The future could be too much fun

Abstract

More than ever before, the twenty-first century is likely to throw into focus the age old question: ‘what am I doing with my life?’ Recent developments in neuroscience mean that a scientific understanding of consciousness is no longer out of the question. The rapidly expanding field of genetic medicine will soon allow single gene disorders such as cystic fibrosis to be treated routinely by gene ‘therapy’ and has already thrown up complex ethical questions surrounding the idea of genetic screening for insurance purposes. And the latest directions in computer science have the potential to challenge our ideas of reality, as well as confusing our understanding of the distinction between information and knowledge. In this paper I revisit the notions of human nature and personal identity in the light of these advances.     

Between universal spaces and unique places: heritage in Universal Studios Singapore

ABSTRACT

This paper presents a case of Singapore's latest theme park, the Universal Studios Singapore (USS). While theme parks are commonly perceived as money-making entities providing entertainment to the masses, the study argues that heritage is an equally important dimension of a commercial theme park's development, identity and profile. As a heritage-rich environment, the USS is a tourism landscape shaped simultaneously by the forces of corporate heritage and local cultural considerations. ‘Glocalization’ – the interaction of global and local forces – offers a conceptual insight into understanding how themed environments are created and marketed as tourism destinations welcoming to all and yet distinctive to its community and locality. Caution, however, is also sounded as to whether an international attraction can or should ever be ‘too local’ at the risk of diluting its global brand name and broad-based appeal.     

Tom Stoppard’s Big Picture: The Chaos that is Our World

Abstract

Issues arising from discussions regarding the ‘two cultures’ of science and art are many and varied. Tom Stoppard’s very active utilization of science in many of his plays has resulted in his work — especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia — being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard’s plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard’s plays show particular interest in engaging any debate about the superiority of one ‘culture’ over the other. In his two ‘science plays’ in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.     

Art and science in the UK: a brief history and critical reflection

ABSTRACT

This paper begins by reviewing the historical construction of ‘SciArt’, and the way in which its supposed interdisciplinarity often shaded into science communication. Early discussions about the complementarity of art and science were conceived in terms of epistemology, notably the qualities of imagination and curiosity. The paper moves on to discuss how, during the current decade, Art and Science (A&S) discourse has altered due to changes in the cultural politics of both its constituent fields, emerging as a ‘transdiscipline’ characterized by ‘creativity’. Eighteen in-depth surveys with leading practitioners in A&S form a substantial part of the research material, yielding an evaluation of what the disciplinary, economic and cultural implications of this changed discourse may be. Though potentially angled towards the solution of ‘wicked’ problems, transdisciplinarity also sacrifices the specific critical expertise of art, fetishizes tech at the expense of science and selectively ignores institutional problems inherent in funding and power structures.     

Re‐writing the ‘book of blots’: Critical reflections on histories of technological ‘failure’

Abstract

Although an interest in technological ‘failure’ has become prominent in recent history of technology, historians have not always clearly articulated the presuppositions of attributing ‘failure’ to technology. This paper undertakes a critical examination of two main historiographies of ‘failure’: ‘failure’ as categorization of ‘pathological’ technologies that clearly demarcates them from ‘successes’, and ‘failure’ as a mundane and inevitable prerequisite of subsequent ‘success’. To reconcile these divergent analyses, this paper argues that historians should not treat ‘failure’ as residing in the technology itself. It is rather a matter of imputation according to socially‐embedded criteria of what constitutes success and failure. Accordingly judgements of ‘failure’ are prone to interpretive flexibility in a manner that is not necessarily settled by any process of ‘closure.’ I will argue that any ‘failure’ of technologies should be located in the socio‐technical relations of usage, especially in the expectations, skills and resources of human users. The moral irony of attributing responsibility for ‘failure’ to technologies themselves rather than to humans users will thereby be highlighted.     

From Batticaloa via Basel to Berlin. Transimperial Science in Ceylon and Beyond around 1900

ABSTRACT

Recent historiographies of ‘Science and Empire’ have successfully critiqued older euro-centric narratives. They highlighted how science was ‘co-produced’ through interactions between knowledgeable European and non-European actors in colonial ‘contact zones’, and how this ‘pidginised knowledge’ circulated through networks across various sites within the British Empire. This article shares and expands this approach. By focussing on continental European scholars in Ceylon around 1900, it argues that scientific networks were never confined to a particular empire. Science among Europeans was, rather, multi-lingual, mostly cross-disciplinary and always transimperial. Applying such an approach to the history of science in late colonial Ceylon allows us to uncover entanglements between historical processes that have for too long remained subject matters of disconnected historiographies: the emergence of Buddhist revivalism, evolutionary theories about human origins, the transformation from ‘liberal race science’ to Nazi eugenics in Germany, and the surfacing of British cultural anthropology.     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.     

THE DORKING EMIGRATION SCHEME OF 1832

Abstract

Statistical records of British emigration for the I9th century are very poor. Therefore it is important that all information that can be produced on assisted emigration should be considered to enhance our knowledge of the process of migration. In I832 the Dorking Emigration Scheme facilitated emigration of a group of poor rural labourers and their families from Surrey to make a new life in Canada. These were people dependent for support on parish relief. This article discusses this scheme in relation to British emigration policy in the years I8I5-30. Investigating assisted emigration at a local level enables an assessment of the viability of Wilmont Horton’s claim that one great cause of distress at the time was redundancy of population.It is evident in Dorking that emigration was seen as a way to alleviate the growing problem of rural unemployment. But was it just a scheme for ‘shovelling out paupers’, or are there other important factors that must be considered?     

Peripheral creativity: temporary cultural uses as alternatives to inefficient policies?

ABSTRACT

The article focuses on temporary and improvised cultural spaces in marginalized neighbourhoods of Rio de Janeiro, Brazil. They are presented here as alternatives to current urban and cultural policies, often based on international ‘best practices’ models with exclusionary and segregating consequences. It begins with a brief overview into North American and Western European cultural planning policies. It then analyses the instability of cultural policies in Brazil, highlighting that, after a period of State recognition of bottom-up actions, administrators have turned to a contradictory planning scheme that mixes outdated and recent international trends, leading lower-income inhabitants to self-build their own cultural spaces. Unlike many products of today’s global strand of ‘tactic urbanism’, Rio’s temporary spaces are politically charged territories of resistance. An example is ‘Cine Taquara’ – an improvised cinema and debate forum that illustrates how, in an unequal city, such initiatives can do more towards social inclusion than ready-made models.     

Shifts in the world science centre:space–time characteristics and disciplinary analysis

Abstract

Based on 4087 data records derived from two chronological tables relating to the history of science and technology, this paper explores geographical and chronological characteristics of shifts in the centre of world scientific activity (‘world science centre’). We then go on to compare the timing of shifts in world discipline centres with shifts in the world science centre, analyse the relationship through time between dominant disciplines in Italy, Britain, France, Germany, and the USA on the one hand and ‘excavation worthy’ disciplines on the other, and attempt to discover an internal mechanism governing shifts in the world science centre related to states of development of individual scientific disciplines.     

Public technology: nuclear energy in Europe

ABSTRACT

The concept of ‘public science’ has been fruitfully used to indicate the intricate interrelatedness of science and society. In studies of knowledge and its publics, however, technology has been routinely subsumed under science and the distinctive nature of technical knowledge neglected. We are aiming in this article at conceptualizing the public nature of technologies. First, we start with surveying the literature on public science. Second, we scrutinize various conceptual approaches to better understand the social and cultural factors embedded in technologies. In so doing, we reflect upon the twentieth-century history of technologies as public things. Third, we focus on nuclear energy in Europe as an exemplary case of a large-scale technology which has been shaped as part of public culture. We suggest that the specificities of the nuclear as a publicly shaped societal entity can be understood as an example of the wider category we propose to call ‘public technologies’.     

Unmanaging the past: Truth,data and the human being

Management systems in archaeology seek to impose the scientific objective‐reductionist paradigm on archaeologists and their data. This orthodoxy has been enshrined in English Heritage's document Management of Archaeological Projects (English Heritage 1991) which prescribes rigorous application of a standardized methodology. MAP II, as it is known, is based on a processual model in which ‘data’ enter at one end and valuable archaeology emerges at the other. Such a view not only lacks any appreciation of the distinctions between ‘data’ and ‘information’ but also fails to acknowledge the beliefs and values which underpin the decision‐making criteria crucial to the model. In this paper we argue for an approach which un‐manages the past — by building relativistic humans into our strategies for dealing with the past. Examples are given which demonstrate how such an approach might work in practice.     

Changing philosophies of action? Argentine’s cultural policies in the 21st century

ABSTRACT

How can the many institutional and ideological changes of Argentine cultural policy at the beginning of the 21st century be explained? This paper analyses how representations of culture, programs and public actions are translated into different ‘philosophies of action’ depending on the political stripe of each government and the agents of cultural policy. If the predominant philosophy of action during the whole period is ‘culture as an economic resource’, it coexists with other philosophies: ‘culture as show’, ‘a communication tool’, ‘social inclusion’ and finally ‘a factor of citizenship’.     

Second Laws,Two Cultures,and the Emergence of an Ecosystem Aesthetics

Abstract

The appropriation of scientific concepts by the humanities and the visual arts exemplifies what many feel are both the pitfalls and possibilities of interdisciplinary engagement. The principle of entropy, which C. P. Snow claimed could serve as a litmus test of the ‘two cultures’ divide, provides an excellent starting point for exploring how artists have employed scientific concepts far beyond their original contexts. As a case study in interdisciplinarity, the use of entropy in the visual arts is also a lens to consider the evolution of an artistic proposal from the 1960s known as ‘system aesthetics’. As an early challenge to the clean demarcation of art and science, system aesthetics was a precedent for what might be described as the emergence of an ecosystem aesthetics within contemporary art and design today.     

The Philosophy of Technology: A Review

Abstract

The continuous technological progress since the beginning of the Industrial Revolution seemed to confirm the Rationalists and the optimism of the Age of Enlightenment. This is no longer so. In this review new lines of enquiry into this change are discussed, and various philosophical features and traditions are explored. It proves difficult to define ‘technology’; the philosophy of science and its methodology are considered, mind and machines are contrasted and the review concludes with a consideration of the arguments put forward for metaphysical interpretations of technology.     

Michael Polanyi's Social/Political Order: Design for a Society of Explorers

Abstract

Michael Polanyi's fascinations throughout his lifetime were threefold: (1) science—specifically physical chemistry; (2) philosophy—specifically epistemology and ontology; and (3) political society, understood, in the British tradition, to include economics. In developing his recommendations for political society, Polanyi draws broadly upon insights and even concepts from his experiences and reflections in both science and philosophy. His search for meaning in all of his philosophical works provides for him the definition of what he considers the most important human endeavor and is that which the political order must strive to encourage and protect. In addition, the gratification he found in the collegiality and conviviality of scientific research, conducted most productively in what Polanyi identified as “societies of explorers,” suggested to him the diverse groups—as in science, “polycentrically” ordered—and engaged in all kinds of productive activities that came to represent, for him, the grassroots source of a society's creative vitality. Having come to appreciate the necessity of freedom for scientific discovery, freedom became a paramount value in the model he proposed for political society. But this freedom, he realized, had to operate within the boundaries of legal and moral constraint if it was not to dissolve into the oppressions of anarchy. So we find in Polanyi's model of political society a dynamic very similar to that which he had developed in his epistemology: an indwelling of tradition for the purpose of social stability but also a “breaking-out” of established ways to engage in creative endeavors. Similarly, as Polanyi had recognized higher and lower “orders” of existence in his ontology that were necessary for the “emergence” of more comprehensive and novel entities, “greater than the sum of their parts,” he provided for a similar vertical, or qualitative, “layering” in his social order. These insights, and more, that Polanyi draws from his scientific and philosophical reflections in the process of constructing his model of a political society are what I attempt to develop in this essay.     

Photius and Poetry

Abstract

‘No art or science, except poetry, was foreign to this universal scholar’. Thus Edward Gibbon. It has long been notorious that poets are excluded from the Bibliotheca. Why? The question persists. Hence the present paper.     

‘‘The Acceptable Face of the Unintelligible’: Intermediality and the Science Play’

Abstract

The limitations of the ‘science-in-theatre’ genre is explored and the concept of the intermedial science play is introduced as an alternative to conventional science plays. How the science-in-theatre play dampens the mediality of the stage in order to establish a specific contract with its audience in order to realize what Carl Djerassi calls ‘didactic realism’ is considered. By virtue of the dramatic form and the didacticism it establishes, the science-in-theatre play limits the means by which audiences may encounter and enjoy responding to science. In particular, when staging concepts from the postclassical sciences, the intermedial science play offers artists and spectators new approaches to the sciences of infinities, complexity and emergence whilst also establishing a new, interactive contract with the audience based on forms of pedagogy associated with the thinking of Jacques Rancière. Using the media theory of Peter Boenisch and others, intermediality is identified as more than the mere presence of multimedia, but in terms of the effects it produce on the sensorium of the spectator.     

Taking Direction: New Dramaturgies of Science from the Splice Symposium and the Performing Science Conference

Abstract

This short article responds to two recent conferences on performance and science: the Splice Symposium (Chimera Network/University of Notre Dame) and Performing Science (University of Lincoln). Rather than a conventional conference report, the author reflects on a selection of presentations in the light of issue one of ISR’s ‘theatre and science’ series.     

Albert Einsteln as Seen by Artists

Abstract

To commemorate the 80th birthday on 9 December 1980 of Dr Joseph Needham – a Member of our Editorial Board – we are here publishing a somewhat condensed progress report of what has been rightly called ‘the greatest single act of historical synthesis and intercultural communication ever attempted by one man’. After describing its contents, Dr Needham gives a preliminary outline of his methodology, how he has quarried Chinese literature and iconography, how he has immersed himself in China's living tradition to interpret correctly her past and how he has mastered the often century-old technical terminology of Chinese science – only thus could he build his oecumenical university. He concludes here with the hope that this vast study, so felicitously begun, will continue ‘as limitless as is all history’.