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| title | chunk | source | category | tags | date_saved | instance |
|---|---|---|---|---|---|---|
| Bruno Latour | 4/6 | https://en.wikipedia.org/wiki/Bruno_Latour | reference | science, encyclopedia | 2026-05-05T10:42:40.711013+00:00 | kb-cron |
=== "Why Has Critique Run Out of Steam?" === In a 2004 article, Latour questioned the fundamental premises on which he had based most of his career, asking, "Was I wrong to participate in the invention of this field known as science studies?" He undertakes a trenchant critique of his own field of study and, more generally, of social criticism in contemporary academia. He suggests that critique, as currently practised, is bordering on irrelevancy. To maintain any vitality, Latour argues that social critiques require a drastic reappraisal: "our critical equipment deserves as much critical scrutiny as the Pentagon budget." (p. 231) To regain focus and credibility, Latour argues that social critiques must embrace empiricism, to insist on the "cultivation of a stubbornly realist attitude – to speak like William James". (p. 233) Latour suggests that about 90 per cent of contemporary social criticism displays one of two approaches, which he terms "the fact position and the fairy position." (p. 237) The fairy position is anti-fetishist, arguing that "objects of belief" (e.g., religion, arts) are merely concepts created by the projected wishes and desires of the "naive believer"; the "fact position" argues that individuals are dominated, often covertly and without their awareness, by external forces (e.g., economics, gender). (p. 238) "Do you see now why it feels so good to be a critical mind?" asks Latour: no matter which position you take, "You're always right!" (p. 238–239) Social critics tend to use anti-fetishism against ideas they personally reject; to use "an unrepentant positivist" approach for fields of study they consider valuable; all the while thinking as "a perfectly healthy sturdy realist for what you really cherish." (p. 241) These inconsistencies and double standards go largely unrecognised in social critique because "there is never any crossover between the two lists of objects in the fact position and the fairy position." (p. 241) The practical result of these approaches being taught to millions of students in elite universities for several decades is a widespread and influential "critical barbarity" that has—like a malign virus created by a "mad scientist"—thus far proven impossible to control. Most troubling, Latour notes that critical ideas have been appropriated by those he describes as conspiracy theorists, including global warming deniers and the 9/11 Truth movement: "Maybe I am taking conspiracy theories too seriously, but I am worried to detect, in those mad mixtures of knee-jerk disbelief, punctilious demands for proofs, and free use of powerful explanation from the social neverland, many of the weapons of social critique." (p. 230) The conclusion of the article is to argue for a positive framing of critique, to help understand how matters of concern can be supported rather than undermined: "The critic is not the one who lifts the rugs from under the feet of the naïve believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution." Latour's article has been highly influential within the field of postcritique, an intellectual movement within literary criticism and cultural studies that seeks to find new forms of reading and interpretation that go beyond the methods of critique, critical theory, and ideological criticism. The literary critic Rita Felski has named Latour as an important precursor to the project of postcritique.
=== Reassembling the Social === In Reassembling the Social (2005), Latour continues a reappraisal of his work, developing what he calls a "practical metaphysics", which calls "real" anything that an actor (one whom we are studying) claims as a source of motivation for action. So if someone says, "I was inspired by God to be charitable to my neighbours" we are obliged to recognise the "ontological weight" of their claim, rather than attempting to replace their belief in God's presence with "social stuff", like class, gender, imperialism, etc. Latour's nuanced metaphysics demands the existence of a plurality of worlds, and the willingness of the researcher to chart ever more. He argues that researchers must give up the hope of fitting their actors into a structure or framework, but Latour believes the benefits of this sacrifice far outweigh the downsides: "Their complex metaphysics would at least be respected, their recalcitrance recognised, their objections deployed, their multiplicity accepted." For Latour, to talk about metaphysics or ontology—what really is—means paying close empirical attention to the various, contradictory institutions and ideas that bring people together and inspire them to act. Here is Latour's description of metaphysics:
If we call metaphysics the discipline inspired by the philosophical tradition that purports to define the basic structure of the world, then empirical metaphysics is what the controversies over agencies lead to, since they ceaselessly populate the world with new drives and, as ceaselessly, contest the existence of others. The question then becomes how to explore the actors' own metaphysics.