Sexual selection, automata and ethics in George Eliot's The Mill on the Floss and Olive Schreiner's Undine and From Man to Man

This paper brings together two related areas of debate in the latter half of the nineteenth century. The first concerns how the courtship plot of the nineteenth-century novel responded to, and helped to shape, scientific ideas of sexual competition and selection. In The Mill on the Floss (1860), George Eliot strikingly prefigures Darwin's later work on sexual selection, drawing from her own extensive knowledge of the wider debates within which evolutionary theory developed. Maggie Tulliver's characterisation allows Eliot to explore the ethical complexities raised by an increasingly powerful scientific naturalism, where biology is seen to be embedded within morality in newly specific ways. The second strand of the paper examines the extension of scientific method to human mind and motivation which constituted the new psychology. It argues that there are crucial continuities of long-established ethical and religious ideas within this increasingly naturalistic view of human mind and motivation. The contention that such ideas persist and are transformed, rather than simply jettisoned, is illustrated through the example of Thomas Henry Huxley's 1874 essay on automata. Turning finally to focus on Olive Schreiner's Undine (1929) and From Man to Man (1926), the paper explores the importance of these persistent ethical and religious ideas in two novels which remained unpublished during her lifetime. It argues that they produce both difficulty and opportunity for imagining love plots within the context of increasingly assertive biological and naturalistic accounts of human beings

Jakob Leupold’s Imaginary Automatic Anamorphic Devices of 1713

In 1713 the scientific instrument-maker Jakob Leupold published designs for three machines were the first attempt to design machinery with internal moving parts that replaced human agency in creating original images. This paper first analyzes his text and engravings in order to explain how he proposed to do this, given contemporary materials and command of physical forces. Next, it characterizes the devices as a transition from concepts of incision to concepts of mirroring, taken as models of the history of mechanical reproduction. And finally, Leupold’s replacement of the sighting grid with differential gears points to a set of problems appearing in contemporary philosophy represented in Rococo artistic production of this period as well. Taking the proposed devices in context, they help to theorize the complex notions of creative activity in Rococo visual culture. Taken as an episode in the history of communications, they instance the development of conceptions of personhood and of physical forces at stake in the invention of automated media

Acts of Contrition: An Exploration of Catholic Guilt and Sensory Pleasure in Kinetic Sculpture

This thesis outlines the formulation of a research-based practice in kinetic sculpture. The primary goal is to investigate how historical and contemporary kinetic sculpture might provide a means for exploring the notion of guilt as seen through the paradigm of the Catholic Church by way of sensory pleasure using Joseph Campbell’s Monomyth as a framework. The methodological model upon which this research is based is a hybrid model that combines elements of experimental engineering methodologies (i.e. experimentation, data collection, data analysis, etc.) as well as historical research. The primary outcome is Acts of Contrition, a series of five kinetic sculptures that illustrate a physical representation of the Monomyth and have added to a greater understanding of guilt as experienced via Catholic theology by way of sensory pleasure