When policy issues involve complex technical questions, demonstrations are more likely to marshal charts, graphs, models, and simulations than to mobilize popular movements in the streets. In this paper we analyze PowerPoint demonstrations, the most ubiquitous form of digital demonstrations. Our first set of demonstrations are the PowerPoint presentations made in December 2002 by the seven finalist architectural teams in the Innovative Design competition for rebuilding the World Trade Center. Our second case occurred some blocks away, several months later: Colin (...) Powell's PowerPoint demonstration at the United Nations. We argue that Edward Tufte's denunciation of PowerPoint does not capture the cognitive style made possible by the affordances of this pervasive new technology. On the basis of our case materials, we demonstrate the distinctive morphology of PowerPoint. Its digital character provides affordances that allow heterogeneous materials to be seamlessly re-presented in a single format that can morph easily from live demonstration to circulating digital documents that can be utilized in counter-demonstrations. A careful examination of this widely used technology is critical for understanding public discourse in a democratic society. (shrink)

The sociocultural landscape of contemporaneity can be represented as a porous inhomogeneous space consisting of border zones. These zones, understood by P. Galison as “local coordination of beliefs and actions,” can be deployed due to already existing conditions, for example, a project may arise at a university. However, such zones do not create sustainable social configurations and infrastructures associated with new areas of knowledge. In this article, we expand the concept of trading zones and call them zones requiring local ontologies (...) that arise on the border between different knowledge and imagination systems and, in turn, require their own infrastructure. This approach supports the view on humanities not as “pre-packaged” knowledge, but as special “technique” forming local ontologies. For a humanities-as-technique to emerge, it is necessary that two or more systems of knowledge coincide in time and form an intermediate zone, on the basis of which some local ontology can unfold. Thus, for example, when combining contemporary philosophy and contemporary mathematics, new images of knowledge emerge. Humanities-as-technique are considered as the basis for the establishment of trading zones, which are understood as local ontologies. We also propose a system of concepts that can be used to describe and construct these trading zones on the territory of the humanities in a techno-oriented cultural environment. (shrink)

ArgumentThis paper arrives at a normative position regarding the relevance of Henri Bergson's philosophy to historical enquiry. It does so via experimental historical analysis of the adaptation of cinematographic devices to physiological investigation. Bergson's philosophy accorded well with a mode of physiological psychology in which claims relating to mental and physiological existence interacted. Notably however, cinematograph-centered experimentation by British physiologists including Charles Scott Sherrington, as well as German-trained psychologists such as Hugo Münsterberg and Max Wertheimer, contributed to a cordoning-off of (...) psychological from physiological questioning during the early twentieth century. Bergson invested in a mode of intellectual practice in which psychological claims had direct relevance to the interpretation of physiological nature. The in-part cinematograph-inspired breakdown of this mode had significance for subsequent interpretations of his philosophy. It is suggested that this experimental particularization of Bergson's contentions indicates that any adaptation of his thought for historical enquiry must be disciplinarily specific. (shrink)

We like Euclidean geometry because we are men [sic], and have eyes and hands, and need to operate a concept of space that will be independent of orientation, distance and size. Lucas, A Treatise on Time and Space.

Observation and experiment as categories for analysing scientific practice have a long pedigree in writings on science. There has, however, been little attempt to delineate observation and experiment with respect to analysing scientific practice; in particular, scientific experimentation, in a systematic manner. Someone who has presented a systematic account of observation and experiment as categories for analysing scientific experimentation is Ian Hacking. In this paper, I present a detailed analysis of Hacking’s observation versus experiment account. Using a range of cases (...) from various fields of scientific enquiry, I argue that the observation versus experiment account is not an adequate framework for delineating scientific experimentation in a systematic manner. (shrink)

This article argues that the mid-1960s saw a dramatic shift in how ‘brainwashing’ was popularly imagined, reflecting Anglo-American developments in the sciences of mind as well as shifts in mass media culture. The 1965 British film The Ipcress File provides a rich case for exploring these interconnections between mind control, mind science and media, as it exemplifies the era’s innovations for depicting ‘brainwashing’ on screen: the film’s protagonist is subjected to flashing lights and electronic music, pulsating to the ‘rhythm of (...) brainwaves’. This article describes the making of The Ipcress File’s brainwashing sequence and shows how its quest for cinematic spectacle drew on developments in cybernetic science, multimedia design and modernist architecture. I argue that often interposed between the disparate endeavours of 1960s mind control, psychological science and media was a vision of the human mind as a ‘cybernetic spectator’: a subject who scrutinizes how media and other demands on her sensory perception can affect consciousness, and seeks to consciously participate in this mental conditioning and guide its effects. (shrink)

In recent years the historical relationship between scientific experts and the state has received increasing scrutiny. Such experts played important roles in the creation and regulation of environmental organizations and functioned as agents dispatched by politicians or bureaucrats to assess health-related problems and concerns raised by the public or the judiciary. But when it came to making public policy, scientists played another role that has received less attention. In addition to acting as advisers and assessors, some scientists were democratically elected (...) members of local and national legislatures. In this essay I draw attention to this phenomenon by examining how liberal politicians and intellectuals used Darwinian cognitive science to conceptualize the education of children in Victorian Britain. (shrink)

ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

The essay examines both the dances and the dance notation of renowned nineteenth century choreographer Carlo Blasis. It looks in detail at Blasis major treatise The Code of Terpsichore in an effort to evaluate how Blasis linked a science of movement to a conception of the body oriented around the prevailing aesthetics informing all of the fine arts. Identifying Blasis as both a philosopher and a mechanist, this essay analyzes his approach to teaching basic ballet vocabulary, and in particular the (...) arabesque. Whereas Kleist, with his Marionettentheater, proposes the puppet as a figure of grace, located somewhere between animal and doll, Blasis brings together the movement science of mechanics and the descriptive theory of grace in a poetics of the arabesque, a synthesis of elevation and evanescence, which we see when we conjure up pictures of nineteenth century Romantic ballet. (shrink)

Elizabeth Bucar has provided a service to the guild with her introduction to the emergent field of visual ethics. In this comment I undertake to expand the picture she presents. I argue that the visual dimension of ethics includes a “dark side” not addressed in her piece, and go on to consider a number of current avenues of inquiry in which religious ethics intersects with visual studies. After briefly considering some of the distinctive methodological challenges attending the visual turn in (...) ethics, I conclude my survey of this new field with some comments on the moral qualities of cinema. (shrink)

In a quiet London office, a software designer muses on the algorithms that will make possible the risk flags to be visualized on the screens of border guards from Heathrow to St Pancras International. There is, he says, ‘real time decision making’ – to detain, to deport, to secondarily question or search – but there is also the ‘offline team who run the analytics and work out the best set of rules’. Writing the code that will decide the association rules (...) between items of data, prosaic and mundane – flight route, payment type, passport – the analysts derive a novel preemptive security measure. This paper proposes the analytic of the data derivative – a visualized risk flag or score drawn from an amalgam of disaggregated fragments of data, inferred from across the gaps between data and projected onto an array of uncertain futures. In contrast to disciplinary and enclosed techniques of collecting data to govern population, the data derivative functions via ‘differential curves of normality’, imagining a range of potential futures through the association rule, thus ‘opening up to let things happen’. In some senses akin to the risk orientation of the financial derivative, itself indifferent to actual underlying people, places or events by virtue of modulated norms, the contemporary security derivative is not centred on who we are, nor even on what our data say about us, but on what can be imagined and inferred about who we might be – on our very proclivities and potentialities. (shrink)