Some context: 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.
After his early career efforts, Latour shifted his research interests to focus on laboratory scientists. Latour rose in importance following the 1979 publication of Laboratory Life: the Social Construction of Scientific Facts with co-author Steve Woolgar. In the book, the authors undertake an ethnographic study of a neuroendocrinology research laboratory at the Salk Institute. This early work argued that naive descriptions of the scientific method, in which theories stand or fall on the outcome of a single experiment, are inconsistent with actual laboratory practice.  In the laboratory, Latour and Woolgar observed that a typical experiment produces only inconclusive data that is attributed to failure of the apparatus or experimental method, and that a large part of scientific training involves learning how to make the subjective decision of what data to keep and what data to throw out. Latour and Woolgar argued that, for untrained observers, the entire process resembles not an unbiased search for truth and accuracy but a mechanism for ignoring data that contradicts scientific orthodoxy.  Latour and Woolgar produced a highly heterodox and controversial picture of the sciences. Drawing on the work of Gaston Bachelard, they advance the notion that the objects of scientific study are socially constructed within the laboratory--that they cannot be attributed with an existence outside of the instruments that measure them and the minds that interpret them. They view scientific activity as a system of beliefs, oral traditions and culturally specific practices-- in short, science is reconstructed not as a procedure or as a set of principles but as a culture. Latour's 1987 book Science in Action: How to Follow Scientists and Engineers through Society is one of the key texts of the sociology of scientific knowledge in which he famously wrote his Second Principle as follows: "Scientist and engineers speak in the name of new allies that they have shaped and enrolled; representatives among other representatives, they add these unexpected resources to tip the balance of force in their favor."  Some of Latour's position and findings in this era provoked vehement rebuttals. Gross and Leavitt argue that Latour's position becomes absurd when applied to non-scientific contexts: e.g., if a group of coworkers in a windowless room were debating whether or not it were raining outside and went outdoors to discover raindrops in the air and puddles on the soil, Latour's hypothesis would assert that the rain was socially constructed. Similarly, philosopher John Searle argues that Latour's "extreme social constructivist" position is seriously flawed on several points, and furthermore has inadvertently "comical results."
did he have supportors
A: Gross and Leavitt argue that Latour's position becomes absurd when applied to non-scientific contexts:

Some context: Lennox grew up in the Roland Park section of Baltimore, Maryland, and attended Waldorf School of Baltimore through 8th grade, and Kimberton Waldorf School in Chester County, Pennsylvania for high school. His family moved frequently during his early years, owing to his father's studies to be an orthopedic surgeon. As a youth, he played sports, mainly soccer and basketball. His brother, Matt Lennox, was a leading player on the high school basketball team and Noah was also a team member, playing as point guard.
As a teen, Lennox began listening to electronic music styles such as house and techno, and artists such as Aphex Twin, all of which became a major influence on his later work. He recorded and performed music--solo and with friends. Lennox started using the name "Panda Bear" because he drew pictures of pandas for the artwork of his recordings.  Lennox had been friends with Deakin (Josh Dibb) since the second grade. Deakin introduced Lennox to his high school friends Avey Tare (Dave Portner) and Geologist (Brian Weitz). For years, the four of them swapped homemade recordings, shared musical ideas and performed in different group configurations. Lennox, along with Deakin moved to New York in 2000. The band then became more collaborative in nature and they finally settled on the name "Animal Collective".  Since the 2007 releases of Panda Bear's Person Pitch and Animal Collective's Strawberry Jam, he has focused more on using samplers and other electronics in their shows. He has named Black Dice as a major influence stating "Black Dice took us on our first tour and I feel like the wisest things I've learned about being in a band I learned by watching them." He said he looks to Black Dice "as a model for a band... I feel like as a band, I can't speak for the other guys [of Animal Collective], but certainly for myself, like I modelled the way I approach to everything with the band watching the way Black Dice did it." In addition to singing, Lennox played drums and occasionally guitar in Animal Collective's live performances. He cites Stewart Copeland as the biggest influence on his drumming style.
Did he dress like a panda to perform?
A: