Lawrence A. Scaff
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691147796
- eISBN:
- 9781400836710
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691147796.003.0005
- Subject:
- Sociology, Population and Demography
This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis ...
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This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis Congress featured hundreds of papers assessing the state of knowledge in the human, biological, and physical sciences; medicine; law; the humanities; religion; and education. Weber spoke in a social science panel concerned with rural communities. The discussions centered on the methodological unity of the sciences. The chapter first considers Weber's insistence on science as an experimental inquiry into the phenomena and actualities of the world, which also assumed that scientific knowledge was a product of culture, before discussing his views on “rural society,” European capitalism and American equality of legal rights, and his implicit questioning of American “exceptionalism.” It also analyzes Weber's thoughts about art, gender, education, and authority.Less
This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis Congress featured hundreds of papers assessing the state of knowledge in the human, biological, and physical sciences; medicine; law; the humanities; religion; and education. Weber spoke in a social science panel concerned with rural communities. The discussions centered on the methodological unity of the sciences. The chapter first considers Weber's insistence on science as an experimental inquiry into the phenomena and actualities of the world, which also assumed that scientific knowledge was a product of culture, before discussing his views on “rural society,” European capitalism and American equality of legal rights, and his implicit questioning of American “exceptionalism.” It also analyzes Weber's thoughts about art, gender, education, and authority.
Grahame Dowling
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780199269617
- eISBN:
- 9780191699429
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199269617.001.0001
- Subject:
- Business and Management, Marketing
If an organization has customers, it needs to understand marketing. To achieve the best results from marketing requires a subtle blend of art and science. It can also benefit from recommendations for ...
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If an organization has customers, it needs to understand marketing. To achieve the best results from marketing requires a subtle blend of art and science. It can also benefit from recommendations for practice rather than lists of options from which to choose. The art of marketing comes from the doing of marketing — implementing programs to attain and retain customers, and seeing what actually works. This is the province of marketing managers, direct marketers, advertisers, and consultants. The examples of good and bad practice used throughout this book illustrate this approach. The science of marketing comes from research — about markets, customers, competitors, and how effectively various types of marketing programs work. This is the province of academics and market researchers. The science of marketing provides the foundations for good marketing practice. Sometimes this science is ignored in the rush to embrace new ideas and technologies. For example, the long scientific history of the adoption and diffusion of innovations says that the Internet will take a long time to fundamentally change the way large numbers of customers buy their products and services. If more managers and investors had understood this, then many dot. coms would not have become dot. bombs. This book blends art and science to provide insight for marketing managers about how to implement marketing more effectively to both create and capture the value of the offers they make to their target customers. In the process it questions the usefulness of some of the more recent marketing fads.Less
If an organization has customers, it needs to understand marketing. To achieve the best results from marketing requires a subtle blend of art and science. It can also benefit from recommendations for practice rather than lists of options from which to choose. The art of marketing comes from the doing of marketing — implementing programs to attain and retain customers, and seeing what actually works. This is the province of marketing managers, direct marketers, advertisers, and consultants. The examples of good and bad practice used throughout this book illustrate this approach. The science of marketing comes from research — about markets, customers, competitors, and how effectively various types of marketing programs work. This is the province of academics and market researchers. The science of marketing provides the foundations for good marketing practice. Sometimes this science is ignored in the rush to embrace new ideas and technologies. For example, the long scientific history of the adoption and diffusion of innovations says that the Internet will take a long time to fundamentally change the way large numbers of customers buy their products and services. If more managers and investors had understood this, then many dot. coms would not have become dot. bombs. This book blends art and science to provide insight for marketing managers about how to implement marketing more effectively to both create and capture the value of the offers they make to their target customers. In the process it questions the usefulness of some of the more recent marketing fads.
Ruth Barton
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226551616
- eISBN:
- 9780226551753
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226551753.003.0006
- Subject:
- History, History of Science, Technology, and Medicine
The chapter examines changing modes of support for scientific research and science education. The X-men were deeply committed to the expansion of science education but, contrary to historiographical ...
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The chapter examines changing modes of support for scientific research and science education. The X-men were deeply committed to the expansion of science education but, contrary to historiographical opinion, were not leading lobbyists for state aid to science. Their activism in education was sustained by the belief that science would change “ways of thinking.” They lobbied, sat on committees, examined, and wrote textbooks. Most notably, Huxley and Lubbock were members of the Devonshire Royal Commission on the advancement of science. They failed to persuade elite public schools and the well-endowed ancient universities that science was essential to a liberal education, but were successful at lower levels, through the burgeoning examination system of the Science and Art Department, which met the aspirations of middling sorts of people. Thus, the School of Science at South Kensington, a school for training teachers, became the chief institution of science education in England and the School of Mines, from which it was carved, diminished in status. Finally, the chapter focuses on Hirst, whose career in science education provides vignettes of the social life of the X Club and of gender issues– including the roles of the Club wives and contemporary controversies on education for women.Less
The chapter examines changing modes of support for scientific research and science education. The X-men were deeply committed to the expansion of science education but, contrary to historiographical opinion, were not leading lobbyists for state aid to science. Their activism in education was sustained by the belief that science would change “ways of thinking.” They lobbied, sat on committees, examined, and wrote textbooks. Most notably, Huxley and Lubbock were members of the Devonshire Royal Commission on the advancement of science. They failed to persuade elite public schools and the well-endowed ancient universities that science was essential to a liberal education, but were successful at lower levels, through the burgeoning examination system of the Science and Art Department, which met the aspirations of middling sorts of people. Thus, the School of Science at South Kensington, a school for training teachers, became the chief institution of science education in England and the School of Mines, from which it was carved, diminished in status. Finally, the chapter focuses on Hirst, whose career in science education provides vignettes of the social life of the X Club and of gender issues– including the roles of the Club wives and contemporary controversies on education for women.
Eric J. Cassell
- Published in print:
- 2004
- Published Online:
- November 2011
- ISBN:
- 9780195156164
- eISBN:
- 9780199999880
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195156164.003.0012
- Subject:
- Palliative Care, Patient Care and End-of-Life Decision Making, Palliative Medicine and Older People
This chapter discusses the experience of the clinician, beginning with the science and art of the practice of medicine. It then moves on to the importance of the clinician's experience, the relation ...
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This chapter discusses the experience of the clinician, beginning with the science and art of the practice of medicine. It then moves on to the importance of the clinician's experience, the relation of knowledge to experience, and why experience has a bad name. The chapter then discusses the advantage of experience, the physician as the instrument, and how experience is able to mediate between science and art. It also looks at the experience of uncertainty.Less
This chapter discusses the experience of the clinician, beginning with the science and art of the practice of medicine. It then moves on to the importance of the clinician's experience, the relation of knowledge to experience, and why experience has a bad name. The chapter then discusses the advantage of experience, the physician as the instrument, and how experience is able to mediate between science and art. It also looks at the experience of uncertainty.
Eric Schatzberg
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226583839
- eISBN:
- 9780226584027
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226584027.003.0004
- Subject:
- History, History of Science, Technology, and Medicine
The sharp medieval distinction between philosophy and the mechanical arts began to erode in the fifteenth century, in part because technical knowledge became increasingly important to political ...
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The sharp medieval distinction between philosophy and the mechanical arts began to erode in the fifteenth century, in part because technical knowledge became increasingly important to political rulers, especially in fields such as gunpowder weapons, mining, and public architecture. The links between technical knowledge and political power encouraged a surge in authorship about the mechanical arts, with works written by both humanist scholars and artisan-practitioners. Francis Bacon drew from this tradition when be began arguing, about two centuries later, for a closer connection between natural philosophy and practical application. Yet respect for the mechanical arts did not imply respect for the artisan. Instead, natural philosophers maintained a conceptual hierarchy of mind over hand that mirrored the social hierarchy of the philosopher over the artisan.Less
The sharp medieval distinction between philosophy and the mechanical arts began to erode in the fifteenth century, in part because technical knowledge became increasingly important to political rulers, especially in fields such as gunpowder weapons, mining, and public architecture. The links between technical knowledge and political power encouraged a surge in authorship about the mechanical arts, with works written by both humanist scholars and artisan-practitioners. Francis Bacon drew from this tradition when be began arguing, about two centuries later, for a closer connection between natural philosophy and practical application. Yet respect for the mechanical arts did not imply respect for the artisan. Instead, natural philosophers maintained a conceptual hierarchy of mind over hand that mirrored the social hierarchy of the philosopher over the artisan.
Philipp Erchinger
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474438957
- eISBN:
- 9781474453790
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474438957.003.0002
- Subject:
- Literature, 19th-century and Victorian Literature
This chapter examines how nineteenth-century philosophers from William Paley and Charles Darwin to John S. Mill and William Whewell described and debated the relations between art and science as well ...
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This chapter examines how nineteenth-century philosophers from William Paley and Charles Darwin to John S. Mill and William Whewell described and debated the relations between art and science as well as practice and theory. Offering close readings of Paley’s Natural Theology and of various passages from Charles Darwin’s work on breeding and gardening, the chapter distinguishes between two conceptions of art in the sense of skilful practice: art as guided by knowledge and different from nature on the one hand and art as productive of knowledge as well as continuous with an evolving nature on the other. As the chapter argues, these two notions of art played a key role in a controversy between John S. Mill and William Whewell that was carried out, between 1840 and 1872, through successive editions of their published works. Engaging closely with the style and spirit in which this debate was conducted, the chapter shows that Mill and Whewell argued from radically different conceptions of what ‘science’ means. As a result, they disagreed, for instance, about the very question of what constitutes a logical form of argument or proof.Less
This chapter examines how nineteenth-century philosophers from William Paley and Charles Darwin to John S. Mill and William Whewell described and debated the relations between art and science as well as practice and theory. Offering close readings of Paley’s Natural Theology and of various passages from Charles Darwin’s work on breeding and gardening, the chapter distinguishes between two conceptions of art in the sense of skilful practice: art as guided by knowledge and different from nature on the one hand and art as productive of knowledge as well as continuous with an evolving nature on the other. As the chapter argues, these two notions of art played a key role in a controversy between John S. Mill and William Whewell that was carried out, between 1840 and 1872, through successive editions of their published works. Engaging closely with the style and spirit in which this debate was conducted, the chapter shows that Mill and Whewell argued from radically different conceptions of what ‘science’ means. As a result, they disagreed, for instance, about the very question of what constitutes a logical form of argument or proof.
Gavin Parkinson (ed.)
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381434
- eISBN:
- 9781781382387
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381434.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
As well as examining the points of contact and the differences and antagonisms that lie between Surrealism and SF, this collection is concerned with the related literature of comics, which were ...
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As well as examining the points of contact and the differences and antagonisms that lie between Surrealism and SF, this collection is concerned with the related literature of comics, which were admired and exploited by Surrealists from the 1940s, and influenced in turn by the imagery, themes and styles of Surrealism and its art. It is about Surrealism specifically, and how the movement in France, the US, and Britain used, informed, contributed to, and criticised SF and comics. Among the aims of the book are an assessment of Verne in the light of Surrealism and an analysis of the debate in the 1950s on the ‘new’ literature arriving in France, which received, in fact, a mixed reception from the later Surrealists of that decade even though writers and intellectuals close to the movement in the 1920s were directly responsible for its success. It looks in two further essays at the subsequent impact of Surrealism on SF novelists JG Ballard and Alan Burns, and features essays that argue for Salvador Dalí’s closeness to SF in the 1960s and his disagreement with the earlier scientific romance defined by Verne. The chapters on Surrealism and comics range from theoretical discussions of the relation between the original comic strips of Rodolphe Töpffer (1799-1846) and the key Surrealist technique of automatism, used in art and writing, through the cybernetic implications of the proto-SF Surrealist ciné-roman ‘M. Wzz…’ of 1929 (never discussed in any detail before) to the 1948 Vache paintings by René Magritte, inspired by Louis Forton’s strip Les Pieds nickelés. As in the chapters on SF, it goes on to show how Surrealism did not just receive and adapt the genre but impacted it in its later manifestations.Less
As well as examining the points of contact and the differences and antagonisms that lie between Surrealism and SF, this collection is concerned with the related literature of comics, which were admired and exploited by Surrealists from the 1940s, and influenced in turn by the imagery, themes and styles of Surrealism and its art. It is about Surrealism specifically, and how the movement in France, the US, and Britain used, informed, contributed to, and criticised SF and comics. Among the aims of the book are an assessment of Verne in the light of Surrealism and an analysis of the debate in the 1950s on the ‘new’ literature arriving in France, which received, in fact, a mixed reception from the later Surrealists of that decade even though writers and intellectuals close to the movement in the 1920s were directly responsible for its success. It looks in two further essays at the subsequent impact of Surrealism on SF novelists JG Ballard and Alan Burns, and features essays that argue for Salvador Dalí’s closeness to SF in the 1960s and his disagreement with the earlier scientific romance defined by Verne. The chapters on Surrealism and comics range from theoretical discussions of the relation between the original comic strips of Rodolphe Töpffer (1799-1846) and the key Surrealist technique of automatism, used in art and writing, through the cybernetic implications of the proto-SF Surrealist ciné-roman ‘M. Wzz…’ of 1929 (never discussed in any detail before) to the 1948 Vache paintings by René Magritte, inspired by Louis Forton’s strip Les Pieds nickelés. As in the chapters on SF, it goes on to show how Surrealism did not just receive and adapt the genre but impacted it in its later manifestations.
Amos Morris-Reich
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780226320748
- eISBN:
- 9780226320915
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226320915.003.0006
- Subject:
- History, History of Science, Technology, and Medicine
Chapter Five documents the shift of racial photographic studies of Jews from Europe to Palestine. The chapter studies the two most prominent authors who wrote on race and employed photography in ...
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Chapter Five documents the shift of racial photographic studies of Jews from Europe to Palestine. The chapter studies the two most prominent authors who wrote on race and employed photography in Palestine: Arthur Ruppin, and Erich Brauer. Through “the epistemology of small differences,” archival study and comparison of photographic differences in the German, Hebrew, and English editions of their books, the chapter identifies the “good example” and brings out the specificity of photography as compared with statistics. The last part of the chapter studies the “case” of Yemenite Jews, arguably the most racialized group in the context of Jewish Palestine. Focusing on two prominent photographers, Ephraim Moses Lilien and Helmar Lerski, whose art touched racial discourse, the chapter shows the two-way flow (and fluid boundaries) between art and science. All the subjects of this chapter were educated in Germany and continued to publish in German. The Palestine chapter, therefore, constitutes a “parallel history” inseparable from its German context.Less
Chapter Five documents the shift of racial photographic studies of Jews from Europe to Palestine. The chapter studies the two most prominent authors who wrote on race and employed photography in Palestine: Arthur Ruppin, and Erich Brauer. Through “the epistemology of small differences,” archival study and comparison of photographic differences in the German, Hebrew, and English editions of their books, the chapter identifies the “good example” and brings out the specificity of photography as compared with statistics. The last part of the chapter studies the “case” of Yemenite Jews, arguably the most racialized group in the context of Jewish Palestine. Focusing on two prominent photographers, Ephraim Moses Lilien and Helmar Lerski, whose art touched racial discourse, the chapter shows the two-way flow (and fluid boundaries) between art and science. All the subjects of this chapter were educated in Germany and continued to publish in German. The Palestine chapter, therefore, constitutes a “parallel history” inseparable from its German context.
Joachim Whaley
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199693078
- eISBN:
- 9780191732256
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693078.003.0001
- Subject:
- History, European Early Modern History
Against the traditional view that the Reich declined after the Peace of Westphalia, this section argues that Ferdinand III and Leopold I forged a viable synthesis of German monarchy and German ...
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Against the traditional view that the Reich declined after the Peace of Westphalia, this section argues that Ferdinand III and Leopold I forged a viable synthesis of German monarchy and German liberty. They were aided by a general desire for peace and by the need to defend the Reich repeatedly against France and the Turks. The Reichstag again became the central decision forum for negotiation between emperor and princes. Leopold I shrewdly exploited his position as overlord and supreme judge and the court at Vienna became a central vehicle of imperial authority. Leopold's reaffirmation of the crown's special relationship with the church (Reichskirche) and the cities further strengthened his position. He inspired plans for the economic regeneration of the Reich (J.J. Becher) and for academies of arts and sciences (Leibniz), schemes for religious reconciliation (Spinola, Molanus, Leibniz) and new writing about the nature of the Reich (Conring, Hugo, Pufendorf, Leibniz).Less
Against the traditional view that the Reich declined after the Peace of Westphalia, this section argues that Ferdinand III and Leopold I forged a viable synthesis of German monarchy and German liberty. They were aided by a general desire for peace and by the need to defend the Reich repeatedly against France and the Turks. The Reichstag again became the central decision forum for negotiation between emperor and princes. Leopold I shrewdly exploited his position as overlord and supreme judge and the court at Vienna became a central vehicle of imperial authority. Leopold's reaffirmation of the crown's special relationship with the church (Reichskirche) and the cities further strengthened his position. He inspired plans for the economic regeneration of the Reich (J.J. Becher) and for academies of arts and sciences (Leibniz), schemes for religious reconciliation (Spinola, Molanus, Leibniz) and new writing about the nature of the Reich (Conring, Hugo, Pufendorf, Leibniz).
Sherry Turkle
- Published in print:
- 2010
- Published Online:
- March 2016
- ISBN:
- 9780814741405
- eISBN:
- 9780814786550
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814741405.003.0009
- Subject:
- Education, Educational Policy and Politics
This chapter discusses the importance of objects—artistic and mundane—in fuelling the passions of children who will eventually become some of the most important inventors and scientists. It engages ...
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This chapter discusses the importance of objects—artistic and mundane—in fuelling the passions of children who will eventually become some of the most important inventors and scientists. It engages with the current debate over the plummeting number of US-born scientists and engineers, asserting that a renewed focus on the philosophy and practice of education is needed to begin addressing the roots of the issue. The Ross Schools and their philosophy that respects the importance of the tactile, the sensuous, and the aesthetic in all aspects of the curriculum, with no exemption for science and technology, serves as an example of how schools might approach the teaching and learning of science today. The chapter also rejects the false dichotomy between science and art and instead provides descriptions of how art materials can become objects-to-think-with.Less
This chapter discusses the importance of objects—artistic and mundane—in fuelling the passions of children who will eventually become some of the most important inventors and scientists. It engages with the current debate over the plummeting number of US-born scientists and engineers, asserting that a renewed focus on the philosophy and practice of education is needed to begin addressing the roots of the issue. The Ross Schools and their philosophy that respects the importance of the tactile, the sensuous, and the aesthetic in all aspects of the curriculum, with no exemption for science and technology, serves as an example of how schools might approach the teaching and learning of science today. The chapter also rejects the false dichotomy between science and art and instead provides descriptions of how art materials can become objects-to-think-with.
Amos Morris-Reich
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9780226320748
- eISBN:
- 9780226320915
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226320915.003.0003
- Subject:
- History, History of Science, Technology, and Medicine
Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the ...
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Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the single most influential racial definition of Jews between the 1880s and the 1920s- the idea of the Jews as a mixed race people- the chapter analyzes the role photographs played in the scientific economy of this idea. In this vein, the chapter traces a genealogy from Felix von Luschan, through Maurice Fishberg, to Sigmund Feist. The analysis reveals a transformation in the use of photographs, from illustrations of an argument in the 1890s to the gradual emergence of serialized photographs in the 1910s. It shows that, in the transformation of the racial photograph from icon to matrix, photographs were more thoroughly integrated into scientific demonstration. The chapter agues that this transformation destabilized definitions of both “type” and “race”. The chronologically ordered narrative is interrupted by two excurses that intersect the immediate subjects of the chapter. The first focuses on the interaction between Felix von Luschan and Hermann Struck, and explores the exchange between art and science. The second reflects on the relationship between the archive and the imagination in the history of race and photography. Less
Chapter Two shifts perspective from an investigation of various photographic methods and techniques to close analysis of the actual roles of photographs in scientific argumentation. Focusing on the single most influential racial definition of Jews between the 1880s and the 1920s- the idea of the Jews as a mixed race people- the chapter analyzes the role photographs played in the scientific economy of this idea. In this vein, the chapter traces a genealogy from Felix von Luschan, through Maurice Fishberg, to Sigmund Feist. The analysis reveals a transformation in the use of photographs, from illustrations of an argument in the 1890s to the gradual emergence of serialized photographs in the 1910s. It shows that, in the transformation of the racial photograph from icon to matrix, photographs were more thoroughly integrated into scientific demonstration. The chapter agues that this transformation destabilized definitions of both “type” and “race”. The chronologically ordered narrative is interrupted by two excurses that intersect the immediate subjects of the chapter. The first focuses on the interaction between Felix von Luschan and Hermann Struck, and explores the exchange between art and science. The second reflects on the relationship between the archive and the imagination in the history of race and photography.
Irus Braverman
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780520298842
- eISBN:
- 9780520970830
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520298842.003.0013
- Subject:
- Environmental Science, Environmental Studies
Conservation is the art of cultivating—here, that means cultivating both corals and hope for the future. The book’s conclusion begins with a description of two art-science collaborations and then ...
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Conservation is the art of cultivating—here, that means cultivating both corals and hope for the future. The book’s conclusion begins with a description of two art-science collaborations and then moves to review the main themes of the book. It highlights that alongside the story of correlation, complexity, and wonder, Coral Whisperers has also told another story: a story about the polarized state of the scientific community that studies corals. Coral scientists from around the world emerge here not only as harbingers of doom and as messengers of hope but also, perhaps more importantly, as humans facing an existential crisis. The conclusion ends with a discussion of the 2017 documentary Chasing Coral, emphasizing that the journey from ephemeral optimism that can’t besustained to deeper iterations of hope that emerge on the brink of despair and exasperation requires a leap of faith. In the midst of their enormous pain and loss, coral scientists emerge to guide conservationists—and us all—through the perils of the Anthropocene.Less
Conservation is the art of cultivating—here, that means cultivating both corals and hope for the future. The book’s conclusion begins with a description of two art-science collaborations and then moves to review the main themes of the book. It highlights that alongside the story of correlation, complexity, and wonder, Coral Whisperers has also told another story: a story about the polarized state of the scientific community that studies corals. Coral scientists from around the world emerge here not only as harbingers of doom and as messengers of hope but also, perhaps more importantly, as humans facing an existential crisis. The conclusion ends with a discussion of the 2017 documentary Chasing Coral, emphasizing that the journey from ephemeral optimism that can’t besustained to deeper iterations of hope that emerge on the brink of despair and exasperation requires a leap of faith. In the midst of their enormous pain and loss, coral scientists emerge to guide conservationists—and us all—through the perils of the Anthropocene.
Angelica Goodden
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199683833
- eISBN:
- 9780191766190
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199683833.003.0004
- Subject:
- Literature, 16th-century and Renaissance Literature, European Literature
This chapter explores Rousseau's attitude towards various arts, especially as they are addressed in his Discours sur les sciences et les arts, and compares them with the artisan's practical activity. ...
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This chapter explores Rousseau's attitude towards various arts, especially as they are addressed in his Discours sur les sciences et les arts, and compares them with the artisan's practical activity. His view of human progress is discussed in the context of his personal ‘reform’ and disaffection with Parisian worldly life, though the ambivalence of his feelings for creative literature is not disguised. His taste for handwork and suspicion of technical and other aspects of modernity are further examined.Less
This chapter explores Rousseau's attitude towards various arts, especially as they are addressed in his Discours sur les sciences et les arts, and compares them with the artisan's practical activity. His view of human progress is discussed in the context of his personal ‘reform’ and disaffection with Parisian worldly life, though the ambivalence of his feelings for creative literature is not disguised. His taste for handwork and suspicion of technical and other aspects of modernity are further examined.
Mark Jackson
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199588626
- eISBN:
- 9780191750779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199588626.003.0004
- Subject:
- History, World Modern History, History of Science, Technology, and Medicine
The relationship between adaptation and disease was initially explained primarily in terms of the function or malfunction of the autonomic nervous system. However, during the middle decades of the ...
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The relationship between adaptation and disease was initially explained primarily in terms of the function or malfunction of the autonomic nervous system. However, during the middle decades of the twentieth century, scientific debates about adaptation and stress became increasingly inflected by the language and methods of endocrinology rather than neurology or psychology. The research of Selye and others, which focused on the relationship between the hypothalamus, pituitary gland and the adrenal cortex in mediating chronic stress reactions, was mobilised by military authorities and clinicians eager to identify the biochemical pathways and physiological processes involved in determining the symptoms and signs of physical and psychological disease. Chapter Three analyses not only the manner in which scientists and clinicians were increasingly explaining health and disease, and indeed the mysteries and meaning of life itself, in terms of the maintenance or disruption of hormonal and biochemical balance in the face of stress, but also the depth and impact of contemporary preoccupations with equilibrium, control and social progress.Less
The relationship between adaptation and disease was initially explained primarily in terms of the function or malfunction of the autonomic nervous system. However, during the middle decades of the twentieth century, scientific debates about adaptation and stress became increasingly inflected by the language and methods of endocrinology rather than neurology or psychology. The research of Selye and others, which focused on the relationship between the hypothalamus, pituitary gland and the adrenal cortex in mediating chronic stress reactions, was mobilised by military authorities and clinicians eager to identify the biochemical pathways and physiological processes involved in determining the symptoms and signs of physical and psychological disease. Chapter Three analyses not only the manner in which scientists and clinicians were increasingly explaining health and disease, and indeed the mysteries and meaning of life itself, in terms of the maintenance or disruption of hormonal and biochemical balance in the face of stress, but also the depth and impact of contemporary preoccupations with equilibrium, control and social progress.
Philipp Erchinger
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474438957
- eISBN:
- 9781474453790
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474438957.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
What is the connection between Victorian writing and experiment? Artful Experiments seeks to answer this question by approaching the field of literature and science in a way that is not so much ...
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What is the connection between Victorian writing and experiment? Artful Experiments seeks to answer this question by approaching the field of literature and science in a way that is not so much centred on discourses of established knowledge as it is on practices of investigating what is no longer or not yet knowledge. The book assembles various modes of writing, from poetry and sensation fiction to natural history and philosophical debate, reading them as ways of knowing or structures in the making, rather than as containers of accomplished arguments or story worlds.
Offering innovative interpretations of works by George Eliot, Robert Browning, Mary Elizabeth Braddon and others, alongside in-depth studies of philosophical and scientific texts by writers such as John S. Mill, Thomas H. Huxley, George H. Lewes and F. Max Müller, Artful Experiments explicates and re-conceives the relations between the arts and the sciences, experience and language as well as practice and theory. For many Victorians, the book argues, experimentation was just as integral to the making of literature as writing was integral to the making of science.Less
What is the connection between Victorian writing and experiment? Artful Experiments seeks to answer this question by approaching the field of literature and science in a way that is not so much centred on discourses of established knowledge as it is on practices of investigating what is no longer or not yet knowledge. The book assembles various modes of writing, from poetry and sensation fiction to natural history and philosophical debate, reading them as ways of knowing or structures in the making, rather than as containers of accomplished arguments or story worlds.
Offering innovative interpretations of works by George Eliot, Robert Browning, Mary Elizabeth Braddon and others, alongside in-depth studies of philosophical and scientific texts by writers such as John S. Mill, Thomas H. Huxley, George H. Lewes and F. Max Müller, Artful Experiments explicates and re-conceives the relations between the arts and the sciences, experience and language as well as practice and theory. For many Victorians, the book argues, experimentation was just as integral to the making of literature as writing was integral to the making of science.
- Published in print:
- 2010
- Published Online:
- March 2013
- ISBN:
- 9780226520810
- eISBN:
- 9780226520841
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226520841.003.0001
- Subject:
- History, European Early Modern History
This book modifies the monumental discrepancy between the Anna Morandi of a tenuous, 250-year succession of biographers and the woman revealed in her vibrant, three-dimensional atlas of the human ...
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This book modifies the monumental discrepancy between the Anna Morandi of a tenuous, 250-year succession of biographers and the woman revealed in her vibrant, three-dimensional atlas of the human body. The living eye and the intricate mechanics of sight was the focal point of Morandi's plastic survey of human anatomy. Her meticulous, verisimilar anatomical waxworks presented a foremost reinterpretation of the intersection of science and art established within the institute's walls. She created her collection for use by medical professionals and avid amateurs in the study of practical anatomy. Moreover, Morandi's wax bodies supplanted and indeed surpassed in critical ways real dissected bodies, whose defunct systems, parts, and attachments she could purify of their natural ambiguities and, using vibrant colors and three-dimensional movement, imbue with virtual life. This Introduction provides an overview of the chapters included in the book.Less
This book modifies the monumental discrepancy between the Anna Morandi of a tenuous, 250-year succession of biographers and the woman revealed in her vibrant, three-dimensional atlas of the human body. The living eye and the intricate mechanics of sight was the focal point of Morandi's plastic survey of human anatomy. Her meticulous, verisimilar anatomical waxworks presented a foremost reinterpretation of the intersection of science and art established within the institute's walls. She created her collection for use by medical professionals and avid amateurs in the study of practical anatomy. Moreover, Morandi's wax bodies supplanted and indeed surpassed in critical ways real dissected bodies, whose defunct systems, parts, and attachments she could purify of their natural ambiguities and, using vibrant colors and three-dimensional movement, imbue with virtual life. This Introduction provides an overview of the chapters included in the book.
Douglas Kahn
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780520257801
- eISBN:
- 9780520956834
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520257801.001.0001
- Subject:
- Music, Theory, Analysis, Composition
Earth Sound Earth Signal is a study of energies in aesthetics and the arts from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Grounded ...
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Earth Sound Earth Signal is a study of energies in aesthetics and the arts from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Grounded in the Aeolian sphere music that Henry David Thoreau heard blowing in telegraph lines and in the Aelectrosonic sounds of natural radio that Thomas Watson heard in telephone lines, the book moves through the histories of science, media, music, and the arts to the 1960s, when the composer Alvin Lucier worked with the “natural electromagnetic sounds” present from “brainwaves to outer space,” through the urban electromagnetism in the conceptual art of Robert Barry, to the energy-scavenging drawings and antennas by the artist Joyce Hinterding. From the sounds of auroras at high latitudes and atmospheric electricity in the mountains to the underground music of earthquakes and nuclear explosions and to music bounced off the moon and the sounds of the sun, Earth Sound Earth Signal rethinks energy at a global scale through detailed discussions of artists and scientists such as Gordon Mumma, Pauline Oliveros, John Cage, James Turrell, Karl-Birger Blomdahl, Paul DeMarinis, Semiconductor, Thomas Ashcraft, Katie Paterson, Edmond Dewan, Ludwik Liszka, and many others.Less
Earth Sound Earth Signal is a study of energies in aesthetics and the arts from the birth of modern communications in the nineteenth century to the global transmissions of the present day. Grounded in the Aeolian sphere music that Henry David Thoreau heard blowing in telegraph lines and in the Aelectrosonic sounds of natural radio that Thomas Watson heard in telephone lines, the book moves through the histories of science, media, music, and the arts to the 1960s, when the composer Alvin Lucier worked with the “natural electromagnetic sounds” present from “brainwaves to outer space,” through the urban electromagnetism in the conceptual art of Robert Barry, to the energy-scavenging drawings and antennas by the artist Joyce Hinterding. From the sounds of auroras at high latitudes and atmospheric electricity in the mountains to the underground music of earthquakes and nuclear explosions and to music bounced off the moon and the sounds of the sun, Earth Sound Earth Signal rethinks energy at a global scale through detailed discussions of artists and scientists such as Gordon Mumma, Pauline Oliveros, John Cage, James Turrell, Karl-Birger Blomdahl, Paul DeMarinis, Semiconductor, Thomas Ashcraft, Katie Paterson, Edmond Dewan, Ludwik Liszka, and many others.
Indira Chowdhury
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780199466900
- eISBN:
- 9780199087211
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199466900.003.0003
- Subject:
- History, History of Ideas
At TIFR, Bhabha attempted to redefine the scientific institution basing his ideas on what he had witnessed at Cambridge and other institutions elsewhere. Scientists had to learn from the available ...
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At TIFR, Bhabha attempted to redefine the scientific institution basing his ideas on what he had witnessed at Cambridge and other institutions elsewhere. Scientists had to learn from the available traditions of science that existed in the West. While patronage from the Sir Dorabji Tata Trust gave the institute its name, the institute epitomized the complex relationship between private patronage, public investment, and science. Building an institutional culture of science meant that internationalism became a defining feature and the institute sought to support scientists like Bernard Peters who left USA during the McCarthy era. Bhabha’s ideas of citizenship were also occasioned by the nature of cosmopolitanism that he encountered in Bombay at that time. The architecture of the institute was international in style but the process of building was one in which Bhabha took immense nationalist pride. This chapter shows the complex relationship between internationalist aspirations and nationalist sentiment in institution-building practices.Less
At TIFR, Bhabha attempted to redefine the scientific institution basing his ideas on what he had witnessed at Cambridge and other institutions elsewhere. Scientists had to learn from the available traditions of science that existed in the West. While patronage from the Sir Dorabji Tata Trust gave the institute its name, the institute epitomized the complex relationship between private patronage, public investment, and science. Building an institutional culture of science meant that internationalism became a defining feature and the institute sought to support scientists like Bernard Peters who left USA during the McCarthy era. Bhabha’s ideas of citizenship were also occasioned by the nature of cosmopolitanism that he encountered in Bombay at that time. The architecture of the institute was international in style but the process of building was one in which Bhabha took immense nationalist pride. This chapter shows the complex relationship between internationalist aspirations and nationalist sentiment in institution-building practices.
Omar W. Nasim
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780226084374
- eISBN:
- 9780226084404
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226084404.001.0001
- Subject:
- History, History of Science, Technology, and Medicine
There can be little doubt that it was because of the giant telescopes that were being built at the end of the 18th and for most of the 19th century that the modern study of nebulae began. Also of ...
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There can be little doubt that it was because of the giant telescopes that were being built at the end of the 18th and for most of the 19th century that the modern study of nebulae began. Also of immense significance, however, was the fundamental role-played by paper and pencil. But what role did paper and the hand play in coming to terms with something as mysterious as these deep sky objects? What possibly could these paper implements of the hand contribute to the scientific observation of celestial objects that no hand could ever touch, twist or twirl? And in contrast to pencil and paper, when photography was finally successfully applied to the nebulae very late in the century, how exactly did its methods contrast to the former? In order to answer these and other related questions about the techniques, nature and practices of scientific observation, Observing by Hand investigates the unpublished observing books and paper records of five different nineteenth century observers dedicated to the study of the nebulae: Sir John F. W. Herschel, the third Earl of Rosse, William Lassell, Ebenezer Porter Mason, and Ernst Wilhelm Leberecht Tempel. The book argues that rather than being mere aide memoire, hand drawn images operated as tools for seeing better with, for directing observation, for selection and judgement, for stabilizing the image of the phenomena, for consolidating and coordinating hands and eyes, and for making out details otherwise barely perceptible. The work explores the relationship between observing, the act of drawing, and the constitution of scientific phenomena.Less
There can be little doubt that it was because of the giant telescopes that were being built at the end of the 18th and for most of the 19th century that the modern study of nebulae began. Also of immense significance, however, was the fundamental role-played by paper and pencil. But what role did paper and the hand play in coming to terms with something as mysterious as these deep sky objects? What possibly could these paper implements of the hand contribute to the scientific observation of celestial objects that no hand could ever touch, twist or twirl? And in contrast to pencil and paper, when photography was finally successfully applied to the nebulae very late in the century, how exactly did its methods contrast to the former? In order to answer these and other related questions about the techniques, nature and practices of scientific observation, Observing by Hand investigates the unpublished observing books and paper records of five different nineteenth century observers dedicated to the study of the nebulae: Sir John F. W. Herschel, the third Earl of Rosse, William Lassell, Ebenezer Porter Mason, and Ernst Wilhelm Leberecht Tempel. The book argues that rather than being mere aide memoire, hand drawn images operated as tools for seeing better with, for directing observation, for selection and judgement, for stabilizing the image of the phenomena, for consolidating and coordinating hands and eyes, and for making out details otherwise barely perceptible. The work explores the relationship between observing, the act of drawing, and the constitution of scientific phenomena.
Matthew C. Hunter
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780226390253
- eISBN:
- 9780226390390
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226390390.003.0003
- Subject:
- History, History of Science, Technology, and Medicine
This chapter explores Joshua Reynolds’s experiments with unstable chemical materials both in his painting practice and in his theory of art. It places the painter in his native environs of Plymouth ...
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This chapter explores Joshua Reynolds’s experiments with unstable chemical materials both in his painting practice and in his theory of art. It places the painter in his native environs of Plymouth where Reynolds maintained strong connections to makers of watches and precision time-keeping instruments (including members of the Mudge and the Northcote families), along with artists known for their chemical experimentation. The chapter then tracks Reynolds’s involvement with chemical experiment at the early Society of Arts in London and in his own studio. Considered against the practices of seemingly more experimental contemporaries such as Joseph Wright of Derby, the chapter closely examines the preparation, delivery and aftermath of Reynolds's controversial sixth discourse to the Royal Academy in 1774, which would align academic art with what the painter called “nice chymistry.” Read against contemporaneous debates about the representation of time in history painting, the chapter argues that Reynolds’s strange “infant portraits” of the early 1770s constitute the most telling manifestation of his chemical work. The chapter concludes by placing these unstable paintings between ideas of the chemical homunculus and the time proper to the fine arts themselves.Less
This chapter explores Joshua Reynolds’s experiments with unstable chemical materials both in his painting practice and in his theory of art. It places the painter in his native environs of Plymouth where Reynolds maintained strong connections to makers of watches and precision time-keeping instruments (including members of the Mudge and the Northcote families), along with artists known for their chemical experimentation. The chapter then tracks Reynolds’s involvement with chemical experiment at the early Society of Arts in London and in his own studio. Considered against the practices of seemingly more experimental contemporaries such as Joseph Wright of Derby, the chapter closely examines the preparation, delivery and aftermath of Reynolds's controversial sixth discourse to the Royal Academy in 1774, which would align academic art with what the painter called “nice chymistry.” Read against contemporaneous debates about the representation of time in history painting, the chapter argues that Reynolds’s strange “infant portraits” of the early 1770s constitute the most telling manifestation of his chemical work. The chapter concludes by placing these unstable paintings between ideas of the chemical homunculus and the time proper to the fine arts themselves.
