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Actor Network Theory

Actor network theory (ANT), also known as enrolment theory or the sociology of translation, emerged during the mid-1980s, primarily with the work of Bruno Latour, Michel Callon, and John Law. ANT is a conceptual frame for exploring collective sociotechnical processes, whose spokespersons have paid particular attention to science and technologic activity. Stemming from a Science and Technologies Studies (STS) interest in the elevated status of scientific knowledge and counter to heroic accounts or innovation models, ANT suggests that the work of science is not fundamentally different from other social activities. ANT privileges neither natural (realism) nor cultural (social constructivism) accounts of scientific production, asserting instead that science is a process of heterogeneous engineering in which the social, technical, conceptual, and textual are puzzled together (or juxtaposed) and transformed (or translated).

As one of many anti-essentialist movements, ANT does not differentiate between science (knowledge) and technology (artifact). Similarly, proponents do not subscribe to the division between society and nature, truth and falsehood, agency and structure, context and content, human and nonhuman, microlevel phenomenon and macrolevel phenomenon, or knowledge and power. Nature and society, subjectivity and structure, and fact and fiction are all effects of collective activity. ANT advances a relational materiality, the material extension of semiotics, which presupposes that all entities achieve significance in relation to others. Science, then, is a network of heterogeneous elements realized within a set of diverse practices.

The Actor in ANT

Taking seriously the agency of nonhumans (machines, animals, texts, and hybrids, among others), the ANT network is conceived as a heterogeneous amalgamation of textual, conceptual, social, and technical actors. The “volitional actor” for ANT, termed actant, is any agent, collective or individual, that can associate or disassociate with other agents. Actants enter into networked associations, which in turn define them, name them, and provide them with substance, action, intention, and subjectivity. In other words, actants are considered foundationally indeterminate, with no a priori substance or essence, and it is via the networks in which they associate that actants derive their nature. Furthermore, actants themselves develop as networks. Actors are combinations of symbolically invested “things,” “identities,” relations, and inscriptions, networks capable of nesting within other diverse networks.

The Network in ANT

The terms actor and network are linked in an effort to bypass the distinction between agency and structure, a core preoccupation within sociology (as well as other disciplines). This distinction is neither useful nor necessary for ANT theorists, as macrolevel phenomena are conceived as networks that become more extensive and stabilized. Networks are processual, built activities, performed by the actants out of which they are composed. Each node and link is semiotically derived, making networks local, variable, and contingent.

Analytically, ANT is interested in the ways in which networks overcome resistance and strengthen internally, gaining coherence and consistence (stabilize); how they organize (juxtapose elements) and convert (translate) network elements; how they prevent actors from following their own proclivity (become durable); how they enlist others to invest in or follow the program (enroll); how they bestow qualities and motivations to actors (establish roles as scripts); how they become increasingly transportable and “useful” (simplify); and how they become functionally indispensable (as obligatory points of passage).

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