Iconoclash: Beyond the Image Wars in Science, Religion, and Art

Moxey, Keith; Latour, Bruno; Weibel, Peter

doi:10.2307/3177388

Cited by 28 publications

(5 citation statements)

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“…36 It would be a mistake to reduce these demonstrations of autonomy from the logic of innovation merely to legitimation or PR, even if they may sometimes be seen as such by corporate managers (cf. Latour and Weibel 2002). On the one hand, they demonstrate the possible contribution of ethnography in the IT industry to debates that are not oriented towards industrial applications or innovation.…”

Section: Ethnography In the It Industry And The Logic Of Ontologymentioning

confidence: 94%

Interdisciplinarity: Reconﬁ gurations of the social and natural sciences

Barry¹,

Born²

2013

Interdisciplinarity

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Section: Ethnography In the It Industry And The Logic Of Ontologymentioning

confidence: 94%

Interdisciplinarity: Reconﬁ gurations of the social and natural sciences

Barry¹,

Born²

2013

Interdisciplinarity

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“…Although I claim that much of the work of images is carried out below the radar of general concerns of representation, such concerns are not always an artefact of the analyst's orientation. The tropes of ‘iconoclash’ for example play out with remarkable clarity in the relation between research proper and the images that scientists disseminate for marketing purposes (Latour and Weibel 2002). In a general seminar-style discussion on the theme of images with about half the group, I displayed a brochure for a fluids modelling code, replete with colourful graphics of turbulent mixing, of velocity arrows flowing through jet engines, of intricate machinery modelled in detail.…”

Section: The Image As a Problem Of Representationmentioning

confidence: 99%

Image and Practice: Visualization in Computational Fluid Dynamics Research

Spencer

2012

Interdisciplinary Science Reviews

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In this study I examine the use of visualization within everyday research practices in computational physics. In doing so, I attempt to move from the well documented representational issues elicited by the concept of the image, to more microscale issues of the habitual structuring of the everyday that emerge when a specific example of science in the making is analysed. To this end, I focus on one specific example, of tracing a computational error through a fluid dynamics simulation of the 'lock exchange' experiment. This simulation is one small part of the research that goes on within one of Europe's largest computational physics research groups, the Applied Modelling and Computation Group at Imperial College in London, where I am involved in ongoing ethnographic fieldwork research. Visualization is shown to play a central role, not just in daily routines of investigation and problem solving, but in the process of habituation through which scientists cultivate the dispositions through which everyday life gains its texture and form. Far from being a detachable representation of a part of a world, simulation is shown to come into being as a process within a world structured by the repetitions and improvizations that characterize research practice.

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“…What could a cri of animated pictures look like that does not rely on the by structed fiction of the supremacy of the modern subject wi simplistic idea of a hierarchy that places persons above pict One way to address these questions, I propose, is to ack that attitudes toward pictures in secular Western settings to long-standing Christian repertoires that require far mor attention than they received so far. Contemporary Wester inherited an ambivalent stance toward pictures-a mix of love and hatred-that harks back at least to the "image wars" within Christianity in the context of the Protestant Reformation and Protestant assaults of Catholic paraphernalia, aptly characterized as "icono-clash" by Bruno Latour (2002), and further back into the Middle Ages. Popular movies, soap operas, and advertisements, in particular, make prolific use of Christian pictorial repertoires.…”

Section: Pictures In the Christian Imaginationmentioning

confidence: 99%

“…As an anthropologist working on Ghana for about 20 years (with Ghana being the "home" of the notion of the "fetish" as it emerged in the fifteenth century in the exchange between Western and African traders), I am intrigued by Mitchell's question (Latour 2011;Pietz 1985Pietz 1988. It encapsulates a radical challenge of conventional ideas about modern human-picture relations, according to which human beings are agents wielding control over pictures, and objects at large.…”

mentioning

confidence: 99%