Discussions about the appropriate way of assessing and managing new or emerging technologies—like nanomaterials—expose the problematic relationship between scientific knowledge production and regulatory decision-making. On one hand, there is a strong demand for scientific expertise to support decisions, especially by analyzing risks and hazards when uncertainties are prevalent and society’s stakes are high. On the other hand, science is criticized for its authoritative claim to objectivity and for keeping the inherent uncertainty, ambiguity, and selectivity of scientific observation latent. Requests for (...) more transparency in science can lead to revealing, to risk managers and the public, the indeterminacy in knowledge production processes. This has consequences for the prevalence of scientific knowledge in decision-making, because it increases uncertainty on both sides of the breach between science and decisions: scientists lose confidence regarding the scientifically tested knowledge which they pass on, and risk managers lose confidence regarding their decisions based on this knowledge. Nonetheless, the concept of “probabilistic risk assessment” remains an important heuristic for dealing with potential future events. This paper addresses questions of the function of scientific risk assessment in organized risk management. The main argument in this paper is that knowledge alone no longer functions as a mechanism for absorbing uncertainty. Accordingly, the interaction between science and decisions must enable a temporarily stable commitment to manage new threats like products and applications coming from the field of nanoscience and nanomaterials. (shrink)

Artificial intelligence is changing healthcare and the practice of medicine as data-driven science and machine-learning technologies, in particular, are contributing to a variety of medical and clinical tasks. Such advancements have also raised many questions, especially about public trust. As a response to these concerns there has been a concentrated effort from public bodies, policy-makers and technology companies leading the way in AI to address what is identified as a "public trust deficit". This paper argues that a focus on trust (...) as the basis upon which a relationship between this new technology and the public is built is, at best, ineffective, at worst, inappropriate or even dangerous, as it diverts attention from what is actually needed to actively warrant trust. Instead of agonising about how to facilitate trust, a type of relationship which can leave those trusting vulnerable and exposed, we argue that efforts should be focused on the difficult and dynamic process of ensuring reliance underwritten by strong legal and regulatory frameworks. From there, trust could emerge but not merely as a means to an end. Instead, as something to work in practice towards; that is, the deserved result of an ongoing ethical relationship where there is the appropriate, enforceable and reliable regulatory infrastructure in place for problems, challenges and power asymmetries to be continuously accounted for and appropriately redressed. Data sharing not applicable as no datasets generated and/or analysed for this study. (shrink)

It is essential to engage the public in conservation measures to conserve insects. We investigate the Protection Motivation Theory, as well as knowledge, attitudes, and sociodemographic variables as predictors of willingness to donate and actual donations to insect conservation for a representative German sample. The PMT subcomponents severity, self-efficacy, and response efficacy, as well as attitudes toward insects, income, and education level, significantly predicted WTD. In contrast, severity, response barriers, age, gender, and the WTD significantly influenced actual donations. Overall, components (...) of the PMT have high predictive power for both dependent variables. Our results suggest that an intention-behavior gap exists between the intention to donate and the actual donation toward insect conservation. Measures to increase WTD and actual donations for insect conservation are discussed. (shrink)

In this article we argue that the mobilities turn and its studies of the performativity of everyday (im)mobilities enable new forms of sociological inquiry, explanation and engagement. New kinds of researchable entities arise, opening up a new or rediscovered realm of the empirical, and new avenues for critique. The mobilities paradigm not only remedies the academic neglect of various movements, of people, objects, information and ideas. It also gathers new empirical sensitivities, analytical orientations, methods and motivations to examine important social (...) and material phenomena and fold social science insight into responses. After an outline of the mobilities paradigm, this article provides a wide-ranging review of emergent `mobile methods' of studying (im)mobilities. We discuss some of the new researchable entities they engender and explore important implications for the relationship between the empirical, theory, critique, and engagement. (shrink)

Bauspiel: ein Schiff by Alma Siedhoff-Buscher is one of the most important toys of the twentieth century, designed and built in 1923 when the designer was part of the Bauhaus Woodcarving Workshop. Having become an icon of an entire era, a symbol of a design utopia, Siedhoff-Buscher’s Bauspiel remains an object that makes us wonder not only for the fascination it emanates, its perennial aesthetic relevance that still legitimates its production and marketing up until nowadays, but for the (...) strength of its evidencing and its ability to force us questioning ourselves about who a child is, and therefore, obviously about who the man is. Mimesis, game, toy thus become the dimensions that Bauspiel manifests to the highest degree, in which anthropological questioning and aesthetic analysis are intertwined in the same research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Literary Method of Urban Design: Design Fictions Using FictionAlan Marshall (bio)For students of design the world over, there’s usually nowhere near enough time in the school year to build a prototype of each and every single innovative idea that pops into one’s head—let alone to test them all in the social world or the marketplace. To speedily explore as many innovations as possible, students are sometimes encouraged to (...) follow an alternative pathway, to create “design fiction.” Intended to exist only on paper or the screen, a “design fiction” is not really destined for the real world.1 As a learning technique, it allows for a significant degree of technical experimentation as well as the imagining of new social arrangements. Many design experts see this “free-for-all” method as rather annoying and untrustworthy—more art than science. Yet for the most creative students, it serves to liberate them from the various constraints of their discipline. My own peculiar process of “design fiction” is what I call the “Literary Method of Urban Design.” I will come to this method in a moment.Last year, I was invited by the Bauhaus Museum in Weimar, Germany, to contribute artworks for a special exhibition entitled “Ways to Utopia: Life Between Desire and Crisis” (running from April 1, 2023—January 29, 2024).2 [End Page 560] This exhibition is a celebration of the one-hundredth anniversary of the Bauhaus’s first architectural product: a modern suburban family home in the city of Weimar called the Haus Am Horn. Built in 1923 the Haus Am Horn ushered in the Bauhaus style, a streamlined functional elegance presented in clean, bright, hopeful hues.3 Beyond just style, though, the house was proffered up in utopian terms. Its Bauhaus creators suggested that such a home could be mass-produced on an industrial scale cheaply and efficiently to provide elegant living to every single family in Europe, be they rich or poor. In its first iteration, the Staatliches Bauhaus was a high-spirited, playful, future-oriented, and socially aware fine arts and architecture school that ran from 1919 to 1933 in Weimar, then Dessau, then Berlin. However, its liberalism and experimentation away from traditional teaching and practice invited scorn from conservatives and from the Nazi Party. The former took the Bauhaus school’s funding away; the latter shuttered it for good. Despite the closure of the building, the Bauhaus style transformed design across the world as former teachers and ex-students applied Bauhaus principles and approaches in new settings. The old Bauhaus school has since been resurrected, with the opening of Bauhaus Universität Weimar, and the Bauhaus Museum, with locations in Weimar and Dessau.A few years back, Skyhorse Publishers published a book of my own “design fictions” depicting real-world cities set far in the future, each presented in utopian terms.4 Because of this, the Bauhaus approached me to help them celebrate their centennial anniversary by displaying my utopian urban designs in their museum. However, to convey the centenary theme of the exhibition, they requested exactly 100 different artworks of 100 different urban utopias portraying 100 different real-world cities set 100 years in the future. At the time, I had only produced eighty such works over the preceding decade. However, since the exhibition was to include masterworks by Bauhaus design greats like George Muche and Alma Buscher, I did not want to fall short. To make the “century” in quick time, I pushed ahead by deploying my own peculiar “Literary Method of Urban Design.”5 This method comprises three steps:1. Select a city.2. Select a literary work.3. Design the future of the selected city, based upon the themes of the selected literary work.[End Page 561] Click for larger view View full resolutionFigure 1.Future London. By the author, inspired by More’s Utopia (1516).When I used this method for the first time with Thomas More’s Utopia (1516) as the literary base, a curator at the Museum of London was tickled enough to include it in an exhibition about the future of London.6Since then, the utopian spark has flowed through many of... (shrink)