On Curiosity: The Art of Market Seduction

Cochoy, Franck

doi:10.28938/9780995527713

Cited by 24 publications

(11 citation statements)

References 64 publications

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“…(p. 37) These affective aspects of scientific processes are often overlooked or discouraged in science literature, as acknowledging them might risk compromising the investigator's "objectivity." The enlightenment move toward taxonomy and reductivism tended to suppress engagement with the knowledge seeker's emotional drives (Cochoy, 2016)-her original "impulsion," as Dewey (1934) put it. But sharing such affect might be helpful for engaging publics with scientific ideas (Parks & Takahashi, 2016) as it becomes increasingly clear that factual information alone does not change minds or build trust.…”

Section: Discussionmentioning

confidence: 99%

Foregrounding Backgrounds: How Scientists Conceive Art to Express the Invisible

Parks

White

2021

Science Communication

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Scientist-artist collaborations have become a high-profile form of science communication as scientists seek creative ways to connect with publics. This qualitative case study examines one such collaboration from the perspective of scientist and artist participants’ experiences with the purpose and meaning of art. To do so, we draw on John Dewey’s concept of art as experience and Nigel Thrift and other nonrepresentational theorists’ emphasis on overlooked backgrounds that suffuse daily life. We find that sci-art creators see inherent beauty in research, seek to foreground their underappreciated objects of study, and harbor mostly instrumental goals for educating publics through their artwork.

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Section: Discussionmentioning

confidence: 99%

Foregrounding Backgrounds: How Scientists Conceive Art to Express the Invisible

Parks

White

2021

Science Communication

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“…Two emotions have received particular attention. Wonder and curiosity have both been framed as simultaneously integral to the creation of modern science and as having been purged from its contemporary form (Campbell 2004;Cochoy 2016;Daston & Park 2001). Wonder (and its cousin, the sublime) lay behind early collecting practices but was eventually "constituted … as a drag" upon knowledge production (Campbell 2004, 5).…”

Section: Emotion In Science and Science Communicationmentioning

confidence: 99%

“…Wonder (and its cousin, the sublime) lay behind early collecting practices but was eventually "constituted … as a drag" upon knowledge production (Campbell 2004, 5). Curiosity travelled from vice to essential component of the scientific mind (Harrison 2001) before, according to Frank Cochoy (2016), itself being replaced by a "'cooler' form of knowledge, determined … by the possible usefulness of the knowledge produced" (p.29).…”

Section: Emotion In Science and Science Communicationmentioning

confidence: 99%

Science Communication as Emotion Work: Negotiating Curiosity and Wonder at a Science Festival

Davies

2019

Science as Culture

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STS scholarship has long emphasised that science is emotional as well as cognitive and social. A 2014 science festival, Science in the City, held in Copenhagen, provides a case for thick description of emotion within the production and reception of public science communication. For organisers of science communication the overarching aim was to call forth a suite of emotions focused around curiosity and wonder; in contrast, visitor experiences were constituted through the emotions of reading and negotiating science communication. Negative emotions, in particular, were tied to a sense that navigating science communication and producing the 'right' emotions can be effortful. Visitors therefore found strategies to resist the behaviours required of them. Consumption of science communication may therefore be framed as emotion work, for both producers and consumers: curiosity does not necessarily emerge naturally, while science communication products may themselves require work to negotiate.

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“…Pedestrian crossings, drain covers, pavements and bollards have all been turned into advertising media. Cochoy (2016: 143) notes how bus shelters simultaneously function as ‘advert shelters’, creating a pause in city-dwellers’ experience for engagement with an ad. Such objects frequently have several purposes such that the advertising may not be obvious.…”

Section: Methods and Case Analysismentioning

confidence: 99%

What is an advert? A sociological perspective on marketing media

Cluley

Nixon

2019

Marketing Theory

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This article draws on a conceptual vocabulary developed in science and technology studies to advance a sociological theory of objects in marketing. Analysing a single advertising medium, it shows that marketing objects can exist simultaneously in multiple forms as physical artefacts, political decisions, legal entities and economic values. Armed with this understanding, the article explores the ability of actors to manipulate these realities in their favour and investigates how it is possible to turn public space on a city street into an advertising object. Using John Law’s notion of fractional objects, the article proposes an analytic framework to open up new objects for critical intervention and reflection.

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On Curiosity: The Art of Market Seduction

Cited by 24 publications

References 64 publications

Foregrounding Backgrounds: How Scientists Conceive Art to Express the Invisible

Foregrounding Backgrounds: How Scientists Conceive Art to Express the Invisible

Science Communication as Emotion Work: Negotiating Curiosity and Wonder at a Science Festival

What is an advert? A sociological perspective on marketing media

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