This paper refers to a project that we as an art school carried out together with the Flemish organisation VVOB in Zambia. The main goal of the project was to equip primary school teachers with the necessary knowledge and infrastructure to deliver basic ‘education for all.’ The paper challenges the implicit instrumentalization of the arts in that approach, but also brings back to the forefront the notion of art as a practice that ‘makes sense together.’ Through cabinet of curiosity (...) practices such as observing, noting, collecting, mapping, exposing and gathering, we explored how sharing emergent relational structures could be a starting point and even the essence of a pedagogical practice that thinks with and before the world, and approaches education for all as a study praxis rather than an end goal. The argument is built in company with authors such as Gert Biesta, Jean Luc Nancy and Tim Ingold. (shrink)

Avatar draws us into the beautiful and exciting world of Pandora, with its fantastic locations and its exotic and dangerous creatures. The experience of watching Avatar in 3D is like looking into a cabinet of curiosities, a pastime that was particularly popular during the Victorian era. Avatar's incredible special effects make Pandora seem as believable and real as our everyday world. Most of the creatures and plants of Pandora, including the Na'vi, are designed using computers. These digital special effects deliver (...) a level of detail far beyond what was possible before computers started creating alien worlds and their inhabitants. Avatar offers an ecological warning, telling us that something is going terribly wrong on planet Earth and encouraging us to be kind to our planet. A phenomenological view of Avatar allows us to see how its special effects can have a positive influence on how we view our own world. (shrink)

A Cabinet of Philosophical Curiosities is a collection of puzzles, paradoxes, riddles, and miscellaneous logic problems. Depending on taste, one can partake of a puzzle, a poem, a proof, or a pun.

Summary This article argues that commerce and the language of finance had an important influence over the interpretation of curiosities in the early modern period. It traces how learned travellers in the years around 1700 were constantly reminded to watch their purses and to limit their expenses while on the road. As a result, monetary matters also influenced their appreciation of artificialia and naturalia. They judged and compared the aesthetic value of curiosities by mentioning their price. Money offered an easy, (...) telegraphic manner of signalling intrinsic worth. Visitors of cabinets paid attention to the financial value of the collector's books, paintings, and natural specimens, and kept mentioning it in their diaries and correspondence. The keen attention of students, scholars and amateur gentlemen to money suggests that, even if the Republic of Letters operated in a gift economy, its members were much aware of their gifts’ prices. Commercial values deeply infiltrated the erudite discourse of the period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.4 (2001) 593-610 [Access article in PDF] The Desire to Know the Secrets of the World Edward Peters I. The letter to Ferdinand and Isabella that Christopher Columbus intended to serve as the preface to the Libro de las profecías began with a remarkable observation about his own career and the particular temperament it had shaped in him: From a very young age (...) I began to navigate the seas, and I have continued to do so until today. This art inclines those who follow it to desire to know the secrets of this world. 1Although Columbus was certainly not unlearned, there is an artlessness and directness about his remark that suggest that whatever Columbus may have meant by "the secrets of the world" and the desire of navigators to know them, he was probably not speaking reconditely or mystically. 2 [End Page 593]Nor was Columbus the only early sixteenth-century practical man who spoke this way. The letters of Hernán Cortés, hardly a philosopher or a navigator, pointed out to correspondents that it was "a universal condition of man to want to know," and that he was first of all desirous of knowledge "of the secrets of these parts"; that "many new secrets" had been learned from the discoveries; of a volcano, "I wished to know the secret of this, which seemed something of a miracle." 3If practical folk could speak thus at the turn of the sixteenth century, it is not surprising that in the course of that century their rulers should appropriate the language of secrets, including the secrets of distant places, and the desire to know them and in doing so to transform their realms into information-gathering states, using detailed questionaires to assemble and organize new data just as they assembled cabinets of curiosities, libraries, zoos, observatories, and botanical gardens. As J. H. Elliott put it: But curiosity also had its due place within a wider Christian framework. At the end of the century, José de Acosta, in his great Natural and Moral History of the Indies, likened men to ants in their refusal to let themselves be deterred, once they had set out on their quest for facts. "And the high and eternal wisdom of the Creator uses this natural curiosity of men to communicate the light of His holy gospel to peoples who still live in the darkness of their errors." This assumption, that all knowledge was subordinated to a higher purpose and fitted into a providential design, was crucial for the assimilation of the New World of America by sixteenth-century Christendom. 4Elliott's characterization of an honorific Christian intellectual curiosity represented a very small part of a very complex semantic universe that centered on the Latin term curiositas and its vernacular cognates, not all of whose meanings were neutral or honorific. Just three years before Acosta wrote there had, after all, appeared the first printed history of Doctor Faustus, another sixteenth-century practical man who was also interested in the secrets of the world. 5 And not [End Page 594] too many years after Acosta wrote, another practical being, Milton's Lucifer, also went forth boldly to seek new worlds. 6 Only in a restricted sense could the desire to know the secrets of the world be understood in the way that Columbus, Cortés, Philip II, and Acosta celebrated it. In many cases it had to be extricated from a semantic universe in which it had long been identified with less honorable motives and more dangerous or ephemeral objects.The most influential exploration of part of that semantic universe appeared in Hans Blumenberg's long essay entitled, "The 'Trial' of Theoretical Curiosity," first published as part of a larger work in 1966, later slightly revised and separately reprinted, and translated into English in 1983. 7 Blumenberg's particular understanding of the history of philosophy, however, and his narrow focus on the natural sciences as the arena of "theoretical" curiosity limited both his conceptualization and his argument. In... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.3 (2001) 67-88 [Access article in PDF] In the Wake of Cultural StudiesGlobalization, Theory, and the University Tilottama Rajan 1 Theory today has become an endangered species, as evidenced by the resistance to difficult language. This is not to deny that it leads a quasi-life as the domesticated ground for what has replaced it, or as a form of prestige: a signifier for "cutting-edge" discourses. But in using (...) the term here, I refer to the work that came into prominence after the Johns Hopkins conference on "The Structuralist Controversy" (1966), the modes of thought it made possible, and the antecedents for such thought going back to the late eighteenth century. Like the humanities generally, this Theory has become submerged in Cultural Studies, 1 which displaced it in the nineties as a central concern of institutes, interdisciplinary programs, and lecture series. "New" academic undertakings in the humanities are by definition those that have a cultural focus. Occasionally we come across programs in "Theory and Cultural Studies" which equate fields that could overlap dialogically but are not identical.Let us grant that practices at the ground level of teaching are more diverse because hiring has occurred over generations; or that there are no absolute epistemic shifts because of what Mary Poovey calls a process of "uneven development," in which "emergent" "rationalities" develop from "and retain a constitutive relationship to... residual domains" [Social Body 14-19]. At the level of marketing and image (and thus also the self-image of academics), Cultural Studies has become the primary focus of North American academic publishing in the humanities, 2 which thus reimagines itself in terms of the globalism of culture rather than the nationalism of "literature," even as the wider [End Page 67] technocratic apparatus thereby reduces the entire humanities to a form of "area studies." And as Heidegger presciently saw in 1938, publishing is a form of governmentality: through the "prearranged and limited publication of books," publishers "bring the world into the picture for the public and confirm it publicly" [139]. On the other side, if a space has been kept for Theory, it has migrated out of English into continental philosophy departments and book series. The result has been an esotericizing and narrowing of Theory to post-Heideggerian French philosophy: the most powerful current in American continental philosophy departments—hence the survival of Derrida but not the early Foucault, and hence the survival of a Derrida very different from the one who made an impact in the seventies. 3Why did Cultural Studies so readily replace Theory? And why focus on the loss of Theory rather than literature, which has also entered the domain of the residual? After all, Anthony Easthope, a decade ago, saw Theory as no more than the "symptom" of a crisis leading from the collapse of literature to the emergence of Cultural Studies [5]. In starting with the cathexis onto "culture" of an academic desire once mediated through "Theory," I suggest that both Theory and Cultural Studies are encyclopedic organizations of knowledge that have therefore served as meta- or flagship disciplines for the humanities. Constituted outside the regular structure of departments in programs and "centers," both have been responsible for a decentering innovation (recognizing the emergence of knowledges outside traditional boundaries) and a recentering of the humanities' "mission" by which it addresses the university at large. The encyclopedic impulse goes back a long way, whether it takes form in such gatherings as the early cabinets of curiosities, in universities as attempts to gather different disciplines into an institutional plurality, or in actual encyclopedias. Enkyklos paideia, meaning "circle of learning," is a gathering of subjects that are meant to be interrelated as knowledge by a single individual, in contrast to indexical systems (such as dictionaries), which are secondary reference tools that store information outside the mind for selective retrieval by different people. Actual encyclopedias, from Anglicus and Vincent of Beauvais to the Encyclopédie and Hegel's "philosophic encyclopedia," have thus been intimately tied up with existing or projected organizations of knowledge. They have functioned as proto-universities... (shrink)

The present article studies the representation of economy in Wunderkammer, a collection of poetry by Finland-Swedish author Ralf Andtbacka. Going back to the historical form of cabinets of curiosities, Wunderkammer depicts acts of buying, selling, and collecting. By showing the connectivity of objects and their impact on human subjects, Andtbacka actualizes and deconstructs topics originally initiated by Karl Marx, such as value, fetish, commodifica-tion, and alienation. The portrayal of capitalism, both past and pres-ent, in the book is highly ambivalent. (...) On the one hand, collecting functions as a critical, anticapitalistic act. On the other hand, eco-nomic discourse has invaded the text and turned the author into a writing machine powered by the energy of neoliberal labor. Besides an excess of objects, the poems display an overflow of information, a characteristic feature of a postcapitalist economy. As an exam-ple of cognitive mapping, Wunderkammer allegorically portrays humans, objects, and information in the middle of a paradoxical economic transformation. (shrink)

This paper is an attempt to argue that there existed a very prominent view of signs and signification in late sixteenth- and seventeenth-century Europe which can help us to understand several puzzling aspects of baroque culture. This view, called here "pansemioticism," constituted a fundamental part of the baroque conception of the world. After sketching the content and importance of pansemioticism, I will show how it can help us to understand the (from a modern perspective) rather puzzling concept of the polymath, (...) or polyhistor, which constituted the ideal of the baroque scientist. In this context I will also discuss a seventeenth century phenomenon essentially connected with polyhistorism, namely that of the early modem polyhistorical collections, the Wunderkamnmern. Since such a study needs a clearly determined focal point, we will concentrate on the last three quarters of the seventeenth century and will mainly discuss works by German authors of the time. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

ABSTRACT In 1730, shortly before his death, the Paris anatomist Joseph‐Guichard Duverney wrote his will, leaving his anatomical specimens to the Académie des Sciences, of which he was a member. But the will was disputed by Pierre Chirac, supervisor of the Jardin du Roi where Duverney, as professor of anatomy, had performed most of the dissections that produced the specimens. The ensuing debate between Chirac and René‐Antoine Ferchault de Réaumur, arguing for the Académie, reveals the tensions surrounding both the concept (...) of intellectual property in this period and the collective enterprise in natural philosophy. The differing roles and audiences of the Académie and the Jardin were central to this debate. In addition, this essay explores the origins and significance of the anatomical specimens themselves and their changing role in instruction and display, as well as the transition from the cabinet of curiosities to the natural history museum. (shrink)

ABSTRACT In 1730, shortly before his death, the Paris anatomist Joseph‐Guichard Duverney wrote his will, leaving his anatomical specimens to the Académie des Sciences, of which he was a member. But the will was disputed by Pierre Chirac, supervisor of the Jardin du Roi where Duverney, as professor of anatomy, had performed most of the dissections that produced the specimens. The ensuing debate between Chirac and René‐Antoine Ferchault de Réaumur, arguing for the Académie, reveals the tensions surrounding both the concept (...) of intellectual property in this period and the collective enterprise in natural philosophy. The differing roles and audiences of the Académie and the Jardin were central to this debate. In addition, this essay explores the origins and significance of the anatomical specimens themselves and their changing role in instruction and display, as well as the transition from the cabinet of curiosities to the natural history museum. (shrink)

The following essay is divided in three parts. First, while sharing in principle Harrison's hypothesis of an affinity between the sixteenth‐century Reformation and early modern science, it questions the connection between the latter and the Weberian “disenchantment of the world.” Second, it suggests a broader group of possible actors than that envisaged by Harrison in referring to virtuoso collectors and their cabinets of curiosities who are rather marginalized in Harrison's narrative. And third, it highlights (in agreement with Harrison) the (...) physico‐theology of the second half of the seventeenth and the first half of the eighteenth century and beyond as an important temporary fusion of religion/theology and science at a time when the new science was still striving for social and religious respectability. (shrink)

The following essay is divided in three parts. First, while sharing in principle Harrison's hypothesis of an affinity between the sixteenth-century Reformation and early modern science, it questions the connection between the latter and the Weberian “disenchantment of the world.” Second, it suggests a broader group of possible actors than that envisaged by Harrison in referring to virtuoso collectors and their cabinets of curiosities who are rather marginalized in Harrison's narrative. And third, it highlights the physico-theology of the second (...) half of the seventeenth and the first half of the eighteenth century and beyond as an important temporary fusion of religion/theology and science at a time when the new science was still striving for social and religious respectability. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

A Certain Gesture: Evnine's Batman Meme Project and Its Parerga! is an entirely original kind of work. It takes the form of commentaries on memes made with the image of Batman slapping Robin. The commentaries are written as if they were not authored by the same person who made the memes, allowing the author to consider himself and his work from the outside. The book defies genre by mixing discussions of philosophy, psychoanalysis, Judaism, language, and representation with self-writing and autotheory. (...) These are juxtaposed like the items in a cabinet of curiosities or topics in an analytic patient’s free association. Both pre-modern and post-modern in its inspiration, it is cerebral, playful, social, and intensely personal. It contains philosophy, including original philosophical research, but also explores new ways of doing and thinking about philosophy. (shrink)

MICROCOSMS is an on-going project, that will find its outcome in a set of physical exhibitions extending into the Internet. Our goal is to enlarge the discursive space of museums, universities, disciplines and collections by pushing at their conceptual boundaries. At the centre of the project lie the multifarious things of the world that we collect and analyse in the contemporary university. The knowledge produced from objects is integral to the primary mission of the university, and is quite distinct from (...) textual knowledge. But while we would like to believe that sharp boundaries define the functions of knowledgeobjects, they in fact exist in a series of continua of motives and uses: temporal, spatial, institutional. For example, universities and museums are not distinct entities, and neither are museums, laboratories or libraries. Objects reside in teaching or research collections; in departmental or personal assemblages of memorabilia; in the limbo of closets and cabinets, temporarily obsolete and disposable, but never disposed. They are the sources of knowledge production, the storehouses of that knowledge, and the means of its dissemination. There is one space where all these aspects of objects may once have existed under the same roof and that is the 16th-century Curiosity Cabinet; there is one realm where they may be virtually reunited, and that is the Internet. These two spaces are the beginning and end of the project. (shrink)

Jan Bondeson, A Cabinet of Medical Curiosities (London and New York: Cornell University Press, 1997), ix + 250 pp. ISBN 1-86064-228-4 US$29.95 £23.51. -/- Jan Bondeson, The Feejee Mermaid and Other Essays in Natural and Unnatural History (Ithaca and London: Cornell University Press, 1999) xi + 315 pp. ISBN 0-8014-3609-5 Hb £22.50.

Balthazar-Georges Sage (1740–1824), a chemist, mineralogist, and the founder of the École Royale des Mines (1783), owned two mineral collections: a mineralogy collection used for his research and teaching, which later became the property of the École Royale itself; and a private cabinet of objets d'art, consisting largely of artistically worked mineral objects. Although created for different purposes, Sage valued both for their utility and their aesthetics. This paper explores the dual character of the collections by presenting Sage as a (...) man of science and an art lover. It argues that his lifelong concern with aesthetics was the underlying link between the two collections, his teaching practices, and his aim in founding of the École Royale des Mines to improve France's mining industry. Through aesthetics, Sage sought to build a coherent whole, which he referred to as a “national monument,” consisting of the collections, the school, and his work as a teacher and a mineralogist. In the years leading up to the French Revolution, the collections—a central part within this coherent whole—were the key element in establishing the social identity of the new institution as well as that of Sage himself. In the context of political upheaval, the social, economic, and aesthetic value of the collections became tied to the political aims of the republic, in particular, its interest in building the new nation through its heritage as conserved in its national monuments: the new republican museums. Sage used the term museum to define both collections: this analysis of their relationship and the different functions he attributed to them reveals how profoundly collecting practices were changing in revolutionary and post-revolutionary France. (shrink)

The ?pictures of collections? genre was a special type of cabinet painting, and was invented, refined and popularized within the artistic community of early seventeenth?century Antwerp. Depicting a sumptuous array of luxury goods, natural curiosities, connoisseurs and nobles in elegant interiors, the paintings that make up this genre were purposefully seductive, designed to parade the consummate skill of the Southern Netherlands? finest artists at a time when the market for works of art was growing and highly competitive. Yet there is (...) a heavy lacing of symbolism and allegory apparent in many of the images, and they were also intended to speak to the intellectual preoccupations of the age, from the cultivation of personal virtue to the honing of the critical faculties necessary for philosophy. The genre is explored by tracing stages in its evolution in the seventeenth century, and four types of collection making up the genre are distinguished. Finally, the historiography of the genre is investigated. (shrink)

Works of art disappear, species are extinguished, books are lost, cities drown, things once thought immortal suddenly aren’t there at all. Whole libraries of knowledge, and whole galleries of secrets are gone. Our culture, our knowledge, and all our lives are shadows cast by what went before. We are defined, not by what we have, but by what we have lost along the way. Lost Worlds is a glossary of the missing, a cabinet of absent curiosities. No mere miscellany, it (...) weaves a web of everything we no longer have. Michael Bywater, "Lost Worlds" columnist for the Independent on Sunday, teaches at Cambridge University. (shrink)

The natural history museum is a place where the line between "high" and "low" culture effectively vanishes--where our awe of nature, our taste for the bizarre, and our thirst for knowledge all blend happily together. But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is more going on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing curators, scientists, (...) and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. "Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet."--The Boston Herald. (shrink)

The survival of a unique set of drawings, complemented by a contemporary description and a sale catalogue, enable us to ‘reconstruct’ the cabinet of Bonnier de la Mosson , a miscellaneous collection formed in Paris c. 1740. A brief assessment is offered of the status of such cabinets in the growth and diffusion of science in ancien régime France. We also point to a link with the decorative arts: in a study of such a subject the intellectual and aesthetic (...) dimensions must be treated as a unity if we are fully to evoke the context of the cabinet in the age of the rococo. Only the modern ‘discipline’-oriented viewpoint forces a separation between the history of science and the history of art. (shrink)

ABSTRACT A thriving project in contemporary epistemology concerns identifying and explicating the epistemic virtues. Although there is little sustained argument for this claim, a number of prominent sources suggest that curiosity is an epistemic virtue. In this paper, I provide an account of the virtue of curiosity. After arguing that virtuous curiosity must be appropriately discerning, timely and exacting, I then situate my account in relation to two broader questions for virtue responsibilists: What sort of motivations are (...) required for epistemic virtue? And do epistemic virtues need to be reliable? I will sketch an account on which curiosity is only virtuous when rooted in a non-instrumental appreciation of epistemic goods, before arguing that curiosity can exhibit intellectual virtue irrespective of whether one is reliable in satisfying it. (shrink)

Leading philosophical models of curiosity represent it as a desiderative attitude whose content is a question, and which is satisfied by knowledge of the answer to that question. I argue that these models do not capture the distinctive character of a form of curiosity that I call 'erotic curiosity'. Erotic curiosity addresses itself not to a question but to an object whose significance for the inquirer is affective as well as epistemic. This form of curiosity (...) is best understood by analogy to erotic love as theorized by Plato in the Symposium. (shrink)

In this book, Ilhan Inan questions the classical definition of curiosity as _a desire to know._ Working in an area where epistemology and philosophy of language overlap, Inan forges a link between our ability to become aware of our ignorance and our linguistic aptitude to construct terms referring to things unknown. The book introduces the notion of inostensible reference. Ilhan connects this notion to related concepts in philosophy of language: knowledge by acquaintance and knowledge by description; the referential and (...) the attributive uses of definite descriptions; the _de re/de dicto_ distinction; and Kripke’s distinction between rigid and accidental designators. Continuing with a discussion of the conditions for curiosity and its satisfaction, Inan argues that the learning process—starting in curiosity and ending in knowledge—is always an effort to transform our inostensible terms into ostensible ones. A contextual account is adopted for the satisfaction of curiosity. It then discusses the conditions of successful reference to the object of curiosity and its presuppositions. The book concludes with a discussion on the limits of curiosity and its satisfaction. (shrink)

In the late eighteenth century, the Ecole vétérinaire d'Alfort was renowned for its innovative veterinary education and for having one of the largest natural history and anatomy collections in France. Yet aside from a recent interest in the works of one particular anatomist, the school's history has been mostly ignored. I examine here the fame of the school in eighteenth-century travel literature, the historic connection between veterinary science and natural history, and the relationship between the school's hospital and its esteemed (...) cabinet. Using the correspondence papers of veterinary administrators, state representatives and competing scientific institutions during the French Revolution, I argue that resource constraints and the management of anatomical and natural history specimens produced new disciplinary boundaries between natural history, veterinary medicine and human medicine, while reinforcing geographic divisions between the local and the foreign in the study of non-human animals. This paper reconstructs theAncien Régimereasoning that veterinary students would benefit from a global perspective on animality, and the Revolutionary government's rejection of that premise. Under republicanism, veterinary medicine became domestic. (shrink)

In The Ambitions of Curiosity, first published in 2002, one of the world's foremost philosophers of science explores the origins and growth of systematic inquiry in Greece, China, and Mesopotamia. Professor Lloyd examines which factors stimulated or inhibited this development, and whose interests were served. He asks who set the agenda? What was the role of the state in sponsoring, supporting or blocking research, in such areas as historiography, natural philosophy, medical research, astronomy, technology, pure and applied mathematics? How (...) were each of those fields defined and developed in different ancient societies? How did truly innovative thinkers persuade their own contemporaries to accept their work? Professor Lloyd explores the different routes those developments took in China, Greece and Mesopotamia, and demonstrates the unexpected results of many research efforts, as well as the tensions between state control and individual innovation and the different ways they were resolved - problems that remain central to scientific research today. (shrink)

In this article, precariousness is understood as an intrinsic characteristic of a vast set of images ‐ being them pictorial, sculptural, photographic, cinematographic, digital or other. These images acquire their specific value, most of the time, precisely as a function of this attribute. Precariousness is, in this case, not an insufficiency or a weakness, but a power, understood in different areas, from aesthetics to ontology. This article is divided into two parts: the first one explores, in various ways, the ephemerality‐eternity (...) polarity based on precariousness; the second one allows us to know the plural manifestations of the precariousness of the image in multiple forms of expression by identifying a range of arts and media nuclei. Invoking the contribution of different authors, from ancient to contemporary times, the article ends as it begins: it highlights the intrinsic precariousness of both forms of artistic creation and the modes of academic thinking. (shrink)

Obscurity is not the worst failing, and it is philistinism to pretend that it is. In a series of brilliant essays written over the last fifteen years Stanley Cavell has consistently argued that more important than the question whether obscurity could have been avoided is whether it affects our confidence in the author. Confidence raises the issue of intention, and I would have thought that the primary commitment of a psychoanalytic writer was to pass on, and (if he can) to (...) refine while passing on, a particular way of exploring the mind. Indeed this is how Lacan himself proposes that his work should be judged. “The aim of my teaching,” he writes, “has been and still is the training of analysts.” For decades now Lacan has been insisting that the nature of this commitment has been systematically obscured, particularly in North America. Training has become “routinized”, and analysis itself has become distorted into a process of crude social adaptation. There is much here to agree with. Yet two questions must be raised. Has Lacan devised a more effective method of training analysts? And, would one expect this from his writings? Neither question gets a favourable answer. All reports of his training methods, over which he has now brought about three distinct secessions within the French psychoanalytic movement, are horrifying. 13 It is now, I am told, possible to become a Lacanian analyst after a very few months of Lacanian analysis. And what pedagogic contribution could we expect from a form of prose that has two salient characteristics: it exhibits the application of theory to particular cases as quite arbitrary, and it forces the adherents it gains into pastiche. 14 Lacan's ideas and Lacan's style, yoked in an indissoluble union, represent an invasive tyranny. And it is by a hideous irony that this tyranny should find its recruits among groups that have nothing in common except the sense that they lack a theory worthy of their cause or calling: feminists, cinéastes , professors of literature. Lacan himself offers several justifications for his obscurity, about which he has no false modesty. At times he says that he is the voice, the messenger, the porte-parole , of the unconscious itself. Lacan's claim stirs in my mind the retort Freud made to a similar assult upon his credulity and by someone who had learned from Lacan. “It is not the unconscious mind I look out for in your paintings,” Freud said to Salvador Dali, “it is the conscious.”. (shrink)

Umwelt theory has finally come of age. The paradigm-breaking power of Jakob vonUexküll’s technical term, after decades of inquiry by scholars such as Merleau-Ponty(1962) and Kauffman (1993) has become part of the vernacular of animal studies, psychology, sociology, and other scientific domains (Buchanan 2008; Lahti 2015;Stevens et al. 2018). The newfound fame of the Umwelt frame, however, is as much a boon to the field of biosemiotics as it is a burden, due to the usual serial misinterpretation and cooptation that (...) occurs in popularizing a concept.One prominent scholar, however, deeply wedded to the original lineage of meaning Umwelt theory offers, is the renowned ethologist and primatologist Frans de Waal, who has based his life work on understanding its core meaning through experimentation.From the first to the last page of de Waal’s latest overview of animal cognition, he anchors his interpretations in classical as well as cognitive ethology — steeped in the contributions of von Uexküll. This deceptively readable popular scientific monograph Are We Smart Enough to Know How Smart Animals Are? affords digestible insights for the curious reader as well as enlightening details to those attuned to the fierce debates in animal cognition, consciousness, and ethics.The book incorporates Niko Tinbergen and Lorenz’s contrastive ethological interpretative styles to best enter into the Umwelten of other species, especially primates. DeWaal not only reviews his remarkable career and the history of ethology, but pushes further into the nuances of species-specific experimentation design and best practices in ethological methodologies. (shrink)

THE LAND OF CURIOSITY has evolved over the past several years as a result of discussions I have had with groups of 4th, 5th, and 6th graders. It all began many years ago in my daughter's 4th grade class. I wanted the group with whom I met once a week to think about rules. So I wrote a little episode about The Basic Rule. The responses to this episode were used as a basis for another episode, this one dealing (...) with The Golden Rule. Responses to that episode led to yet another one on rules. (shrink)

In this paper, I focus on the role of curiosity as a key motivating factor in successful collaboration for interdisciplinary research. I argue that curiosity is an important, perhaps essential component of successful collaboration for interdisciplinary teams. I begin by defining curiosity and highlighting the significance of the characteristic motivation of the virtue for successful collaboration. I argue that curiosity initiates, maintains, and coordinates successful collaborative interdisciplinary research. Moreover, if curiosity is a foundational intellectual virtue, (...) then it is not only important but essential for successful collaboration. I then draw attention to a specific type of curiosity, namely inquisitiveness, and argue that the defining feature of inquisitiveness – good questioning – renders it a particularly valuable form of curiosity for collaborative projects, including (although not limited to) interdisciplinary research. I conclude by deriving some practical recommendations for successful collaboration in interdisciplinary research. (shrink)

In the 20th century, more than ever before, the world is being shaped by science. Science has an intrinsic value in trying to find out how the world ticks, and it has an enormous and increasingly social value too. The scientific enterprise of today provides the information for the society of tomorrow. Scientists have become leading actors in world history. The discipline of curiosity, as science may be called, is not just a discipline of form, it is also a (...) discipline of ends: political, moral, cultural and commercial ends. Science and technology have become features of daily life. In this book of interviews, fifteen opinion leaders (prominent figures from international politics, business, communication and science) give their vision on the changing role of science in society. They all agree that scientific information is essential, not just for the scientist. For with the recognition of its crucial importance comes the understanding that the scientific enterprise is, or should be, a concern to everybody. The scientist is a central figure and has to communicate with politicians, entrepreneurs and the public at large. (shrink)

Philosophy for Children is, at its core, an educational movement that started in the 1970s and it is currently practiced in over 60 countries. Rather than teaching children philosophy, it aims to develop thinking, inquiry and reasoning skills by means of intellectual interaction and by questioning both with the facilitator and amongst themselves. Thus it creates a community of inquiry. This movement has created a sound literature within philosophy of education which indirectly relates to issues in meta-philosophy, epistemology and philosophy (...) of childhood. Despite the fact that Philosophy for Children is a movement which is predominantly based on questioning and inquiry, there is little emphasis on curiosity within its literature. This is not surprising because even in philosophy literature the concept of curiosity was ignored until quite recently. Producing the first book-length treatment of curiosity within philosophy literature, İnan provides a philosophical framework on how human curiosity is possible and how it finds expression. The notion of inostensible conceptualization, which İnan has developed and central to his theory of curiosity, could be utilized in order to demonstrate the significance of curiosity within Philosophy for Children. Philosophy for Children sessions are usually centered around a philosophical concept such as fairness, egoism, and identity. In this paper I argue that the in-class discussions in Philosophy for Children practice enable children to realize that the concept in question is inostensible for them. That is, they do not have all the knowledge about this specific concept. In order to explain the concept of curiosity in P4C sessions, I have developed two notions: the first notion is curiosity-arouser, which I utilize to explain how the community of inquiry could better concentrate on and discuss the inostensible concept. The second notion is joint curiosity, which I have developed in analogy to the trans-disciplinary notion of joint attention. Similar to the positive impact of joint attention on child development, I argue that joint curiosity has positive outcomes for children’s inquiry and questioning. I explain these notions in detail by providing examples of Philosophy for Children sessions. My overall aim is to emphasize the importance of curiosity in order for this practice to reach its fundamental aims. The practitioners and those who prepare materials have to take into consideration the concept of curiosity and must equip themselves with an understanding of it. (shrink)

Throughout history, many scholars have offered up definitions of curiosity. These definitions range far and wide. Some attempt to amass all the elements of curiosity, systematize them, and propose a unified theory. Some characterize curiosity as a conceptual unit with two primary dimensions (e.g. epistemic and perceptual), as two distinct kinds of things (e.g. bona et mala curiositas), or as one side of a binary (e.g. curiosity vs. care). What is curiosity? Which characterization is most (...) apt to curiosity itself and which best illuminates its ethical and political stakes? In this essay, I argue that curiosity is best characterized modally. That is, it is best described through its modes rather than defined by its essence. To support this argument, I canvas the history of philosophy and identify three models of curiosity, which I name by their correlative literary figures: the busybody, the hunter, and the dancer. The curious person is repeatedly described as drawn to gossip, hunting down secrets and discoveries, and taking leaps of creative imagination. I develop an account of the unique kinesthetic signatures of each mode. I then close with ethical considerations, interrogating issues of responsibility relevant to each. In doing so, this chapter reimagines both curiosity itself and its role in our political ecology today. (shrink)

The article argues for the social production of curiosity. Due its motivating characteristic, curiosity is reconceptualized as an epistemic drive which organizes the social production of knowledge under given socio-historical and local-cultural circumstances. First, historical, philosophical, and sociological literature is reviewed to give a context for the argument. Then a theoretical apparatus is developed considering the emergence, development, and impact of epistemic drives which serves as a foundation for empirical analysis. The second part demonstrates applicability by discussing the (...) problem of economic incentives in scientific research. I argue that scientific projects with little to none immediate economic return have a significant disadvantage in acquiring funding which in turn impacts the mobilization of curiosity in their field. A tendency which systematically yields a disproportionate distribution of knowledge. In conclusion, the article suggests the usefulness of the epistemic drive notion in understanding curiosity as a sociological object. (shrink)

Ivancovsky et al.'s Novelty-Seeking Model suggests several mechanisms that might underlie developmental change in creativity and curiosity. We discuss how these implications both do and do not align with extant developmental findings, suggest two further elements that can provide a more complete developmental account, and discuss current methodological barriers to formulating an integrated developmental model of curiosity and creativity.

The unbridled positivity toward curiosity and creativity may be excessive. Both aid species survival through exploration and advancement. These beneficial effects are well documented. What remains is to understand their optimal levels and contexts for maximal achievement, health, and well-being. Every beneficial element to individuals and groups carries the potential for harm – curiosity and creativity included.

We extend Ivancovsky et al.'s finding on the association between curiosity and creativity by proposing a sequential causal model assuming that (a) curiosity determines the motivation to seek information and that (b) creativity constitutes a capacity to act on that motivation. This framework assumes that both high levels of curiosity and creativity are necessary for information-seeking behavior.

Asking students to generate a prediction before presenting the correct answer is a popular instructional strategy. This study tested whether a person’s degree of confidence in a prediction is related to their curiosity and surprise regarding the answer. For a series of questions about numerical facts, participants (N = 29) generated predictions and rated their confidence in the prediction before seeing the correct answer. The increase in pupil size before viewing the correct answer was used as a physiological marker (...) of curiosity, and the increase in pupil size after viewing the correct answer was used as a physiological marker of surprise. The results revealed that the pupillometric marker of curiosity was most pronounced if students were slightly more confident in their prediction than usual, and it was lower for predictions made with either very high or very low confidence. Furthermore, the results showed that high-confidence prediction errors and low-confidence correct responses yielded a pupillary surprise response, suggesting that highly unexpected results evoke surprise, independent of the correctness of the prediction. Together, results suggest that confidence in a prediction plays an important role in the occurrence of epistemic emotions such as curiosity and surprise. (shrink)

(1988). Science at court: the eighteenth-century cabinet of scientific instruments and models of the Dutch stadholders. Annals of Science: Vol. 45, No. 2, pp. 113-152.

Willem II van Haecht?s panel of the Cabinet of Cornelis van der Geest (1628), introduces the viewer to the theme of the Five Senses by including five prominently displayed paintings, each corresponding to one of the senses, in the foreground. The paper offers a new reading of the panel, suggesting that this image may be read as an allegory of the Five Senses, proposing this theme as a key to the rhetorical performance the collector, van der Geest, is shown undertaking, (...) and connecting the senses to the picture?s punning motto: Vive l?Esprit. (shrink)