The notion of Endangerment stands at the heart of a network of concepts, values and practices dealing with objects and beings considered threatened by extinction, and with the procedures aimed at preserving them. Usually animated by a sense of urgency and citizenship, identifying endangered entities involves evaluating an impending threat and opens the way for preservation strategies. Endangerment, Biodiversity and Culture looks at some of the fundamental ways in which this process involves science, but also more than science: not only data and knowledge and institutions, but also affects and values. Focusing on an "endangerment sensibility," it encapsulates tensions between the normative and the utilitarian, the natural and the cultural. The chapters situate that specifically modern sensibility in historical perspective, and examine central aspects of its recent and present forms.This timely volume offers the most cutting-edge insights into the Environmental Humanities for researchers working in Environmental Studies, History, Anthropology, Sociology and Science and Technology Studies.

The notion of Endangerment stands at the heart of a network of concepts, values and practices dealing with objects and beings considered threatened by extinction, and with the procedures aimed at preserving them. Usually animated by a sense of urgency and citizenship, identifying endangered entities involves evaluating an impending threat and opens the way for preservation strategies. Endangerment, Biodiversity and Culture looks at some of the fundamental ways in which this process involves science, but also more than science: not only data and knowledge and institutions, but also affects and values. Focusing on an "endangerment sensibility," it encapsulates tensions between the normative and the utilitarian, the natural and the cultural. The chapters situate that specifically modern sensibility in historical perspective, and examine central aspects of its recent and present forms.This timely volume offers the most cutting-edge insights into the Environmental Humanities for researchers working in Environmental Studies, History, Anthropology, Sociology and Science and Technology Studies.

Being Brains offers a critical exploration of neurocentrism, the belief that "we are our brains," which became widespread in the 1990s. Encouraged by advances in neuroimaging, the humanities and social sciences have taken a "neural turn," in the form of neuro-subspecialties in fields such as anthropology, aesthetics, education, history, law, sociology, and theology. Dubious but successful commercial enterprises such as "neuromarketing" and "neurobics" have emerged to take advantage of the heightened sensitivity to all things neuro. While neither hegemonic nor monolithic, the neurocentric view embodies a powerful ideology that is at the heart of some of today's most important philosophical, ethical, scientific, and political debates. Being Brains, chosen as 2018 Outstanding Book in the History of the Neurosciences by the International Society for the History of the Neurosciences, examines the internal logic of such ideology, its genealogy, and its main contemporary incarnations.

Fernando Vidal's trailblazing text on the origins of psychology traces the development of the discipline from its appearance in the late sixteenth century to its redefinition at the end of the seventeenth and its emergence as an institutionalized field in the eighteenth. Originally published in 2011, The Sciences of the Soul continues to be of wide importance in the history and philosophy of psychology, the history of the human sciences more generally, and in the social and intellectual history of eighteenth-century Europe.

Neurocultures offers "glimpses" into an expanding universe of knowledge, beliefs and practices characterized by the conviction that human activity is governed by the structure and functioning of the brain. The 1990s were the Decade of the Brain, and the first hundred years of the new millennium have been proclaimed its Century. Described as the most complex of all organs, the brain has become a major icon of contemporary culture. Brain imaging technologies are used in a large number of disciplines, and are increasingly applied in settings of potential social and legal relevance. It is often proclaimed that the neurosciences will bring about major transformations in notions and practices of the human in areas as diverse as spirituality and self-help, marketing, the law, education, or the classification and treatment of mental disease. Neurocultures explores these expectations, their history, their contexts, and the debates they raise, in a broad range of fields, including enhancement, meditation, neuroethics, the "social brain", psychedelic research, psychoanalysis, psychiatric and neurological conditions, and cinema and literature.

Being Brains offers a critical exploration of neurocentrism, the belief that "we are our brains," which became widespread in the 1990s. Encouraged by advances in neuroimaging, the humanities and social sciences have taken a "neural turn," in the form of neuro-subspecialties in fields such as anthropology, aesthetics, education, history, law, sociology, and theology. Dubious but successful commercial enterprises such as "neuromarketing" and "neurobics" have emerged to take advantage of the heightened sensitivity to all things neuro. While neither hegemonic nor monolithic, the neurocentric view embodies a powerful ideology that is at the heart of some of today's most important philosophical, ethical, scientific, and political debates. Being Brains, chosen as 2018 Outstanding Book in the History of the Neurosciences by the International Society for the History of the Neurosciences, examines the internal logic of such ideology, its genealogy, and its main contemporary incarnations.

The great Swiss psychologist and theorist Jean Piaget (1896-1980) had much to say about the developing mind. He also had plenty to say about his own development, much of it, as Fernando Vidal shows, plainly inaccurate. In the first truly historical biography of Piaget, Vidal tells the story of the psychologist's intellectual and personal development up to 1918. By exploring the philosophical, religious, political, and social influences on the psychologist's early life, Vidal alters our basic assumptions about the origins of Piaget's thinking and his later psychology. The resulting profile is strikingly dissimilar to Piaget's own retrospective version. In Piaget's own account, as an adolescent he was a precocious scientist dedicated to questions of epistemology. Here we find him also - and increasingly - concerned with the foundations of religious faith and knowledge, immersed in social and political matters, and actively involved in Christian and socialist groups. Far from being devoted solely to the classification of mollusks, the young Piaget was a vocal champion of Henri Bergson's philosophy of creative evolution, an interest that figured much more prominently in his later thinking than did his early work in natural history. We see him during World War I chastising conservatism and nationalism, espousing equality and women's rights, and advocating the role of youth in the birth of a new Christianity. In his detailed account of Jean Piaget's childhood and adolescence - enriched by the intellectual and cultural landscape of turn-of-the-century Neuchatel - Vidal reveals a little-known Piaget, a youth whose struggle to reconcile science and faith adds a new dimension to our understandingof the great psychologist's life, thought, and work.

Performing Brains on Screen deals with film enactments and representations of the belief that human beings are essentially their brains, a belief that embodies one of the most influential modern ways of understanding the human. Films have performed brains in two chief ways: by turning physical brains into protagonists, as in the "brain movies" of the 1950s, which show terrestrial or extra-terrestrial disembodied brains carrying out their evil intentions; or by giving brains that remain unseen inside someone's head an explicitly major role, as in brain transplantation films or their successors since the 1980s, in which brain contents are transferred and manipulated by means of information technology. Through an analysis of filmic genres and particular movies, Performing Brains on Screen documents this neglected filmic universe, and demonstrates how the cinema has functioned as a cultural space where a core notion of the contemporary world has been rehearsed and problematized.