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This essay delves into the installation designed by Hans Hollein for the Künstlerhaus facade in Vienna in 1985. It serves as an illustrative case of material speculation in architecture, particularly regarding the incorporation of 'historical' elements in contemporary architectural practice. Through a close reading of this installation, realized in the context of the exhibition 'Traum und Wirklichkeit, Wien 1870-1930' (Dream and Reality, Vienna 1870-1930), I discuss how such speculation entails the physical replication of carefully chosen 'historical' forms and their reassembly in what would be best described as a 'fragmentary whole.' However, the reintegration of historical fragments into the present can manifest in diverse ways. I argue that in the installation that reshaped the facade of the Künstlerhaus, Hollein explored two contrasting modes while tracing the possibilities (and pitfalls) of their synthesis. [ABSTRACT FROM AUTHOR]

In this paper, we trace how mathematical models are made 'evidence enough' and 'useful for policy'. Working with the interview accounts of mathematical modellers and other scientists engaged in the UK Covid-19 response, we focus on two weeks in March 2020 prior to the announcement of an unprecedented national lockdown. A key thread in our analysis is how pandemics are made 'big'. We follow the work of one particular device, that of modelled 'doubling-time'. By following how modelled doubling-time entangles in its assemblage of evidence-making, we draw attention to multiple actors, including beyond models and metrics, which affect how evidence is performed in relation to the scale of epidemic and its policy response. We draw attention to: policy; Government scientific advice infrastructure; time; uncertainty; and leaps of faith. The 'bigness' of the pandemic, and its evidencing, is situated in social and affective practices, in which uncertainty and dis-ease are inseparable from calculus. This materialises modelling in policy as an 'uncomfortable science'. We argue that situational fit in-the-moment is at least as important as empirical fit when attending to what models perform in policy. • Pandemics are performed as crises of uncertain yet catastrophic potential. • Mathematical models are forms of scalar narrative affording epidemics their scale. • Models and projections are made useful as evidence in their situated policy events. • Calculations are given agency as affects in the evidencing of pandemics. • Modelling pandemics is a site of 'uncomfortable science' and 'dis-ease'. [ABSTRACT FROM AUTHOR]

Contemporary debate suggests that the new genetics may be changing ideas about the body and what it is to be human. Specifically, there are notions that the new genetics seems to erode the ideas that underpin modernity, such as the figure of the integrated, discrete, conscious individual body-self. Holding these ideas against the practices of genetic medicine, however, this article suggests a quite different picture; one that does not erase, but helps to keep in play, some crucial tenets of humanism. The article examines how the genetic clinic constructs clinical pictures as new forms of portraiture: assemblages in which multiple and heterogeneous images of bodies and their parts are juxtaposed. Rather than these portraits just making the distributed and hybrid nature of personhood explicit, shifts in ground mean that what is being portrayed is the possibility of a ‘syndrome–genotype’ relation. At first sight this appears as a straightforward geneticization of the body and the unravelling of the figure of the individual. But the article illustrates how, at the same time as the portraits of syndrome–genotypes are made up of many heterogeneous parts, the clinic still keeps in play an idea of persons that remains, unlike their bodies, much more than the sum of their parts. All the parts that make up the body of the person can still, at moments, be transcended, to refigure the human: the complex individual of humanist thought. [ABSTRACT FROM PUBLISHER]