"This project explores the role of photography in conceptual art practices during the 1960's and 1970's. Focusing each chapter on the work of a single, canonical figure -- Mel Bochner, Bruce Nauman, Douglas Huebler and John Baldessari -- Diack argues that these artists expanded the possibilities of the photograph as a "document of doubt," and played with the viewer's investment of truth and factuality in the medium"--
"Opioids. Concussions. Obesity. Climate change. America is a country of everyday crises -- big, long-spanning problems that persist, mostly unregulated, despite their toll on the country's health and vitality. And for every case of government inaction on one of these issues, there is a set of familiar, doubtful refrains: The science is unclear. The data is inconclusive. Regulation is unjustified. It's a slippery slope. Is it? The Triumph of Doubt traces the ascendance of science-for-hire in American life and government, from its origins in the tobacco industry in the 1950s to its current manifestations across government, public policy, and even professional sports. Well-heeled American corporations have long had a financial stake in undermining scientific consensus and manufacturing uncertainty; in The Triumph of Doubt, former Obama and Clinton official David Michaels details how bad science becomes public policy -- and where it's happening today. Amid fraught conversations of "alternative facts" and "truth decay," The Triumph of Doubt wields its unprecedented access to shine a light on the machinations and scope of manipulated science in American society. It is an urgent, revelatory work, one that promises to reorient conversations around science and the public good for the foreseeable future"--Provided by publisher.
All institutions concerned with the process of judging - whether it be deciding between alternative courses of action, determining a judge’s professional integrity, assigning culpability for an alleged crime, or ruling on the credibility of an asylum claimant - are necessarily directly concerned with the question of doubt. By putting ritual and judicial settings into comparative perspective, in contexts as diverse as Indian and Taiwanese divination and international cricket, as well as legal processes in France, the UK, India, Denmark, and Ghana, this book offers a comprehensive and novel perspective on techniques for casting and dispelling doubt, and the roles they play in achieving verdicts or decisions that appear both valid and just. Broadening the theoretical understandings of the social role of doubt, both in social science and in law, the authors present these understandings in ways that not only contribute to academic knowledge but are also useful to professionals and other participants engaged in the process of judging. This collection will consequently be of great interest to academics researching in the fields of legal anthropology, ritual studies, legal sociology, criminology, and socio-legal studies.
What can we know about ourselves and the world through the sense of touch and what are the epistemic limits of touch? Scepticism claims that there is always something that slips through the epistemologist’s grasp. A Touch of Doubt explores the significance of touch for the history of philosophical scepticism as well as for scepticism as an embodied form of subversive political, religious, and artistic practice. Drawing on the tradition of scepticism within nineteenth- and twentieth-century continental philosophy and psychoanalysis, this volume discusses how the sense of touch uncovers contradictions within our knowledge of ourselves and the world. It questions 1) what we can know through touch, 2) what we can know about touch itself, and 3) how our experience of touching the other and ourselves throws us into a state of doubt. This volume is intended for students and scholars who wish to reconsider the experience of touching in intersections of philosophy, religion, art, and social and political practice.
The U.S. scientific community has long led the world in research on such areas as public health, environmental science, and issues affecting quality of life. These scientists have produced landmark studies on the dangers of DDT, tobacco smoke, acid rain, and global warming. But at the same time, a small yet potent subset of this community leads the world in vehement denial of these dangers. Merchants of Doubt tells the story of how a loose-knit group of high-level scientists and scientific advisers, with deep connections in politics and industry, ran effective campaigns to mislead the public and deny well-established scientific knowledge over four decades. Remarkably, the same individuals surface repeatedly-some of the same figures who have claimed that the science of global warming is "not settled" denied the truth of studies linking smoking to lung cancer, coal smoke to acid rain, and CFCs to the ozone hole. "Doubt is our product," wrote one tobacco executive. These "experts" supplied it. Naomi Oreskes and Erik M. Conway, historians of science, roll back the rug on this dark corner of the American scientific community, showing how ideology and corporate interests, aided by a too-compliant media, have skewed public understanding of some of the most pressing issues of our era.
Photographs are used as documents, evidence, and records every day in courtrooms, hospitals, and police work, on passports, permits, and licenses. But how did such usages come to be established and accepted, and when? What kinds of photographs were seen seen as purely instrumental and able to function in this way? What sorts of agencies and institutions had the power to give them this status? And more generally, what conception of photographic representation did this involve, and what were its consequences?
In this eye-opening expos, Michaels reveals how the tobacco industry's duplicitous tactics spawned a multi-million dollar industry that is dismantling public health safeguards.
Imagine the twentieth century without photography and film. Its history would be absent of images that define historical moments and generations: the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. It would be a history, in other words, of just artists’ renderings and the spoken and written word. To inhabitants of the twenty-first century, deeply immersed in visual culture, such a history seems insubstantial, imprecise, and even, perhaps, unscientific. Documenting the World is about the material and social life of photographs and film made in the scientific quest to document the world. Drawing on scholars from the fields of art history, visual anthropology, and science and technology studies, the chapters in this book explore how this documentation—from the initial recording of images, to their acquisition and storage, to their circulation—has altered our lives, our ways of knowing, our social and economic relationships, and even our surroundings. Far beyond mere illustration, photography and film have become an integral, transformative part of the world they seek to show us.
In today’s society we increasingly create and consume written content and images. This includes a range of sources, from social media posts to records held within organisations, and everything in between, including news articles, blogs, shopping lists and official government documents. Critically reading these ‘documents’ can help us to understand a huge amount about society. Doing Excellent Social Research with Documents includes guidance on how to ‘read between the lines’, and provides an overview of six research projects which use documents as data. Chapter 8 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
