This edited volume maps dialogues between science and technology studies research on the arts and the emerging field of artistic research. The main themes in the book are an advanced understanding of discursivity and reasoning in arts-based research, the methodological relevance of material practices and things, and innovative ways of connecting, staging, and publishing research in art and academia. This book touches on topics including studies of artistic practices; reflexive practitioners at the boundaries between the arts, science, and technology; non-propositional forms of reasoning; unconventional (arts-based) research methods and enhanced modes of presentation and publication.

Written by the world's leading scholars and researchers in the emerging field of sound studies, The Oxford Handbook of Sound Studies offers new and fully engaging perspectives on the significance of sound in its material and cultural forms. The book considers sounds and music as experienced in such diverse settings as shop floors, laboratories, clinics, design studios, homes, and clubs, across an impressively broad range of historical periods and national and cultural contexts.
Science has traditionally been understood as a visual matter, a study which has historically been undertaken with optical technologies such as slides, graphs, and telescopes. This book questions that notion powerfully by showing how listening has contributed to scientific practice. Sounds have always been a part of human experience, shaping and transforming the world in which we live in ways that often go unnoticed. Sounds and music, the authors argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through an extraordinarily diverse set of case studies, authors illustrate how sounds -- from the sounds of industrialization, to the sounds of automobiles, to sounds in underwater music and hip-hop, to the sounds of nanotechnology -- give rise to new forms listening practices. In addition, the book discusses the rise of new public problems such as noise pollution, hearing loss, and the "end" of the amateur musician that stem from the spread and appropriation of new sound- and music-related technologies, analog and digital, in many domains of life.
Rich in vivid and detailed examples and compelling case studies, and featuring a companion website of listening samples, this remarkable volume boldly challenges readers to rethink the way they hear and understand the world.

This edited volume maps dialogues between science and technology studies research on the arts and the emerging field of artistic research. The main themes in the book are an advanced understanding of discursivity and reasoning in arts-based research, the methodological relevance of material practices and things, and innovative ways of connecting, staging, and publishing research in art and academia. This book touches on topics including studies of artistic practices; reflexive practitioners at the boundaries between the arts, science, and technology; non-propositional forms of reasoning; unconventional (arts-based) research methods and enhanced modes of presentation and publication.

Though ubiquitous today, available as a single microchip and found in any electronic device requiring sound, the synthesizer when it first appeared was truly revolutionary. Something radically new--an extraordinary rarity in musical culture--it was an instrument that used a genuinely new source of sound: electronics. How this came to be--how an engineering student at Cornell and an avant-garde musician working out of a storefront in California set this revolution in motion--is the story told for the first time in "Analog Days," a book that explores the invention of the synthesizer and its impact on popular culture.

The authors take us back to the heady days of the 1960s and early 1970s, when the technology was analog, the synthesizer was an experimental instrument, and synthesizer concerts could and did turn into happenings. Interviews with the pioneers who determined what the synthesizer would be and how it would be used--from inventors Robert Moog and Don Buchla to musicians like Brian Eno, Pete Townshend, and Keith Emerson--recapture their visions of the future of electronic music and a new world of sound.

Tracing the development of the Moog synthesizer from its initial conception to its ascension to stardom in "Switched-On Bach," from its contribution to the San Francisco psychedelic sound, to its wholesale adoption by the worlds of film and advertising, "Analog Days" conveys the excitement, uncertainties, and unexpected consequences of a new technology that would provide the soundtrack for a critical chapter of our cultural history.

Experiment is widely regarded as the most distinctive feature of natural science and essential to the way scientists find out about the world. Yet there has been little study of the way scientists actually make and use experiments. The Uses of Experiment fills this gap in our knowledge about how science is practised. Presenting 14 original case studies of important and often famous experiments, the book asks the questions: What tools do experimenters use? How do scientists argue from experiments? What happens when an experiment is challenged? How do scientists check that their experiments are working? Are there differences between experiments in the physical sciences and technology? Leading scholars in the fields of history, sociology and philosophy of science consider topics such as the interaction of experiment; instruments and theory; accuracy and reliability as hallmarks of experiment in science and technology; realising new phenomena; the believability of experiments and the sort of knowledge they produce; and the wider contexts on which experimentalists draw to develop and win support for their work. Drawing on examples as diverse as Galilean mechanics, Victorian experiments on electricity, experiments on cloud formation, and testing of nuclear missiles, a new view of experiment emerges. This view emphasises that experiments always involve choice, tactics and strategy in persuading audiences that Nature resembles the picture experimenters create.

Harry Collins and Trevor Pinch liken science to the Golem, a creature from Jewish mythology, powerful yet potentially dangerous, a gentle, helpful creature that may yet run amok at any moment. Through a series of intriguing case studies the authors debunk the traditional view that science is the straightforward result of competent theorisation, observation and experimentation. The very well-received first edition generated much debate, reflected in a substantial new Afterword in this second edition, which seeks to place the book in what have become known as 'the science wars'.

In the very successful and widely discussed first volume in the Golem series, The Golem: What You Should Know about Science, Harry Collins and Trevor Pinch likened science to the Golem, a creature from Jewish mythology, a powerful creature which, while not evil, can be dangerous because it is clumsy. In this second volume, the authors now consider the Golem of technology. In a series of case studies they demonstrate that the imperfections in technology are related to the uncertainties in science described in the first volume. The case studies cover the role of the Patriot anti-missile missile in the Gulf War, the Challenger space shuttle explosion, tests of nuclear fuel flasks and of anti-misting kerosene as a fuel for airplanes, economic modeling, the question of the origins of oil, analysis of the Chernobyl nuclear disaster, and the contribution of lay expertise to the analysis of treatments for AIDS.

City planning initiatives and redesign of urban structures often become mired in debate and delay. Despite the fact that cities are considered to be dynamic and flexible spaces -- never finished but always under construction -- it is very difficult to change existing urban structures; they become fixed, obdurate, securely anchored in their own histories as well as in the histories of their surroundings. In Unbuilding Cities, Anique Hommels looks at the tension between the malleability of urban space and its obduracy, focusing on sites and structures that have been subjected to "unbuilding" -- redesign or reconfiguration. She brings the concepts of science and technology studies (STS) to bear on the study of cities. Viewing the city as a large sociotechnological artifact, she demonstrates the usefulness of STS tools that were developed to analyze other technological artifacts and explores in detail the role of obduracy in sociotechnical change. Her analysis distinguishes three concepts of obduracy: interactionist, in which actors with diverging views are constrained by fixed ways of thinking and interacting; relational, in which change is difficult because of technology's embeddedness in sociotechnical networks; and enduring, in which persistent traditions influence the development of technology over time.Hommels examines the tensions between obduracy and change in three urban redesign projects in the Netherlands: a renovated city center that fell into drabness and disrepair; a highway system that runs through a densely populated urban area; and a high-rise housing project, designed according to modernist precepts and built for middle-class families, that became a haven for unemployment and crime. Unbuilding Cities contributes to a productive fusion of STS and urban studies.

Users have become an integral part of technology studies. The essays in this volume look at the creative capacity of users to shape technology in all phases, from design to implementation. Using a variety of theoretical approaches, including a feminist focus on users and use (in place of the traditional emphasis on men and machines), concepts from semiotics, and the cultural studies view of consumption as a cultural activity, these essays examine what users do with technology and, in turn, what technology does to users. The contributors consider how users consume, modify, domesticate, design, reconfigure, and resist technological development--and how users are defined and transformed by technology.The essays in part I show that resistance to and non-use of a technology can be a crucial factor in the eventual modification and improvement of that technology; examples considered include the introduction of the telephone into rural America and the influence of non-users of the Internet. The essays in part II look at advocacy groups and the many kinds of users they represent, particularly in the context of health care and clinical testing. The essays in part III examine the role of users in different phases of the design, testing, and selling of technology. Included here is an enlightening account of one company's design process for men's and women's shavers, which resulted in a "Ladyshave" for users assumed to be technophobes.Taken together, the essays in How Users Mattershow that any understanding of users must take into consideration the multiplicity of roles they play--and that the conventional distinction between users and producers is largely artificial.

Written by the world's leading scholars and researchers in the emerging field of sound studies, The Oxford Handbook of Sound Studies offers new and fully engaging perspectives on the significance of sound in its material and cultural forms. The book considers sounds and music as experienced in such diverse settings as shop floors, laboratories, clinics, design studios, homes, and clubs, across an impressively broad range of historical periods and national and cultural contexts. Science has traditionally been understood as a visual matter, a study which has historically been undertaken with optical technologies such as slides, graphs, and telescopes. This book questions that notion powerfully by showing how listening has contributed to scientific practice. Sounds have always been a part of human experience, shaping and transforming the world in which we live in ways that often go unnoticed. Sounds and music, the authors argue, are embedded in the fabric of everyday life, art, commerce, and politics in ways which impact our perception of the world. Through an extraordinarily diverse set of case studies, authors illustrate how sounds - from the sounds of industrialization, to the sounds of automobiles, to sounds in underwater music and hip-hop, to the sounds of nanotechnology - give rise to new forms listening practices. In addition, the book discusses the rise of new public problems such as noise pollution, hearing loss, and the "end" of the amateur musician that stem from the spread and appropriation of new sound- and music-related technologies, analog and digital, in many domains of life. Rich in vivid and detailed examples and compelling case studies, and featuring a companion website of listening samples, this remarkable volume boldly challenges readers to rethink the way they hear and understand the world.

An anniversary edition of an influential book that introduced a groundbreaking approach to the study of science, technology, and society. This pioneering book, first published in 1987, launched the new field of social studies of technology. It introduced a method of inquiry-social construction of technology, or SCOT-that became a key part of the wider discipline of science and technology studies. The book helped the MIT Press shape its STS list and inspired the Inside Technology series. The thirteen essays in the book tell stories about such varied technologies as thirteenth-century galleys, eighteenth-century cooking stoves, and twentieth-century missile systems. Taken together, they affirm the fruitfulness of an approach to the study of technology that gives equal weight to technical, social, economic, and political questions, and they demonstrate the illuminating effects of the integration of empirics and theory. The approaches in this volume-collectively called SCOT (after the volume's title) have since broadened their scope, and twenty-five years after the publication of this book, it is difficult to think of a technology that has not been studied from a SCOT perspective and impossible to think of a technology that cannot be studied that way.

A creature of Jewish mythology, a golem is an animated being made by man from clay and water who knows neither his own strength nor the extent of his ignorance. Like science and technology, the subjects of Harry Collins and Trevor Pinch's previous volumes, medicine is also a golem, and this Dr. Golem should not be blamed for its mistakes--they are, after all, "our" mistakes. The problem lies in its well-meaning clumsiness.
"Dr. Golem" explores some of the mysteries and complexities of medicine while untangling the inherent conundrums of scientific research and highlighting its vagaries. Driven by the question of what to do in the face of the fallibility of medicine, "Dr. Golem "encourages a more inquisitive attitude toward the explanations and accounts offered by medical science. In eight chapters devoted to case studies of modern medicine, Collins and Pinch consider the prevalence of tonsillectomies, the placebo effect and randomized control trials, bogus doctors, CPR, the efficacy of Vitamin C in fighting cancer, chronic fatigue syndrome, AIDS cures, and vaccination. They also examine the tension between the conflicting faces of medicine: medicine as science versus medicine as a source of succor; the interests of an individual versus the interests of a group; and the benefits in the short term versus success rates in the long term. Throughout, Collins and Pinch remind readers that medical science is an economic as well as a social consideration, encapsulated for the authors in the timeless struggle to balance the good health of the many--with vaccinations, for instance--with the good health of a few--those who have adverse reactions to the vaccine.
In an age when the deaths ofresearch subjects, the early termination of clinical trials, and the research guidelines for stem cells are front-page news, "Dr. Golem" is a timely analysis of the limitations of medicine that never loses sight of its strengths.