According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In (...) the Vocation Bureau, for example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology. (shrink)

In the early twentieth century, fatigue research marked an area of conflicting scientific, industrial, and cultural understandings of working bodies. These different understandings of the working body marked a key site of political conflict during the growth of industrial capitalism. Many fatigue researchers understood fatigue to be a physiological fact and allied themselves with Progressive-era reformers in urging industrial regulation. Opposed to these researchers were advocates of Taylorism and scientific management, who held that fatigue was a mental event and that (...) productivity could be perpetually increased through managerial efficiency. Histories of this conflict typically cease with the end of the First World War, when it is assumed that industrial fatigue research withered away. This article extends the history of fatigue research through examining the activities of the Harvard Fatigue Laboratory in the 1920s and 1930s. The Laboratory developed sophisticated biochemical techniques to study the blood of exercising individuals. In particular, it found that exercising individuals could attain a biochemically “steady state,” or equilibrium, and extrapolated from this to assert that fatigue was psychological, not physiological, in nature. In contrast to Progressive-era research, the Laboratory reached this conclusion through laboratory examination, not of industrial workers, but of Laboratory staff members and champion marathon runners. The translation of laboratory research to industrial settings, and the eventual erasure of physiological fatigue from discussions of labor, was a complex function of institutional settings, scientific innovation, and the cultural meanings of work and sport. (shrink)

For historians of psychology, Hugo Münsterberg is best remembered as William James’ successor as director of the Harvard Psychological Laboratory and a pioneer of applied psychology. By contrast, for film and media studies scholars, Münsterberg is recognized less for his contributions to experimental psychology than for those to film theory, a field in which his penultimate book, The Photoplay: A Psychological Study (1916), is frequently claimed as an inaugural text. However, lost in the blind spots of (...) both disciplinary perspectives has been a thorough examination of Münsterberg's collaboration with Paramount Pictures, translating psychological tests into experimental short films. Despite reaching millions of moviegoers in 1916, Münsterberg’s ‘Testing the Mind’ series has received little attention from historians of science and early cinema alike. One reason for this neglect is that, to date, not a single extant copy of a ‘Testing the Mind’ release has been located. This article is about the author's efforts, in collaboration with students, to reanimate these lost psychological tests for the screen through meticulous historical reconstruction based on the original scripts, journalistic accounts, and correspondence between Münsterberg and Paramount. This reconstructive process, I show, yields new insights into the relationship between psychology and early cinema and an opportunity for reflection on this promising new space for research at the intersection of media archaeology, the history of psychology, and experimental history of science. Film URL: https://archive.org/details/munsterberg_paramount.pictographs. (shrink)

In many scientific fields, the practice of self-experimentation waned over the course of the twentieth century. For exercise physiologists working today, however, the practice of self-experimentation is alive and well. This paper considers the role of the Harvard Fatigue Laboratory and its scientific director, D. Bruce Dill, in legitimizing the practice of self-experimentation in exercise physiology. Descriptions of self-experimentation are drawn from papers published by members of the Harvard Fatigue Lab. Attention is paid to the ethical and (...) practical justifications for self-experimentation in both the lab and the field. Born out of the practical, immediate demands of fatigue protocols, self-experimentation performed the long-term, epistemological function of uniting physiological data across time and space, enabling researchers to contribute to a general human biology program. (shrink)