Until the 1990s, provenance research, or the history of ownership, was mainly conducted to determine the attribution and authenticity of an artwork. Provenance research grew significantly after the Washington Principles of 1998 and the accompanying increased awareness of the issues surrounding Holocaust-era art theft in Europe. Museums are also committed to documenting transfers of ownership of an object to avoid cultural patrimony issues related to questionably exported antiquities and colonial-era acquisitions.
Soon after the global SARS outbreaks in 2003, and many years before the current novel coronavirus pandemic led to a historically unique shutdown of global air traffic, health experts anticipated the vital role air connections would play in the likely event of a worldwide zoonotic pandemic. In 2006, for example, the chief doctor at Frankfurt Airport observed, “In the context of globalization, we in Europe must assume that infection outbreaks on other continents will within 14–24 hours pose a considerable threat to our German population.”1 For medical and global historians, past relations between air traffic, plagues, and health policies present a promising, still largely unexplored research topic.2 Stranded last spring due to a COVID-19 flight ban myself, I started wondering how experts in epidemiology and sanitary control reacted to the rise of mass air travel. How did health experts cope with the breakthrough of the jet age in the 1960s and what were their strategies against the spread of contagious diseases by airplanes?
Crosspost from Migrant Knowledge
In January of 1929, the husband-and-wife sociologists Robert and Helen Lynd published what would become a landmark work of popular ethnography called Middletown: A Study in Modern American Culture. The Lynds’ broadly accessible book presented an in-depth profile of the social and civic life in Muncie, Indiana, a “typical” American community which, not coincidentally, had a very large white, Protestant population and relatively small, marginalized communities of immigrants and African Americans. Despite the somewhat unrepresentative picture of American society portrayed in their study, the Lynds were motivated by the progressive social impulse that had been established in the work of the sociologist Thorstein Veblen. Their intention was to survey the injustices and inequalities of the modern “pecuniary” society, which made material wealth the ultimate value. Vigorously promoted by its publisher, the book was the first social-scientific study to become a best-seller, and it would become the go-to reference for mass marketers trying to figure out what motivated the average American consumer just before the economy collapsed into the Great Depression.1
As historian of science Lorraine Daston recently remarked, COVID-19 has thrown us back into a state of “ground-zero empiricism.” The manifold manifestations of COVID-19 and the many unknowns involved are provoking scientific speculation that is often based on nothing more than chance observations and personal anecdotes. The radical uncertainty of the current situation, writes Daston, has catapulted us back to the seventeenth century, with almost everything up for grabs, “just as it was for the members of the earliest scientific societies—and everyone else—circa 1660.”1
In 1908, The Metropolitan Museum of Art purchased from the French art dealer Kleinberger Galleries a sixteenth-century portrait believed to be that of Johann, Duke of Saxony, painted by Lucas Cranach the Elder. The Museum’s paintings curator, Roger Fry, had learned of the availability of this little-known work by the German Renaissance master late in 1907, and through correspondence with Kleinberger confirmed its provenance and attribution, which were attested by the eminent art historians Max Friedländer and Wilhelm von Bode. The picture crossed the Atlantic on the Courraine, arrived at the Met on February 3, and was installed in its galleries soon after. It was the first work by Cranach the Elder in the Metropolitan’s collection.
Where is the object from? Who did it belong to? How did it enter the collection? Nowadays, hardly any curator can avoid dealing with these questions before exhibiting or acquiring works of art or other cultural objects. Provenance has become an essential factor for public acceptance of the legitimacy of holdings in national museum collections worldwide as a consequence of two broad trends. On the one hand, a broad consensus on Nazi-confiscated art was reached in 1998 and expressed in the Washington Principles. On the other hand, there have been numerous heated public debates in recent years about the unlawful or unfair appropriation of cultural assets and the possible restitution of such items.1 Concern about the origins of objects is growing for libraries and archives too. Thus, provenance research has become a globally sought-after discipline.
Marketing knowledge—information and analysis concerning markets, consumers, and their behavior—became a crucial asset for businesses and governments during the twentieth century. In 1971, the German-American market researcher Alfred Politz drafted a memoir of his time in marketing research titled “How to Produce Consumers—Methods and Illusions.” Over the course of his career, from the 1930s to the 1970s, Politz had seen the marketing profession become a good deal more methodical. Yet by 1970, this Berlin-trained physicist-turned-consultant of marketing scoffed at the pseudo-scientific veneer that many marketing experts attached to their work. “The word ‘research,'” he wrote, “implies a sort of glamorous intellectual sophistication, and marketing research is a symbol of the modernity of the marketer. Marketing research has become a status symbol, and as such it need not perform; it need only exist.”1
A specter is haunting the current political discourse, the specter of cultural cleavage. More and more observers see the emergence of a socio-cultural gap between a hegemonic, globalist, educated class and an underrepresented, locally anchored underclass. The titles of two studies speak volumes: Cleavage Politics and the Populist Right (2010) by sociologist Simon Bornschier, and "The Class Basis of the Cleavage between the New Left and the Radical Right" (2012) by political scientist Daniel Oesch. Meanwhile, French philosopher Guillaume Paoli observes a cultural confrontation between two societal blocs.1 And in his recent work on the "society of singularities,” German sociologist Andreas Reckwitz postulates a new "cultural class divide"—a polarizing dichotomy between a "new middle class" equipped with high levels of cultural and economic capital and a "new underclass" lacking all of this.2
At the beginning of the history and sociology of knowledge as we know them today, there was a crisis. By the early 1970s, the future of the earth as a natural habitat for prosperity and progress was looking so bleak that many observers began turning pessimistic. Most famously, the Club of Rome declared Limits to Growth in its 1972 report. But other institutions and intellectuals took a similar line. To name just one, Nicholas Georgescu-Roegen, an economics professor at Vanderbilt University, probed the depths of history with The Entropy Law and the Economic Process (1971) only to find that Malthus was right all along. In spite of two centuries of industrial frenzy, entropy always was and always would be the reigning earthly principle.
Often remembered as a critique of Keynesian economics, Friedrich Hayek’s The Road to Serfdom (1944) contained two other important assertions about the future of liberalism. Buried in the thirteenth chapter—”The Totalitarians in Our Midst”—of Hayek’s bestseller was a discussion of the fundamental relationship between knowledge and liberalism. Hayek posited there that the humanities represented the road to freedom, whereas science represented the road to totalitarianism: “serfdom.” In particular, he singled out the idea, common among socialists at the time, that science could serve as a basis for new moral laws and social betterment. He called this idea “German” and labeled it anti-liberal. Only insights from the humanities, he claimed, could provide an ethical culture for the liberalism of the future. Hayek depicted a progressive science as authoritarian and the traditional humanities as freeing.