At Democracy: A Journal for Ideas, the always-perceptive Michael Berube has a wonderful potted history of Alan Sokal’s Social Text hoax. For those who’ve forgotten or don’t know, the short version is that Alan Sokal, a New York University physicist, submitted and had published a hoax paper to then-influential cultural studies journal Social Text. The paper made fun of cherished theories of postmodernism and science and technology studies such as constructivism and relativism, and threw in a farrago of dodgy physics references for good measure.
The ensuing controversy cystallised the disdain many conservatives (not to mention scientists and philosophical hard materialists) felt about the 90s postmodernist in-crowd. But Berube’s article has a sting in the tail: the ideas of relativism and constructivism advanced by thinkers such as Andrew Ross in the 90s are now being used, he argues, for far more nefarious purposes, against science by demogogues and populists on the right. I’ll let Berube explain in more detail below, but the whole article is recommended:
The cover of Alan Sokal and Jean Bricmont's book about the hoax, Intellectual Impostures. Image: Profile Books
What, you ask, was the Sokal Hoax? While I was chatting with my colleagues at the Postmodern Science Forum, New York University physicist Alan Sokal, having read Higher Superstition, decided to try an experiment. He painstakingly composed an essay full of (a) flattering references to science-studies scholars such as Ross and Stanley Aronowitz, (b) howler-quality demonstrations of scientific illiteracy, (c) flattering citations of other science-studies scholars who themselves had demonstrated howler-quality scientific illiteracy, (d) questionable-to-insane propositions about the nature of the physical world, (e) snippets of fashionable theoretical jargon from various humanities disciplines, and (f) a bunch of stuff from Bohr and Heisenberg, drawing object lessons from the uncertainty at the heart of quantum mechanics. He then placed a big red bow on the package, titling the essay “Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity.” The result was a very weird essay, a heady mix–and a shot heard ’round the world. For Sokal decided to submit it to the journal Social Text, where it wound up in a special issue edited by Ross and Aronowitz on . . . the “Science Wars.” Yes, that’s right: Social Text accepted an essay chock-full of nonsense and proceeded to publish it in a special issue that was designed to answer the critics of science studies–especially, but not exclusively, Gross and Levitt. It was more than a great hoax on Sokal’s part; it was also, on the part ofSocial Text, one of the great own-foot-shootings in the history of self-inflicted injury.
Cannily, Sokal chose Lingua Franca, a then-influential (since folded) magazine that covered the academy and the humanities, as the venue in which to publish his “gotcha” essay, in which he revealed that the whole thing was a great big joke. And as if on cue, Ross and Aronowitz fired back almost precisely as Sokal believed they would: Aronowitz called Sokal “ill-read and half-educated,” while Ross called the essay “a little hokey,” “not really our cup of tea,” and a “boy stunt . . . typical of the professional culture of science education.” Aronowitz and Ross had every reason to feel badly stung, no question; but the terms of their response, unfortunately, spectacularly bore out Sokal’s claim that “the targets of my critique have by now become a self-perpetuating academic subculture that typically ignores (or disdains) reasoned criticism from the outside.” It was not hard to wonder, after all: If indeed Sokal’s hokey boy-stunt essay was not really your cup of tea, why did you publish it in the first place?
For many people, the answer to that question was simple: because the theory-addled, jargon-spouting academic left, of which Social Text now stood as the symbol, really didn’t know squat about science and really wasdevoted to the project of making shit up and festooning it with flattering citations to one another’s work. It was what critics believed all along, and now they had the proof. The disparity of audience response was–and remains–stark: In my academic-left circles, Sokal’s name was mud, his hoax an example of extraordinary bad faith; everywhere else, especially on the rest of the campus and in the world of journalism, Sokal was a hero, the guy who finally exposed the naked emperor (and there was much talk of naked emperors) and burst the cultural-studies bubble that had so drastically overinflated certain academic reputations–and academic egos.