For several decades, historians have realized the limitations of analysing the historical past of science as a mere succession of theories. One of the most stimulating messages that the reinvention of the discipline has launched is that although there are obvious intellectual elements that promote the development and progress of science, there are also social, economic, and institutional aspects to consider. The history of science is no longer just a history of scientific ideas and theories, but also a history of (...) institutions, communities, spaces, objects, and practices as well as a history of the complex interaction among all these dimensions. Accompanying this new panorama is a broad consensus among scholars to accept that major social changes have inexorably some impact on scientific practice and vice versa. This premise, now widespread, is especially relevant to the history of early modern science and the question of its roots because it has allowed the introduction of new agents and spaces previously excluded from the domain of scientific development. In other words, this enriched perspective has multiplied both the processes of knowledge construction and the arenas in which these processes were undertaken. More specifically, historical research is no longer limited to spaces traditionally linked to the construction of science; it now embraces less orthodox ones. Within this broadened field of inquiry, practical knowledge and the objects of material culture have come to occupy a central place. This special issue explores how the new directions in which the history of science has expanded have a direct impact on the study of Iberian science in the Atlantic world. (shrink)

Name der Zeitschrift: Journal of Ancient History Jahrgang: 5 Heft: 1 Seiten: 66-92.

The years 1850–80 saw great advances in electrical technology in France. Innovations and inventions in this field came mainly but not exclusively from the artisan/craftsman sector, with some contribution from men from a more academic science research environment. By the end of the period inventors were more likely to have undergone some formal training in science, although there were still contributions from those who had not attended courses at the Grandes Écoles or the faculties of science but had benefited from (...) lower level classes. However, from whatever sector the innovations came, they were likely to have been, at some stage, submitted to the Academy for its judgement and approval. Thus the Academy was still playing something of its pre-revolutionary role and having an influence on the pace of electrical innovation in France. (shrink)

This essay is about the ensuing problem that in general it is nothelpful to talk about non-standard knowledge practices as modeled after our Western ideas of what knowledge is. It negotiates this problem by arguing that artisanal knowledge is an independent and self-contained mode of knowledge and is arranged in three parts. In the first part an outline is given of the key assumptions of the interactionist conception of knowledge that needs to be put in place as an alternative to (...) the basically Kantian mixture of empiricist and rationalist assumptions of the folk model of Western academic thinking about knowledge. In this interactionist conception of knowledgeartisanal knowledge gets center stage. In the second part, the notion of craftknowledge is opened up as much as possible. The third and final part takes upthe question whether craft knowledge is a cultural universal. (shrink)

This paper presents and analyzes the practice journal of a barber-surgeon in the town of Münster, in Northern Germany, in which he recorded about 950 cases he treated between 1602 and 1614. Based on this source, it examines the clientele and the fees of a German barber-surgeon in the early seventeenth century, and looks at the injuries and complaints for which patients sought his treatment.

Open science hardware (OSH) are prototypes of laboratory instruments that use open source hardware to extend the purely epistemic (improving knowledge about nature) and normative (improving society) ideals of science and emphasize the importance of technology. They remind us of Zilsel’s 1942 thesis about the artisanal origins of science and instrument making that bridged disciplinary and social barriers in the 16th century. The emphasis on making, tinkering, and design transcends research, reproducibility, and corroboration in science and pushes to the forefront (...) educational, emancipatory, and aesthetic and exploratory uses. I will use two recent projects, OpenDrop electrowetting platform and Open Source Estrogen that make but also reflect OSH’s playful, expressive, and performative strategies and define the present practices as “artisanal science.” These hybrid and ambiguous practices bridge divides between present disciplines and skills but they also define science as an everyday activity directly connected to the private and public interests of the citizens. To describe this epistemic and normative ambiguity of artisanal science, I employ Hannah Arendt’s 1958 critique of homo laborans and homo faber and claim that science artisans (citizen scientists, geeks, makers, and hackers) offer an alternative to professionalization of science as practiced in the university and R&D laboratories. Science artisans design and build instruments to engage in civic “vita activa” over instruments but also leisurely “otium” outside of the work and science labor. OSH in this sense empowers individuals and communities to explore new connections between scientific practices, public actions, and private interests (leisure). The science artisans strive for and explore sovereignty, dignity, and freedom in an age immersed in science and technology controversies by bridging the divides between art, science, engineering, and humanities. (shrink)

In Stieglerian fashion, this paper is concerned with both the loss and the re-creation of knowledge in the field of architecture. The student of architecture must be the one who learns new tools and new forms of knowledge and this has profound implications and applicability for the philosophy of education as it is a question of the recuperation of architecture with negentropic tools. Why? In the realm of the digital, it is the case that architectural student is at risk of (...) dis-individuation, the loss of knowledge of such. Therefore, the paper concerns itself with questions of maturity, critical intelligence, trans-individuation, the crisis of noetic being, the artisanal mode of learning and finally the proletarianization of the faculties. It is concerned with the reclamation of noetic space and the search for negentropic tools. This paper is thus pertinent to the philosophy of education because it pertains to the act of creation, the question of imagination and to the loss of thinking as such. Focusing on the history of architecture it demonstrates the loss of knowledge in the history of architecture and shows this has clear implications for the philosophy of education, which is precisely concerned with the nurturing and maturing of the thinking subject. The crisis in the proletarianization of the faculties in architecture pinpoints the role of the artisan’s mode of learning and its crisis brought by the digitisation of architecture. The conclusion shows that Stiegler’s philosophy of the pharmakon is appropriate to understand this movement as it points to new and embraces new modes of learning in the present. (shrink)

Artificial intelligence is poised to eliminate millions of jobs, from finance to truck driving. But artisanal products are valued precisely because of their human origins, and thus have some inherent “immunity” from AI job loss. At the same time, artisanal labor, combined with technology, could potentially help to democratize the economy, allowing independent, small-scale businesses to flourish. Could AI, robotics and related automation technologies enhance the economic viability and environmental sustainability of these beloved crafting professions, perhaps even expanding their niche (...) to replace some job loss in other sectors? In this paper, we compare the problems created by the current mass production economy and potential solutions from an artisanal economy. In doing so, the paper details the possibilities of utilizing AI to support hybrid forms of human–machine production at the microscale; localized and sustainable value chains at the mesoscale; and networks of these localized and sustainable producers at the macroscale. In short, a wide range of automation technologies are potentially available for facilitating and empowering an artisanal economy. Ultimately, it is our hope that this paper will facilitate a discussion on a future vision for more “generative” economic forms in which labor value, ecological value and social value can circulate without extraction or alienation. (shrink)

A far-reaching reinterpretation of Plato’s Timaeus and its engagement with time, eternity, body, and soul that in its original French edition profoundly influenced Derrida The Tomb of the Artisan God provides a radical rereading of Timaeus, Plato’s metaphysical text on time, eternity, and the relationship between soul and body. First published in French in 1995, the original edition of Serge Margel’s book included an extensive introductory essay by Jacques Derrida, who drew on Margel’s insights in developing his own concepts of (...) time, the promise, the world, and khōra. Now available in English with a new preface by Margel, this engagement with Platonic thought proceeds from two questions that span the history of philosophy: What is time? What is the body? Margel’s twinned interrogation centers around Plato’s concept of the demiurge (divine artisan or craftsman): its body, its anthropomorphic attributes, its productive capacities and regulatory functions in the ordering/organization/assembling of the world. He posits that this paradoxical figure is not merely a cosmological metaphor for the living body but also the site of its destruction, dissolution, and disappearance. Torn between the finite and the infinite, being and becoming, the concept of demiurge also poses metaphysical questions about time, time before time, and the end of time. The ontological status of the demiurge’s body, Margel argues, would become increasingly decisive in the history of philosophy, particularly in Christianity and the dogma of incarnation. (shrink)

Artisan Entrepreneurs in Cairo and Early-Modern Capitalism. By Nelly Hanna. Middle East Studies beyond Dominant Paradigms. Syracuse: Syracuse University Press, 2011. Pp. ix + 244. $34.95.

During the eighteenth century, cabinetmakers in Canton (Guangzhou) produced a large quantity of hardwood furniture for European consumers. This essay examines the knowledge culture of these cabinetmakers, focusing on epistemic negotiations and adaptations in the process of making export furniture. While export furniture was made in European styles, cabinetmakers did not parrot European techniques of carpentry but creatively mobilized their own craft knowledge. Juxtaposing material evidence from extant pieces and the carpentry manual The Classic of Lu Ban, the essay argues (...) that the knowledge of joinery formed the basis of a practice of artisanal translation that was material and syntactic. Offering modular rubrics for spatial handling, joinery allowed cabinetmakers to restructure and reinvent furniture with a European appearance. Tracing the interaction between an indigenous knowledge system and global trade commodities, the essay underlines the social and epistemic realignments of locally rooted craft in the achievement of innovation. (shrink)

The works of the sixteenth-century Venetian painter Jacopo Tintoretto present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘cosmic (...) materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser, and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought. (shrink)

In this article, I argue that the Laozi offers a variety of cosmogenic accounts, including the one expressed by means of the artisan metaphors of “uncarved wood,” “vessels,” and “cutting.” These metaphors and the images related to them often appeared in the given context in ancient Chinese literature depicting the physical emergence of the world as a process of progressive differentiation out of the original state of “chaos.” Thus, this account ultimately served as a cosmic justification for the establishment of (...) distinctions and hierarchy within human society. However, as used in the Laozi, the artisan metaphors promulgate a type of social hierarchy that is characteristically informed by the values of ziran and wuwei. My argumentation goes against the common tendency of Western scholars to regard the notions of craft appearing in the Laozi as relating exclusively to human activities, connoting “artifice,” that is, as detrimental to the “natural” run of the Way. By referring to the most prominent traditional commentaries of the work, I argue that this view was supported only marginally, if at all, in early China and that its emergence appears to be a reaction to and a rejection of the initial Western interpretation of the same terms, one that was heavily influenced by the Christian worldview. (shrink)

In this article, I argue that the Laozi 老子 offers a variety of cosmogenic accounts, including the one expressed by means of the artisan metaphors of “uncarved wood”, “vessels”, and “cutting”. These metaphors and the images related to them often appeared in the given context in ancient Chinese literature depicting the physical emergence of the world as a process of progressive differentiation out of the original state of “chaos.” Thus, this account ultimately served as a cosmic justification for the establishment (...) of distinctions and hierarchy within human society. However, as used in the Laozi, the artisan metaphors promulgate a type of social hierarchy that is characteristically informed by the values of ziran 自然 and wuwei 無為. My argumentation goes against the common tendency of Western scholars to regard the notions of craft appearing in the Laozi as relating exclusively to human activities, connoting “artifice,” that is, as detrimental to the “natural” run of the Way. By referring to the most prominent traditional commentaries of the work, I argue that this view was supported only marginally, if at all, in early China and that its emergence appears to be a reaction to and a rejection of the initial Western interpretation of the same terms, one that was heavily influenced by the Christian worldview. (shrink)

Sébastien Le Clerc (1637–1714) was the most renowned engraver of Louis XIV's France. For the history of scientific publishing, however, Le Clerc represents a telling paradox. Even though he followed a traditional route based on classic artisanal training, he also published extensively on scientific topics such as cosmology and mathematics. While contemporary scholarship usually stresses the importance of artisanal writing as a direct expression of artisanal experience and know-how, Le Clerc's publications, and specifically the work on cosmology in hisSystème du (...) monde(1706–1708), go far beyond this. By reconstructing the debate between Le Clerc and the professor Mallemant de Messange on the authorship of this ‘system of the world’, this article argues that Le Clerc's involvement in publishing ventures shaped his identity both as an artisan and as a scientific author. Whereas the Scientific Revolution supposedly heralded a change from the world of ‘more or less’ to the ‘world of precision’, this article shows how an artisan could be more ‘precise’ than the learned scholar whose claims he disputed, and points to the importance of the literary field as a useful lens for observing the careers of early modern scientific practitioners. (shrink)

Résumé La sous-traitance dans les métiers londoniens est un phénomène massif au XVIIIe siècle qui transforme l’économie et la culture technique artisanales. Elle est liée à la recherche de producteurs qualifiés capables de répondre à la demande en nombre d’articles hautement composites, censés varier les effets visuels et fonctionnels des objets de consommation. L’économie de la variété, appliquée à une production importante, favorise l’extension des circuits entre producteurs et l’essor des marchés de production, c’est-à-dire une organisation ramifiée complexe fondée sur (...) la mobilisation d’opérateurs externes spécialisés, sous l’égide d’artisans-entrepreneurs. Nous nous proposons d’examiner l’impact de cette organisation du travail sur la culture technique et les identités professionnelles en milieu artisanal. On abordera cette question d’une part à travers l’écrit économique, d’autre part à partir d’actes de la pratique. (shrink)

Scientific instruments are not neutral artefacts; the perception of their value is greatly determined not only by the objects themselves and the function they perform, but also by the context of their use. In the 16th and 17th centuries, scientific instruments – not only nautical ones – acquired a prominent place in European societies that greatly transcended the specific narrow professional circles that used them. This has already been noted as being an important feature in the development of science in (...) early modern Europe. But exactly how did this happen? Following other recent studies, I argue in this paper that in order to understand this phenomenon one has to look carefully at artisanal practices of the period. (shrink)

This article examines the influence of Portuguese artisans on the development of navigation and nautical science in Seville in the 16th century. It argues that their work was important not just for the experience and skills they offered, but also because of their indirect impact on the narrative of knowledge dissemination and control in Spanish navigation.

In a recent essay review of William R. Newman, Atoms and Alchemy (2006), Ursula Klein defends her position that philosophically informed corpuscularian theories of matter contributed little to the growing knowledge of "reversible reactions" and robust chemical species in the early modern period. Newman responds here by providing further evidence that an experimental, scholastic tradition of alchemy extending well into the Middle Ages had already argued extensively for the persistence of ingredients during processes of "mixture" (e.g. chemical reactions), and that (...) this corpuscular alchemical tradition bore important fruit in the work of early modern chymists such as Daniel Sennert and Robert Boyle. (shrink)

The brief life of the Accademia del Cimento (1657–1667), the first known society with a purely experimental programme,11 Over the period of a year and a half in 2020–2021, I had the honor to join the European-funded research group Tacitroots under the direction of Professor Giulia Giannini, at the Università Statale di Milano. My task was to research the instruments of the Accademia del Cimento through the lens of social and cultural history. I therefore approached these instruments as cultural products, (...) investigating the agencies that shaped them: specifically, I was interested in the processes involved in their design and construction. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 101025015. is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how the supposed “invisibility’ of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron. (shrink)

Cet article analyse une supplique adressée par une artisane turinoise au roi dans le but d’être admise dans la corporation des fabricants de boutons en bénéficiant d’une importante réduction des frais pour le chef d’œuvre. Le texte suggère la complexité et l’ambiguïté de l’identité des travailleuses de l’artisanat ; celle-ci est le résultat d’une stratification de facteurs culturels et économiques. La supplique montre que les femmes peuvent (et savent) négocier leur place dans le monde du travail. D’un côté, la suppliante (...) s’appuie sur des argumentations qui évoquent explicitement sa place dans l’économie familiale et font appel aux stéréotypes sur son sexe (et notamment à son rôle d’épouse et mère soucieuse d’assurer le bien-être de sa famille). De l’autre côté, en rappelant qu’elle a investi sa dot dans l’activité artisanale, elle évoque le risque d’en rester dépourvue (et devenant ainsi “indotata”) et la chute sociale et économique conséquente. (shrink)

In his first work, the Dialecticae Institutiones of 1543, Peter Ramus urged those who wanted to learn the truth about the world not to approach scholars, but vineyard workers. “From their minds, as...