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1 the Sublime in Popular Science Jamie Milton Ewan Freestone

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1 the Sublime in Popular Science Jamie Milton Ewan Freestone The Sublime in Popular Science Jamie Milton Ewan Freestone Bachelor of Arts, University of Wollongong Graduate Diploma of Education, University of Wollongong Bachelor of Arts (Hons), Australian National University Bachelor of Arts (Hons), Australian National University A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2019 School of Communication and Arts 1 Abstract There are two ironies in the popular science genre. First, it seeks to simplify even as it confounds. Authors in this genre have simultaneously to evoke awe-inspiring, sublime imagery, while also rendering the content easily accessible to a non-expert audience. Second, in doing so they undermine the naive realism of empiricist science and the liberal humanist subject that is their implied reader. The first irony occurs because of the use of the epistemological sublime, which is a rough cognate with awe, or wonder and which is the sublime of the eighteenth century, including that of Kant. The second irony is disclosed because of what I call the ontological sublime, characteristic of late twentieth-century theories of the sublime. The ontological sublime is more radical than the epistemological sublime and is especially prominent in the writings of Zizek. Rather than being triggered by the limits of knowledge or imagination — as happens with awe and wonder — it calls into question ontological categories, including the integrity of reality, or indeed the coherence of the subject having the sublime experience. And rather than being self- affirming, it is an ambivalent effect and can be seen as self-abnegating or, more frequently, disruptive of the notion of selfhood entirely. I perform a textual analysis and trace the paradoxes, aporias and undecidables that modern science discloses even in texts that aim to simplify and vulgarise. In each chapter I examine representative texts from a subgenre of popular science. Chapter 1 looks at cosmology where scientific confidence is at its greatest and so an essentially Kantian sublime is evident. In Chapter 2 I examine quantum physics, where most popular texts merely refer to the “weirdness” of the quantum realm without explicitly mentioning the extremely unintuitive phenomena of quantum experiments and their implications. This includes the literal existence of multitudes of parallel universes containing innumerable doppelgangers of the reader. Thus a vacuum sits at the heart of almost all texts purporting to explain the quantum. Chapter 3 defines a new subgenre of texts about microbiology (and molecular biology, biochemistry and overlapping disciplines). Here, the subject is dissolved into trillions of cells and subsumed into a planetary cycle of elements. A strong ecological message pervades this subgenre and the notion of a subject entangled with nature is 2 offered. I turn to evolutionary biology in Chapter 4, where an attempt is made to reaffirm the liberal humanist subject. Although evolution places Homo sapiens on a continuum with other species, authors use a kind of metalepsis to implicate the reader in the narrative they are telling. By narrating an “evolutionary epic” — which starts at the origin of life and culminates in a species capable of understanding this very epic — evolutionary biologists frame the human as protagonist, reader and writer. In Chapter 5, I find that popular neuroscience texts contain a direct assault on the liberal humanist subject, calling into question the nature of consciousness and subjectivity itself. At the same time these texts offer a perspective on reading and on centuries old debates over the sublime. Overall, I find that the popular science genre does reiterate scientific hero myths and rhetorical defences of Big Science, as previous commentators on the genre have noted. But it also obliquely offers a strange and radical worldview, entirely in keeping with contemporary theory, including poststructuralism and the “ontological turn”. 3 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. 4 Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature Book chapters Freestone, Jamie. “Evolution.” Gender: Time, edited by Karin Sellberg, Macmillan, 2018, pp. 19-35. Peer reviewed papers Freestone, Jamie. “The Self-ish Genre.” Storyworlds, vol. 9, no. 1, 2019, in press. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. Research Involving Human or Animal Subjects No animal or human subjects were involved in this research. 5 Acknowledgements I acknowledge that my thesis was written on Turrbal and Jagera land: an area occupied for at least 650 centuries prior to colonisation. Thanks to the School of Communication and Arts for hosting me for the PhD. I’m particularly thankful for the administrative help of Angela Tuohy, Jennifer Yared and Diana Marsh. Thanks to my immensely experienced supervisors Tony Thwaites and Maureen Burns for their encouragement, guidance and feedback. I’m grateful that this PhD has been very challenging but never overwhelming and that is down to them. They’ve both had their own difficulties over the course of the project, especially Maureen, and yet have still kindly made this project a priority. I also want to recognise the scholars at the Institute for Advanced Studies in the Humanities, especially Ian Hesketh and Karin Sellberg for the opportunities they opened to me. Jacqueline Chlanda was my PhD buddy and is a true friend. And thanks to my loving partner Meg O’Connell for making sure that I did this. Finally, a special note of gratitude to Gary Portley for his generous sponsorship of the John McCulloch Prize. 6 Financial support This research was supported by an Australian Postgraduate Award. Keywords the sublime, popular science, subjectivity, entanglement, ontology, Anthropocene Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 200599 Literary Studies not elsewhere classified, 80% ANZSRC code: 220309 Metaphysics, 20% Fields of Research (FoR) Classification FoR code: 2005, Literary Studies, 80% FoR code: 2203, Philosophy, 20% 7 Table of Contents INTRODUCTION ................................................................................... 10 The tradition of the sublime .................................................................................. 11 “Is a theory of the sublime possible?” .................................................................... 14 The ontological sublime ......................................................................................... 18 The popular science genre .................................................................................... 22 Method of reading and selection of texts ............................................................. 29 Chapter summary .................................................................................................. 31 CHAPTER 1: THE EPISTEMOLOGICAL SUBLIME IN COSMOLOGY ..... 34 Brian Greene’s The Fabric of the Cosmos ............................................................ 38 The apophatic I: presenting the unpresentable .................................................. 42 The apophatic II: the obscure .............................................................................. 47 The parergonal I: boundaries .............................................................................. 50 The parergonal II: scale ....................................................................................... 54 The threat of the ontological sublime .................................................................. 59 CHAPTER 2: QUANTUM WEIRDNESS .................................................
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