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  1. Robert Michael Brain (2012). Self-Projection: Hugo Münsterberg on Empathy and Oscillation in Cinema Spectatorship. Science in Context 25 (3):329-353.
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  2. Robert Michael Brain & Kelly Joan Whitmer (2009). Dissecting Vision in Early Science and Medicine. Perspectives in Biology and Medicine 52 (3):448-453.
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  3. Robert Michael Brain (2008). The Pulse of Modernism: Experimental Physiology and Aesthetic Avant-Gardes Circa 1900. Studies in History and Philosophy of Science Part A 39 (3):393-417.
    When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ and (...)
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  4. Robert Michael Brain (2007). Nervous Management of Modern Science. Perspectives in Biology and Medicine 50 (3):259-265.
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  5. Robert Michael Brain (2001). The Ontology of the Questionnaire. Studies in History and Philosophy of Science Part A 32 (4):647-684.
    Although contemporary sociologists of science have sometimes claimed Max Weber as a methodological precursor, they have not examined Weber's own writings about science. Between 1908 and 1912 Weber published a series of critical studies of the extension of scientific authority into public life. The most notable of these concerned attempts to implement the experimental psychology or psycho-physics laboratory in factories and other real-world settings. Weber's critique centered on the problem of social measurement. He emphasized the discontinuities between the space of (...)
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