IN: Saosin is an American post-hardcore band from Orange County, California, United States. The band was formed in 2003 and recorded its first EP, Translating the Name, that same year original vocalist Anthony Green left Saosin due to personal reasons. In 2004, Cove Reber replaced Green as vocalist after auditioning for the role. The group recorded its self titled debut album which was released on Capitol Records on September 26, 2006.

The original lineup for Saosin, consisting of Burchell, Shekoski, Kennedy and Green, was formed in the summer of 2003. On June 17, the band released their first commercial production, the EP Translating the Name. It was an immediate success and was immensely popular on online forums and music sites. Saosin first became popular through promotion and exposure through the Internet. They became known for their distinct musical styles long before their first studio-length album was released, and were popularized on social networking and music sites such as MySpace. The E.P. has sold an estimated 62,000 copies.  Bassist Zach Kennedy left the band early on, as he wanted to pursue a career in art. He was later replaced by Chris Sorenson. A local Southern Califonian drummer by the name of Pat Magrath,  was hired only for the recording for the EP, according to Burchell. The band was impressed with his drumming skills however, and he later appeared as a guest performing Lost Symphonies live with the band. Alex Rodriguez was unable to record Translating the Name as he had promised his band at the time Open Hand he would finish recording with them. Danny King filled in for live drums with the band before Rodriguez completed his responsibilities with Open Hand and joined Saosin full-time after the EP release. Saosin went on a U.S. tour with bands Boys Night Out and Anatomy of a Ghost shortly after the release of Translating the Name.  In February 2004, the band's vocalist Anthony Green left Saosin and later formed the band Circa Survive. Green was homesick, depressed and said he was missing his family. Green was also disenchanted with the direction of Saosin and disliked that the band excluded him from the writing process. The band finished their Warped Tour obligations with Story of the Year's Philip Sneed taking the mic. A public, nationwide audition then took place.

Was their first album popular?

OUT: The E.P. has sold an estimated 62,000 copies.


IN: Bruno Latour (French: [latuR]; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the Ecole des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.

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 practiced, 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% 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 unrecognized 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 skeptics 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 naive 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."

Are there any other interesting aspects about this article?

OUT:
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: