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- Ståhl, Isabelle, 1988-
(författare)
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Psykets laboratorium : Skildringar av drogexperiment i Weimarrepubliken
- 2023
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Psykets laboratorium – skildringar av drogexperiment i Weimarrepubliken investigates texts produced during psychiatric self-experiments with psychedelic drugs in the Weimar Republic in the 1920s, featuring the philosopher Walter Benjamin (1892-1940) as a research subject. In these self-experiments, physicians and volunteer subjects wrote down their experiences of psychotic states that were evoked through the use of psychedelic drugs. In contemporary cultural criticism and philosophy, lively discussions took place about the situation of modern man, of which the project with drug experiments was a part. The physician Kurt Beringer (1893-1949), based at the Heidelberg psychiatric department, aimed to create knowledge about the psyche through experiments with mescaline, in order to establish boundaries between the normal and the abnormal. Meanwhile in Berlin, the doctors Fritz Fränkel (1892–1944) and Ernst Joël (1893–1929) conducted similar experiments in order to cultivate stronger empathy for mentally ill patients. Walter Benjamin considered the experiments as part of his philosophical writing.This took place shortly after World War I, an event that fundamentally overturned the human self-understanding, and contributed to an epidemic of mental suffering and called for a new understanding of the psyche. The study show how boundaries between the subject and the object of knowledge is destabilized in several ways through the writings on drugs. Firstly, they depart from the traditional division of Western science between observer and subject, and secondly, they mean that the writer speaks through other voices, different literature, to express his experience. Overall, my study shows how the actors mixed medical and literary understandings and narrative forms to capture an elusive experience. The mental states during drug intoxication were often characterized by a feeling of separation from the outside world, but they were described in a form of texts that was written collectively, and where one constantly talked through the language of the other in order to convey the private. Literature, psychiatry and philosophy were cited and reused. The study takes shape at the intersection of the history of philosophy, literature, and psychiatry and is a contribution to an expansive research on overlaps between aesthetic and scientific knowledge formation. It thus sheds light on the overlooked historical exchange between two domains that are often considered separate: literary and scientific knowledge.
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| 2. |
- Karlsson, Mattis, 1986-
(författare)
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From Fossil To Fact : The Denisova Discovery as Science in Action
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- From Fossil to Fact: The Denisova Discovery as Science in Action is a study of the (actor) networked relations that make and shape science through the case of the discovery of the Denisova human.In 2010, Nature published the article “The complete mitochondrial DNA genome of an unknown hominin from southern Siberia”, the article revealed the results of mtDNA sequencing of a fossilised finger bone excavated from the Denisova Cave in Siberia, showing that the fossil belonged to an individual of a previously unknown type of humans, the Denisovans. This thesis identifies, describes and analyses how a set of actors and actions – a network – made the Denisovan’s transformation(s) from fossil to fact happen. The study relies on materials regarding the Denisovan from multiple types of sources, such as scientific journals, news articles and Wikipedia entries, which make it possible to describe a collective process of knowledge production that surpasses a science community autonomy, and to highlight the diverse, multidimensional and sophisticated mesh of people, places and things that came together in the making of the Denisova human (as a) fact.Drawing on methodological guidelines and theoretical premises from actor network theory and Bruno Latour’s principles for science in action, this thesis deals with the Denisova discovery as a case of science in the making. The thesis traces actions of significance for the Denisovan’s representation, analysing them as part of a materialisation, to illustrate how the Denisova human was made, and made to fit the major paradigms and narratives of (a)DNA and evolutionary science. The thesis actualises questions about social influence in science, problematising imaginaries of science/non-science divides, and highlights how the authority of genetic science is subject to and dependent on dramatisation.This thesis lists actors and actions that were central to the discovery and the making of the fact. This list includes actors from various fields, showing how the Denisova human was designed to hold in accordance with the rules and cultures of a heterogenous network that includes scientists, experts, journalists and Wikipedia editors.This complicated network made the Denisova human through transformations and drove it to become a fact, allowing it to be written into the history of human evolution. Mapping this network provides an answer to how the Denisova human has been made and remade, but also provides insight into the relationship and roles of science, science news and Wikipedia in the representations of scientific results.
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| 3. |
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| 4. |
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Svensk snillrikhet? : Nationella föreställningar om entreprenörer och teknisk begåvning 1800-2000
- 2014
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Uppfinningsrikedom och entreprenörsanda beskrivs ofta som svenska paradgrenar. Innovatörerna har blivit nationsbärare och symboler för varumärket Sverige i en samling idéer med djupa historiska rötter. Media, politik och industri har bidragit till att etablera tankegångarna som odiskutabla sanningar.I Svensk snillrikhet? belyser forskare från olika discipliner hur personer som Gustaf Dahlén och Alfred Nobel, eller företag som Volvo, framställs i stereotypa framgångsberättelser som skapat föreställningar om svensk fallenhet för teknik. Författarna blottlägger en vurm för det manliga geniet och en bergfast tro på tekniska framsteg. Den kombinationen har bidragit till en förenklad bild av nationen Sverige - dess modernisering, invånare och framtid. En bild som lever och ständigt reproduceras.Författarna sätter in aktörerna i idéhistoriska, politiska och ekonomiska sammanhang och visar hur idéerna använts i politiska syften. Snillet, innovatören och entreprenören blir förebilder i debatter om allt från skolfostran av barn och lanseringar av akademiska initiativ till satsningar på teknikdrivna företag.
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| 5. |
- Bergwik, Staffan
(författare)
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Arrhenius i sessionssalen
- 2018
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Ingår i: Kunskap i rörelse. - Göteborg : Makadam Förlag. - 9789170612626
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Bergwik, Staffan
(författare)
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Arrhenius in the Session Hall
- 2018
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Ingår i: Knowledge in motion. - Gothenburg : Makadam Förlag. - 9789170612633
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 7. |
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| 8. |
- Bergwik, Staffan
(författare)
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Det hopklistrade panoramat
- 2018
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Ingår i: Kunskap i rörelse. - Göteborg : Makadam Förlag. - 9789170612626
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 9. |
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| 10. |
- Bergwik, Staffan
(författare)
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Panoramic visions : Sven Hedin in ’Transhimalaya’ 1906-1909
- 2018
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Ingår i: The power of the In-between. - Stockholm : Stockholm University Press. - 9789176350676 ; , s. 185-212
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Bokkapitel (refereegranskat)abstract
- This chapter studies the panoramic visions created by Swedish geographer Sven Hedin on a journey to Tibet between 1906 and 1909. It reads Hedin’s geographic images and texts through a broader nineteenth-century history of the panorama and indicates how his panoramic visions were part of a broader media culture of the century. Furthermore, the chapter claims that Hedin’s geographic images and texts contributed to the shaping of a modern regime of vision where the world in overview was a desirable object. Using intermediality as a method, I display how these visions emerged through a network of media formats, including photographs, hand-drawn panoramas, water-colour sketches, and texts. The article argues that these formats were combined through “descriptive layering.” They shared the panorama as a motif, yet they were also layered in a material sense: attached to, and interlaced with, each other. I argue that descriptive layering was a way of handling the vexed relationship between overview and detail, and it allowed the panoramic representations to move between knowledge-based and aesthetic experiences.
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