This paper examines the earthquake monitoring and prediction program, called “collective monitoring, collective defense,” in communist China during the Cultural Revolution, a period of political upheavals and natural disasters. Guided by their scientific and political ideas, the Chinese developed approaches to earthquake monitoring and prediction that emphasized mass participation, everyday knowledge, and observations of macro-seismic phenomena. The paper explains the ideas, practices, and epistemology of the program within the political context of the Cultural Revolution. It also suggests possibilities for comparative analysis of science, state, and natural disasters. The paper redefines the concept of “citizen science” and argues that the concept provides a useful comparative perspective on the intimate relationship between science and the macropolitics of modern state and society.

Neuroscience research has created multiple versions of the human brain. The “social brain” is one version and it is the subject of this paper. Most image-based research in the field of social neuroscience is task-driven: the brain is asked to respond to a cognitive (perceptual) stimulus. The tasks are derived from theories, operational models, and back-stories now circulating in social neuroscience. The social brain comes with a distinctive back-story, an evolutionary history organized around three, interconnected themes: mind-reading, empathy, and the emergence of self-consciousness. This paper focuses on how empathy has been incorporated into the social brain and redefined via parallel research streams, employing a shared, imaging technology. The concluding section describes how these developments can be understood as signaling the emergence of a new version of human nature and the unconscious. My argument is not that empathy in the social brain is a myth, but rather that it is served by a myth consonant with the canons of science.

Despite the fact that “empathy” is often simply used as a translation of Einfühlung, the two terms have distinct meanings and distinct disciplinary affiliations. This text considers the manner in which the moving image (whether within a film, video, or art installation) invites spatial forms of engagement akin to those described both by historical accounts of Einfühlung, a form of engagement that pertains not only to the activities of humans represented within images, but also to the aesthetic qualities of images in a more abstract sense and to the forms to be found there.

This essay offers a reading of Gertrude Stein's lecture “Plays” (1934) alongside the work of several thinkers on emotion, William James, Silvan Tomkins, and Wilfred Bion. The problem of what Stein calls “emotional syncopation” at the theater is understood in the context of James’ theory of emotion. The essay proceeds to unfold Stein's emphasis on varieties of excitement by way of Silvan Tomkins’ writing. It then turns to Wilfred Bion's theory of thinking to argue that the main problem with theater, for Stein, is the difficulty it poses to learning or arriving at genuinely new knowledge. The essay concludes with the suggestion that Stein's plays address the further difficulties of analyzing group dynamics or numbers of individuals, especially in the context of modernist mass media.