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This study presents a comprehensive look at a complex man who
exhibited an unfaltering commitment to the military and to his
soldiers but whose career was marked by controversy. As a senior
Army officer in World Wars I and II, Lt. Gen. Edward M. Almond
lived by the adage that "units don't fail, leaders do." He was
chosen to command the 92nd Infantry Division -- one of only two
African American divisions to see combat during WWII -- but when
the infantry performed poorly in Italy in 1944--1945, he asserted
that it was due to their inferiority as a race and not their
maltreatment by a separate but unequal society. He would later
command the X Corps during the Inchon invasion that changed the
course of the Korean War, but his accomplishments would be
overshadowed by his abrasive personality and tactical mistakes.
This book addresses how Almond's early education at the Virginia
Military Institute, with its strong Confederate and military
influences, shaped his military prowess. Presented is a thorough
assessment of Almond's military record; how he garnered respect for
his aggressiveness, courage in combat, strong dedication, and
leadership; and how he was affected by the loss of his son and
son-in-law in combat during WWII. Following the war, Almond would
return to the US to assume command of the US Army War College, but
would find himself unprepared for a changing world. This volume
asserts that since his death, his bigoted views have come to
dominate his place in history and undermine his military
achievements.
How is history produced? How do individuals write-or rewrite-their
parts while engaged in the production of history? Michael Lynch and
David Bogen take the example of the Iran-contra hearings to explore
these questions. These hearings, held in 1987 by the Joint
House-Senate Select Committee on Secret Military Assistance to Iran
and the Nicaragua Opposition, provided the nation with a media
spectacle and a rare chance to see a struggle over the writing of
history. There was Oliver North, prime suspect and designated
scapegoat, turning into a hero of the American Right before the
very eyes of the nation. How this transformation occurred, with the
complicity of the press and the public, becomes disturbingly clear
in The Spectacle of History. Lynch and Bogen detail the practices
through which the historical agents at the center of the hearings
composed, confirmed, used, erased, and denied the historical
record. They show how partisan skirmishes over the disclosure of
records and testimony led to a divided and irresolute outcome, an
outcome further facilitated by the "applied deconstruction"
deployed by North and his allies. The Spectacle of History immerses
the reader in a crowded field of texts, utterances, visual
displays, and media commentaries, but, more than a case study, it
develops unique insight into problems at the heart of society and
social theory-lying and credibility, the production of civic
spectacle, the relationship between testimony and history, the uses
of memory, and the interplay between speech and writing. Drawing on
themes from sociology, literary theory, and ethnomethodology and
challenging prevailing concepts held by contemporary communication
and cultural studies, Lynch and Bogen extract valuable theoretical
lessons from this specific and troubling historical episode.
The essays in this book provide an excellent introduction to the
means by which scientists convey their ideas. While diverse in
their subject matter, the essays are unified in asserting that
scientists compose and use particular representations in
contextually organized and contextually sensitive ways, and that
these representations - particularly visual displays such as
graphs, diagrams, photographs, and drawings - depend for their
meaning on the complex activities in which they are situated.The
topics include sociological orientations to representational
practice, representation and the realist-constructivist
controversy, the fixation of evidence, time and documents in
researcher interaction, selection and mathematization in the visual
documentation of objects in the life sciences, the use of
illustrations in texts (E.0. Wilson's Sociobiology, a field guide
to the birds), representing practice in cognitive science, the
iconography of scientific texts, and semiotic analysis of
scientific, representation.The contributors are K. Amann, Ronald
Amerine, Francoise Bastide, Jack Bilmes, K. Knorr, Bruno Latour,
John Law, Michael Lynch, Greg Meyers, Lucy A. Suchman, Paul
Tibbetts, Steve Woolgar, and Steven Yearley.Michael Lynch is
Assistant Professor in the Department of Sociology at Boston
University. Steve Woolgar is at the Centre for Research into
Innovation Culture, and Technology at Brunel University, Uxbridge,
England"
How is history produced? How do individuals write-or rewrite-their
parts while engaged in the production of history? Michael Lynch and
David Bogen take the example of the Iran-contra hearings to explore
these questions. These hearings, held in 1987 by the Joint
House-Senate Select Committee on Secret Military Assistance to Iran
and the Nicaragua Opposition, provided the nation with a media
spectacle and a rare chance to see a struggle over the writing of
history. There was Oliver North, prime suspect and designated
scapegoat, turning into a hero of the American Right before the
very eyes of the nation. How this transformation occurred, with the
complicity of the press and the public, becomes disturbingly clear
in The Spectacle of History. Lynch and Bogen detail the practices
through which the historical agents at the center of the hearings
composed, confirmed, used, erased, and denied the historical
record. They show how partisan skirmishes over the disclosure of
records and testimony led to a divided and irresolute outcome, an
outcome further facilitated by the "applied deconstruction"
deployed by North and his allies. The Spectacle of History immerses
the reader in a crowded field of texts, utterances, visual
displays, and media commentaries, but, more than a case study, it
develops unique insight into problems at the heart of society and
social theory-lying and credibility, the production of civic
spectacle, the relationship between testimony and history, the uses
of memory, and the interplay between speech and writing. Drawing on
themes from sociology, literary theory, and ethnomethodology and
challenging prevailing concepts held by contemporary communication
and cultural studies, Lynch and Bogen extract valuable theoretical
lessons from this specific and troubling historical episode.
A fresh approach to visualization practices in the sciences that
considers novel forms of imaging technology and draws on recent
theoretical perspectives on representation. Representation in
Scientific Practice, published by the MIT Press in 1990, helped
coalesce a long-standing interest in scientific visualization among
historians, philosophers, and sociologists of science and remains a
touchstone for current investigations in science and technology
studies. This volume revisits the topic, taking into account both
the changing conceptual landscape of STS and the emergence of new
imaging technologies in scientific practice. It offers cutting-edge
research on a broad array of fields that study information as well
as short reflections on the evolution of the field by leading
scholars, including some of the contributors to the 1990 volume.
The essays consider the ways in which viewing experiences are
crafted in the digital era; the embodied nature of work with
digital technologies; the constitutive role of materials and
technologies-from chalkboards to brain scans-in the production of
new scientific knowledge; the metaphors and images mobilized by
communities of practice; and the status and significance of
scientific imagery in professional and popular culture.
Contributors Morana Alac, Michael Barany, Anne Beaulieu, Annamaria
Carusi, Catelijne Coopmans, Lorraine Daston, Sarah de Rijcke,
Joseph Dumit, Emma Frow, Yann Giraud, Aud Sissel Hoel, Martin Kemp,
Bruno Latour, John Law, Michael Lynch, Donald MacKenzie, Cyrus
Mody, Natasha Myers, Rachel Prentice, Arie Rip, Martin Ruivenkamp,
Lucy Suchman, Janet Vertesi, Steve Woolgar
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