationality which has preoccupied western thinkers throughout the eighteenth and nineteenth centuries and has implications for contemporary debates. (shrink)

How do we know what an amoeba looks like? How can doctors see the details of our skeletons and internal organs? All of these things are made possible through the innovations of photography. The author provides a primer on the applications of photography to science as she explores the multiple facets of this complex relationship.

An original analysis of the parallels between the arrested moment in photography and in the traumatized psyche.

This article examines the little-known sculptures of pathology created by Doctor Paul Richer (1849–1933) in the 1890s for the so-called Musée Charcot at the Hôpital de la Salpêtrière in Paris. Under the direction of Doctor Jean-Martin Charcot (1825–1893), one of the founders of modern neurology, Richer was the head of the hospital's museum of pathological anatomy, as well as the Salpêtrière's resident artist. His ‘series of figural representations of the principal types of nervous pathology’ included busts of patients suffering from (...) labio-glosso-laryngeal paralysis and myopathy, as well as sculptures depicting patients with Parkinson's disease and juvenile hypothyroidism. These patient portraits were seen as objective, while also paradoxically providing an alternative to mechanical media, such as the photograph and the cast, by permitting the doctor's intervention in not only controlling and animating the sitter, but also emphasising the patient's symptoms. This was a new kind of medical specimen: the ‘scientific artwork’, as they were called by a contemporary. This phrase, far from being an oxymoron, indicates the purposive collapse of the objective (‘scientific’) and subjective (‘artistic’) binary in Richer's sculptures of pathology. Through a detailed examination of three of Richer's works, this article problematises the categories traditionally used to describe, analyse and understand medical imagery and complicates our understanding of the relationship between science and art at the end of the nineteenth century. (shrink)

Darwin discusses why different muscles are brought into action under different emotions and how particular animals have adapted for association with man.

La diversité des études ici rassemblées s’ordonne autour de deux moments forts pour la réflexion : la publication d’un manuscrit inédit de Duchenne de Boulogne, Considérations sur la mécanique de la physionomie , et la première greffe de la face, effectuée par Bernard Devauchelle et son équipe en novembre 2005 à Amiens. Ces événements soulèvent de nombreuses questions, tant en histoire des sciences biologiques et médicales qu’en histoire de la civilisation. Questions que suscite le vivant humain comme sujet d’intervention, mais (...) aussi questions sur l’apparence comme dimension essentielle de l’existence humaine. Le défi à relever : prendre, ensemble, l’invention du visage et de l’expressivité comme sujets d’étude. (shrink)

Darwin's art collection : the prints, drawings, and photographs Darwin collected in the 1860s and 70s -- Illustrations and illusion : strategies Darwin used in illustrating his books -- Art, experience, and observation : Darwin's knowledge of art history and use of illustration in his books -- Darwin and the passions : how passion manuals informed Darwin's research -- Photography and evolution meet : connections between photography and biology in the 1860s -- Method to their madness : how photography in (...) mental hospitals influenced Darwin -- Laughing and crying : Darwin's quest for pictures of expressive babies -- Darwin's eyes and ears : the artists who guided Darwin's search for pictures -- Darwin's art photographer : Oscar Rejlander, Darwin's favorite photographer -- Rejlander's performances : posing for Darwin's pictures -- Alice, eugenics, and the spirit world : the aftermath of Darwin's experiments. (shrink)