The article deals with the argument about free will and determinism between A. I. Herzen (1812—70) and his son, the physiologist A. A. Herzen (1839—1906). The topic, sufficiently familiar to Herzen scholars, interests me above all for its relevance to the history of science. The polemics between father and son touched upon such burning questions of the day as materialism in understanding human beings, positivism as scientific methodology, and the relation of the human sciences to the natural sciences. Seeing physiological (...) materialism as a threat to the values he shared, Herzen the father sought to convince his son of the limitations of mechanistic explanation. At first, Herzen had invested his hopes in the human sciences which were then in the course of forming disciplines — psychology, sociology, and history. He believed they would encompass freedom and consciousness, rejected by the natural sciences, as their subject-matter. But, when it had become clear that these disciplines were following the model of the natural sciences, Herzen then abandoned arguments taken from science and turned towards literature. His argument with his son, which was to do with rethinking rationality, was both critical and constructive for the nascent human sciences. (shrink)

The article is an inquiry into the contribution that choreology made to the Russian/State Academy of Artistic Sciences (GAKhN) as both an institutional and research project. Choreology was a new discipline that Aleksei Sidorov and Aleksandr Larionov created following up Vassily Kandinsky’s idea that dance and, more widely, the art of movement, should be a subject of scholarly and scientific investigation. In his capacity as the academic secretary of GAKhN, Sidorov founded the Choreological Laboratory (1922–1929), and Larionov served as its (...) head. Both took an active part in movement analyses, made sketches and notes, and used photography to capture dance movements and to create a system of dance notation. Their search was informed by Allgemeine Kunstwissenschaft, and especially by Heinrich Wölfflin; at the same time, their interest in dance notation grew from their search for occult signs and symbols. In Sidorov’s notes and sketches from the 1920s, one can see the process of making signs for a language of dance notation. The attempt by the Russians to schematize movement and find an abstract language for dance paralleled an effort by the Central-European choreographer and dance theoretician, Rudolf von Laban. A unique and only half-realized project, choreology was a valuable contribution to the new “artistic sciences.”. (shrink)