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 future of molecular medicine

Abstract

Humanities computing is an ‘interdiscipline’ concerned with the application of computing to the arts and letters. Although it has been practised since the late 1940s, it has only recently begun to gain institutional recognition and a measure of self-awareness. In this contribution to the vigorous debate among practitioners, I argue for a common methodological ground shared by computer using scholars and students across the disciplines of the humanities. In large part because of the commons, these individuals tend to come together physically in laboratory settings as well as virtually online, pursuing traditional research goals by the means they now share, or collaborating on numerous larger projects that computing has enabled. A useful model of their collaboration is Peter Galison's ‘trading zone’, an anthropological–linguistic metaphor he uses to describe interchange among researchers and technicians of the Manhattan Project. Humanities computing functions like a merchant trader in a Galisonian trading zone: it sees to a similar interchange of tools and techniques among the departmentalised cultures with which it deals, and for itself studies the effects and consequences. It thus exemplifies a true interdisciplinarity. Sufficient work has now been done for us to begin to map out a research agenda for humanitites computing as an interdiscipline, and this will help to identify the essential habits of mind and skills our colleagues and students must have to refurbish the humanities in the twenty-first century. Computing presents the humanities with the need and opportunity to reconceptualise and rebuild our inherited scholarly forms, which are as historically contingent as any human artefact. Rethinking how we do what we do in turn requires what Clifford Geertz has called ‘intellectual weed control’. A central project of humanities computing is to help in the construction of a worldwide digital library of resources and tools. Its role within this project is, I argue, primarily to articulate the powers of imagination that computing in the humanities demands of us.     

A Thorn in the Side: Ian Hunter,Cultural Studies,and the Humanities

Summary

What are the connections between Ian Hunter's specific criticisms of cultural studies and his more general criticisms of those strands of the humanities that take issue with instrumental reasoning? How are these connections informed by his assessments of the limitations, and the consequences, of the ‘moment of theory’? What are the implications of his critique of anti-instrumental defences of the humanities for contemporary debates concerning the future trajectories of cultural studies? In exploring these questions I consider the continuities between Hunter's initial criticisms of cultural studies and the broader contours of his subsequent engagements with contemporary diagnoses of the fading critical vocation of the humanities. While endorsing the general tenor of Hunter's remarks on these questions, I conclude by arguing the need for genealogies of cultural studies and of the humanities that cast their nets more widely than Hunter's primary focus on textual disciplines.     

Order and organisation

Abstract

In this paper we re-examine the relationship and possibilities for discourse between the academic disciplines called ‘sciences’ and those known as ‘arts’. Do they represent one culture or two? An apparent diversity of views emerges in two contemporary writers, George Steiner and Nicholas Lash, the former differentiating the two, the latter insisting that the ‘two cultures’ debate itself is misconstrued. We follow the principal threads of both arguments in the light of an intimate involvement with the practice of science and its communication in public and academic contexts. Visiting aspects of both arts and sciences that distinguish them from other disciplines, the role of theory, and the twin purposes of function and contemplation, we find that much of the pain of discourse between them arises from a failure to recognise common structures and functions. As a result, either function or contemplation may be overemphasised at the expense of the other. We suggest directions in which the tensions might be resolved in both public and academic arenas.     

Historiographical Foundations of Modern International Thought: Histories of the European States-System from Florence to Göttingen

Summary

The foundations of modern international thought were constructed out of diverse idioms and disciplines. In his impressive book, Foundations of Modern International Thought, David Armitage focuses on the normative idioms of natural law and political philosophy from the Anglophone world, from Hobbes and Locke to Burke and Bentham. I focus on parallel developments in the empirically-oriented disciplines of history and historiography to trace the emergence of histories of the states-system in the Italian- and German-speaking worlds, from Bruni and Sarpi to Pufendorf and Heeren. Taking seriously Armitage's remark that ‘the pivotal moments in the formation of modern international thought were often points of retrospective reconstruction’, I argue that the historical disciplines supplied another significant intellectual context in which the modern world could be imagined as ‘a world of states’.     

Die Fotografie – ein neues Bildmedium im Wissenschaftspanorama des 19. Jahrhunderts. Einführung in das Symposium

Photography – a novel medium of scientific representation in the XIXth century array of arts and sciences. To delve into various nineteenth century academic disciplines under the heading ‘photography in the arts and sciences’ as did last year's annual conference of the History of Science Society – the interest in such a topic only partly stems from the ‘iconic turn’ that has generally enlarged the scope of the social sciences in recent years. A more poignant feature in any such present day study will probably be a basic scepticism facing the fact that in public use photographs have been manipulated in many respects. Yet, while shying away from any simple success story, a historically minded approach to changing ‘visual paradigms’ (Historische Bildwissenschaft) has begun to emerge. In this context, it has proved of considerable heuristic value to reconsider the role of early photography in an array of science, arts and technology: Since the reliance on the traditional ways of sketching reality persisted, in many an instance where photography was introduced, the thoughts the pioneer photographers had about their new, seemingly automated business, call for close attention. Thus scholarship sets up a parallel ‘discussion room’; the lively debate on the benefit of academic drawings as opposed to photographic portraits is a case in point. Some fairly specialised reports on photographically based analyses, such as electron microscopy, point to a borderline where the very idea of representation as a correspondence of reality and imagination gets blurred. Even though any ‘visual culture’ will have to shoulder the ‘burden of representation’, it is equally likely that it will offer a deeper sensibility for the intricacies entailed in the variegated ways of illustrating or mapping chosen subjects of scientific interest. Scholarship may thus somewhat control the disillusionment that by now has become the epitome of writing on photographic history. Provided with a renewed methodological awareness for the perception process and its photographic transition, historians may strike a better balance between the ever present tendencies of a realistic and an aesthetic way of picturing the world we live in.     

Environmental History within a Revitalized Integrative Research Methodology for Today and Tomorrow

Abstract

In the past decades, historians and scientists worldwide have focused intensively on researching and recording the micro and macro trends of the environmental history of many places with reference to numerous aspects of nature that involve people. Yet no definite methodology, epistemology or even theory has resulted from these research contributions, which were and are being conducted within disciplinary and sometimes interdisciplinary frameworks. The transdisciplinary research approach, at least as practiced by historians, is a ‘newcomer’, although it features familiar criteria. For several reasons, some historians appear to be neither in favour of, nor familiar with, research co-operation with other disciplines, private practitioners or informed community members. There are obstacles to using a research methodology that complements the interdisciplinary or transdisciplinary approach, especially the grey areas of research quality, source validity, methodology and publication value. However, if approached constructively and meaningfully, transdisciplinary research may result in what we could call higher-order research because it is all-inclusive and can provide diverse perspectives on any theme, for example, environmental history. This article discusses the possibility of progressing towards ‘transdisciplinary’ as part of an integrative multidisciplinary approach in research on environmental history. An integrative multidisciplinary (‘triangular’) research model is proposed, especially for use by historians and others who want to approach environmental research from disciplinary, interdisciplinary and transdisciplinary perspectives. It is also hoped that this discussion will stimulate the debate by historians on research co-operation with the social sciences and humanities, as well as collaboration with non-related sciences in environmental history.     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.     

Michel Foucault

Despite his repudiation of antisemitism, Renan influenced the development of antisemitic ideologies in both France and Germany. His typology of ‘Semite’ and ‘Aryan’ was adopted especially in Germany and and combined with biological concepts of race to become the foundation of the concepts of ‘Semitism’ and ‘Antisemitism’. Renan, however, always insisted on a linguistic/cultural definition of race and regarded the biological conception, while it might have had some primitive reality, as outmoded and immoral in European civilization. After 1870 the growth of German racial antisemitism led Renan to elaborate repeatedly on race as a civilisational phenomenon that in modern Europe should have lost its biological origins. His argument that modern Jews were integral members of the French ‘nation’ and ‘civilization’ was profoundly influential on the emergence of the theory of the modern ‘nation’ as the liberal state. Gobineau's theory of race also lent itself to exploitation by racial antisemites, though it was not overtly antisemitic. Unlike Renan, however, Gobineau in his later years inclined to a vague personal antisemitism. The main difference was one of temperament as well as devotion on Renan's part to a liberal idea of the nation, as opposed to Gobineau's aversion to liberalism and modern civilization.     

The tyranny of the definite article: Some thoughts on the art of intellectual history

This essay argues, following an insight of Burckhardt, that the philosophy of history is a ‘centaur’, and that it has a tendency to hinder rather than to encourage the practice of history. It challenges many of the presuppositions of Bevir's study, demonstrating that The Logic of the History of Ideas is not, in any meaningful sense, an historically minded work. The ‘logic’ of the essay looks to the arts, especially literature and music, as providing genuinely illuminating parallels to the discipline involved in the practice of intellectual history. History cannot be understood as a process of philosophical abstraction; pertinent examples are of its essence, and plurality is therefore central to its richly textured nature. It still has much to learn from the reflexive procedures of anthropology. By examining the idea of ‘tradition’ the essay demonstrates that ‘the past’ is never dead, and that the relationship between texts is a living process: the intellectual historian is him/herself an artist, and his/her task is no less demanding than that of the creative artist, and it is always humblingly provisional.     

Whose cultural value? Representation,power and creative industries

ABSTRACT

The debate around ‘cultural value’ has become increasingly central to policy debates on arts and creative industries policy over the past ten years and has mostly focused on the articulation and measurement of ‘economic value’, at the expense of other forms of value—cultural, social, aesthetic. This paper’s goal is to counter this prevalent over-simplification by focusing on the mechanisms through which ‘value’ is either allocated or denied to cultural forms and practices by certain groups in particular social contexts. We know that different social groups enjoy different access to the power to bestow value and legitimise aesthetic and cultural practices; yet, questions of power, of symbolic violence and misrecognition rarely have any prominence in cultural policy discourse. This article thus makes a distinctive contribution to creative industry scholarship by tackling this neglected question head on: it calls for a commitment to addressing cultural policy’s blind spot over power and misrecognition, and for what McGuigan (2006: 138) refers to as ‘critique in the public interest’. To achieve this, the article discusses findings of an AHRC-funded project that considered questions of cultural value, power, media representation and misrecognition in relation to a participatory arts project involving the Gypsy and Traveller community in Lincolnshire, England.     

The tyranny of the definite article: Some thoughts on the art of intellectual history

This essay argues, following an insight of Burckhardt, that the philosophy of history is a ‘centaur’, and that it has a tendency to hinder rather than to encourage the practice of history. It challenges many of the presuppositions of Bevir's study, demonstrating that The Logic of the History of Ideas is not, in any meaningful sense, an historically minded work. The ‘logic’ of the essay looks to the arts, especially literature and music, as providing genuinely illuminating parallels to the discipline involved in the practice of intellectual history. History cannot be understood as a process of philosophical abstraction; pertinent examples are of its essence, and plurality is therefore central to its richly textured nature. It still has much to learn from the reflexive procedures of anthropology. By examining the idea of ‘tradition’ the essay demonstrates that ‘the past’ is never dead, and that the relationship between texts is a living process: the intellectual historian is him/herself an artist, and his/her task is no less demanding than that of the creative artist, and it is always humblingly provisional.     

Doxographical or Philosophical History of Philosophy: On Michael Frede's Precepts for Writing the History of Philosophy

Summary

In a series of articles from the 1980s and 1990s, Michael Frede analysed the history of histories of philosophy written over the last three hundred years. According to Frede, modern scholars have degenerated into what he calls a ‘doxographical’ mode of writing the history of philosophy. Instead, he argued, these scholars should write what he called ‘philosophical’ history of philosophy, first established in the last decades of the seventeenth century but since abandoned. In the present article it is argued that Frede's reconstruction of the history of histories of philosophy is historically problematic.     

Strukturwandel der Wissenschaft im Nationalsozialismus

National Socialism brought about profound changes for the German academic system. Forced emigration not just sent outstanding scholars into exile, thus closing down promising research venues. In fact, it changed the entire climate of scientific inquiry by removing intellectual outsiders from the scene, whose absence usually precludes any success of innovative research. In most disciplines this led to a dominance of just a few academic ‘schools’ and paradigms, which severely harmed intra‐discipline accountability and innovation. The academic bureaucracy worked more effectively than has been assumed for a long time: practice‐oriented research enjoyed massive state support, and huge research projects outside the universities flourished. At the same time the National Socialists looked ambivalently at the universities themselves. They savored the legitimizing functions of the arts and sciences, and yet they distrusted the professors as exponents of the bourgeois world of old. Contrary to the blooming sciences such as biology, chemistry, and physics, the arts and humanities had a hard time demonstrating their practical applicability. In order to prove their worth by means of giving advice to the political sphere, they formed interdisciplinary combines, which were massively funded by the ‘Deutsche Forschungsgemeinschaft’. The ‘Deutsche Wissenschaft’, which has been incorrectly marginalized in numerous accounts, served in part to provide a Weltanschauung justification for these networks. While the German academic community in 1945 tried to pick up the threads of the a‐political self‐ understanding of the 1920s, in fact there were numerous continuities to academic life before and after 1945. Among them were the encompassing loss of international contacts, the strengthening of hierarchical structures, and the importance of feasibility criteria for the culture of innovation. The arts and humanities (Geisteswissenschaften) could not regain the lost territory of significance, which they had suffered during the Third Reich. It is mainly their development which showed an amazing persistence of national socialist patterns of view and of concepts of the enemy, which in turn as late as 1968 inspired in part the anti‐bourgeois thrust of the critique of the academic world.     

Bridging the cultures: architecture,models and computers in 1960s Cambridge

ABSTRACT

In the 1960s a unique research centre was founded in the Department of Architecture at the University of Cambridge. Before that date research in architecture was fragmentary and consisted largely of individual studies of topics in architectural history. Under the direction of Sir Leslie Martin, who had been appointed Professor of Architecture in 1956, a group of young architecture graduates embarked on a programme of research in the newly established centre for Land Use and Built Form Studies. Informed by the interest in the idea of the ‘model’ that was prevalent across the disciplines in Cambridge at this time and by using the power of the University Mathematical Laboratory’s ‘Titan’ mainframe computer, the group developed conceptual and mathematical models that operated across the range of architectural scales from building to city. This paper describes that work and sets it in the context of Leslie Martin’s role in reshaping architectural education in Britain.     

Time After Time

Summary

This essay is an analysis of a series of writings by the Australian intellectual historian Ian Hunter on the subject of ‘theory’. It examines the methodological issues raised by attempting to write a history of theory. The essay particularly seeks to analyse the various aporias at stake in Hunter's project: between the empirical and the transcendental, between history and the event, and between theory and ‘empirical’ history.     

The reasons of Europe: Edmund Husserl,Jan Patočka,and María Zambrano on the spiritual heritage of Europe*

ABSTRACT

This article investigates the genuinely philosophical engagement with the idea of Europe twentieth century philosophy. Here, especially phenomenology has developed a distinct tradition of conceiving Europe not as a geographical and political entity but rather as a ‘spiritual shape.’ Husserl, as the originator of this thought, traces this spiritual Europe back to Ancient Greece of the 7/6 century B.C. in which an unprecedented ‘theoretical attitude’ towards the world originated. Hence, Europe is conceived as a project of reason, of pure rationality while at the same time leaving out the constitutive dimension of religion. Furthermore, this non-historical philosophical genealogy proves itself to be an arbitrary but intentional genealogy whose intentions have to be put into critical reconsideration. In this article, I will introduce Pato?ka and Zambrano as important critiques of Husserl’s genealogy, or even potentially violent mono-genealogy, as Derrida has emphasized. Following Foucault, it is the aim of this article to put into question the myth of a single historical-political origin of Europe’s spiritual heritage and furthermore to pay attention to the transformations and conflictual relations between Europe’s different forms of reason and religion.     

Fiddling for outcomes: traditional music,social capital,and arts policy in Northern Ireland

Arts development policies increasingly tie funding to the potential of arts organisations to effectively deliver an array of extra‐artistic social outcomes. This paper reports on the difficulties of this work in Northern Ireland, where the arts sector, and in particular the so‐called ‘traditional arts’, have been drawn into a politically ambiguous discourse centred on the concepts of ‘mutual understanding’ and, more recently, ‘social capital’. The paper traces the recent history of these policies and the difficulties in evaluating the social outcomes of arts programs. The use of the term ‘social capital’ in the work of Putnam and Bourdieu is considered. The paper argues, through a rereading of Bourdieu’s articulation of the ‘forms’ of capital and Eagleton’s ‘ideology of the aesthetic’, the concept of social capital can be released from its current neoliberal trappings by imagining a reconnection of the concepts of ‘capital’ and ‘the aesthetic’.     

Resistance,Symbolism and the Language of Stateness in Timor‐Leste

On gaining independence in 2002 after a protracted struggle against Indonesian occupation, the sovereign Timor‐Leste state began to assert its sovereignty in a range of discursive and expressive media. These assertions developed a distinct ‘language of stateness’ that is the focus of this article. This East Timorese expression of state sovereignty draws heavily on the legacy of the Timorese resistance struggle and on a variety of other sources of symbolic power such as flags, buildings, logos, and uniforms. Yet these efforts have been contested by a range of non‐state actors in Timor‐Leste and the shape that this language of stateness has taken now evokes complaints from martial arts groups (MAGs), ritual arts groups (RAGs), and veterans' organisations that seek to ‘become like the state’ themselves, and who also employ a ‘national language of stateness’ in the form of flags, graffiti, and official buildings. While not challenging the idea of an independent East Timorese state per se, these groups question the prerogative of the state to use and define the language of stateness. In this article I explore the way the state and its challengers use ‘languages of stateness’ and how this shapes their ambivalent stance vis‐à‐vis each other, with both sides often drawing upon a discourse of the fulfilment of the millenarian promises that have for a long time been tied to the achievement of independence.