Since the time of Aristotle, the making of knowledge and the making of objects have generally been considered separate enterprises. Yet during the late sixteenth and early seventeenth centuries, the two became linked through a "new" philosophy known as science. In The Body of the Artisan, Pamela H. Smith demonstrates how much early modern science owed to an unlikely source-artists and artisans. From goldsmiths to locksmiths and from carpenters to painters, artists and artisans were much sought after by the new scientists for their intimate, hands-on knowledge of natural materials and the ability to manipulate them. Drawing on a fascinating array of new evidence from northern Europe including artisans' objects and their writings, Smith shows how artisans saw all knowledge as rooted in matter and nature. With nearly two hundred images, The Body of the Artisan provides astonishingly vivid examples of this Renaissance synergy among art, craft, and science, and recovers a forgotten episode of the Scientific Revolution-an episode that forever altered the way we see the natural world.

"This book focuses on how literate artisans began to write about their discoveries starting around 1400: in other words, it explores the origins of technical writing. Artisans and artists began to publish handbooks, guides, treatises, tip sheets, graphs and recipe books rather than simply pass along their knowledge in the workshop. And they tried to articulate what the new knowledge meant. The popularity of these texts coincided with the founding of a "new philosophy" that sought to investigate nature in a new way. Smith shows how this moment began in the unceasing trials of the craft workshop, and ended in the experimentation of the natural scientific laboratory. These epistemological developments have continued to the present day and still inform how we think about scientific knowledge"--

The Body Impolitic is a critical study of tradition, not merely as an ornament of local and national heritage, but also as a millstone around the necks of those who are condemned to produce it. Michael Herzfeld takes us inside a rich variety of small-town Cretan artisans' workshops to show how apprentices are systematically thwarted into learning by stealth and guile. This harsh training reinforces a stereotype of artisans as rude and uncultured. Moreover, the same stereotypes that marginalize artisans locally also operate to marginalize Cretans within the Greek nation and Greece itself within the international community. What Herzfeld identifies as "the global hierarchy of value" thus frames the nation's ancient monuments and traditional handicrafts as evidence of incurable "backwardness." Herzfeld's sensitive observations offer an intimately grounded way of understanding the effects of globalization and of one of its most visible offshoots, the heritage industry, on the lives of ordinary people in many parts of the world today.

This groundbreaking study explores the role of those involved in various aspects of the care, comfort, and appearance of the body in 17th and early 18th century Italy. It brings to light the strong cultural affinities and social ties between barber, surgeons, and the apparently distant trades of jeweler, tailor, wigmaker, and upholsterer. Drawing on contemporary understandings of the body, the author shows that shared concerns about health and wellbeing permeated the professional cultures of these medical and non-medical occupations. At the same time, the detailed analysis of the life-course, career patterns, and family experience of "artisans of the body" offers unprecedented insight into the world of the urban middling sorts.

In this bold and original study, Jeff Kochan constructively combines the sociology of scientific knowledge (SSK) with Martin Heidegger’s early existential conception of science. Kochan shows convincingly that these apparently quite different approaches to science are, in fact, largely compatible, even mutually reinforcing. By combining Heidegger with SSK, Kochan argues, we can explicate, elaborate, and empirically ground Heidegger’s philosophy of science in a way that makes it more accessible and useful for social scientists and historians of science. Likewise, incorporating Heideggerian phenomenology into SSK renders SKK a more robust and attractive methodology for use by scholars in the interdisciplinary field of Science and Technology Studies (STS). Kochan’s ground-breaking reinterpretation of Heidegger also enables STS scholars to sustain a principled analytical focus on scientific subjectivity, without running afoul of the orthodox subject-object distinction they often reject. Science as Social Existence is the first book of its kind, unfurling its argument through a range of topics relevant to contemporary STS research. These include the epistemology and metaphysics of scientific practice, as well as the methods of explanation appropriate to social scientific and historical studies of science. Science as Social Existence puts concentrated emphasis on the compatibility of Heidegger’s existential conception of science with the historical sociology of scientific knowledge, pursuing this combination at both macro- and micro-historical levels. Beautifully written and accessible, Science as Social Existence puts new and powerful tools into the hands of sociologists and historians of science, cultural theorists of science, Heidegger scholars, and pluralist philosophers of science.

A groundbreaking work that places the mechanical arts and the world of making at the heart of the Enlightenment What would the Enlightenment look like from the perspective of artistes, the learned artisans with esprit, who presented themselves in contrast to philosophers, savants, and routine-bound craftsmen? Making a radical change of historical protagonists, Paola Bertucci places the mechanical arts and the world of making at the heart of the Enlightenment. At a time of great colonial, commercial, and imperial concerns, artistes planned encyclopedic projects and sought an official role in the administration of the French state. The Société des Arts, which they envisioned as a state institution that would foster France’s colonial and economic expansion, was the most ambitious expression of their collective aspirations. Artisanal Enlightenment provides the first in-depth study of the Société, and demonstrates its legacy in scientific programs, academies, and the making of Diderot and D’Alembert’s Encyclopédie. Through insightful analysis of textual, visual, and material sources, Bertucci provides a groundbreaking perspective on the politics of writing on the mechanical arts and the development of key Enlightenment concepts such as improvement, utility, and progress.

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