Hygienic Domestication of Urban Fish and the Wild Life in the Water Pipes. Home Aquaria and the City in the Nineteenth Century. The paper focuses on the interrelations between the domestic aquarium and its urban environment in the second half of the nineteenth century. It argues that the city plays a crucial role in the invention and history of the aquarium. Not only is the material culture of the aquarium a product of urban technologies and infrastructure; the aquarium's early definition (...) as a confined and closed, self‐contained and purified space can be seen as a response to increasing environmental problems, particularly urban water and air pollution. The paper describes how the aquarium and the city together form a laboratory for the exploration of new sanitary and climatic techniques in terms of ventilation and water supply. Furthermore, the paper stresses the crucial role that early amateur aquarium‐keeping plays in the practical construction and regulation of artificial environments as well as in the historical and theoretical reformulation of fundamental notions such as dynamic balance and models of circulation. Getting more and more intertwined on a material and discursive level, the aquarium and its urban environment not only provide specific habitats where the living conditions of humans and animals can be studied. In fact, both become objects and simultaneously media of sanitarian programmes in the name of public health. (shrink)

The Greenough stereomicroscope, or “Stemi” as it is colloquially known among microscopists, is a stereoscopic binocular instrument yielding three-dimensional depth perception when working with larger microscopic specimens. It has become ubiquitous in laboratory practice since its introduction by the unknown scientist Horatio Saltonstall Greenough in 1892. However, because it enabled new experimental practices rather than new knowledge, it has largely eluded historical and epistemological investigation, even though its design, production, and reception in the scientific community was inextricably connected to the (...) new epistemological ideals of the life sciences caught between natural history and modern science. The development of the microscope will be contextualized within the scientific and technological landscape, showing how Greenough navigated his way through this terrain, and what led him to sow the seeds for the stereoscopic microscope. The historical controversy over the optical mechanism, through which the instrument would generate the desired depth perception, and how this quality was embedded into laboratory practice, will be examined. Subsequently, it will become evident that the specific image of nature produced by the stereoscopic microscope corresponded to the new ideals of the life sciences and their representation. (shrink)

The Greenough stereomicroscope, or “Stemi” as it is colloquially known among microscopists, is a stereoscopic binocular instrument yielding three-dimensional depth perception when working with larger microscopic specimens. It has become ubiquitous in laboratory practice since its introduction by the unknown scientist Horatio Saltonstall Greenough in 1892. However, because it enabled new experimental practices rather than new knowledge, it has largely eluded historical and epistemological investigation, even though its design, production, and reception in the scientific community was inextricably connected to the (...) new epistemological ideals of the life sciences caught between natural history and modern science. The development of the microscope will be contextualized within the scientific and technological landscape, showing how Greenough navigated his way through this terrain, and what led him to sow the seeds for the stereoscopic microscope. The historical controversy over the optical mechanism, through which the instrument would generate the desired depth perception, and how this quality was embedded into laboratory practice, will be examined. Subsequently, it will become evident that the specific image of nature produced by the stereoscopic microscope corresponded to the new ideals of the life sciences and their representation. (shrink)

Reflections from the Ocean Floor. Leopold Blaschka's Marine Aquaria. The paper focuses on the glass models of marine invertebrates by Leopold Blaschka (1822–1895). In the beginning of his career, Blaschka did not produce stand‐alone scientific models. Instead, he chose to create “marine aquaria”, i.e. dry fish tanks filled with artificial sea creatures, to promote and present his glass objects to the public. This concept was clearly inspired by the work of the British naturalist Philip Henry Gosse (1810–1888). By describing the (...) influence of Gosse's work, the paper argues that the aquarium served as a tool to display and organize Blaschka's early models. (shrink)

Was the zoological garden a place for science in the 19th and 20th centuries? This question cannot be answered with a simple yes or no. Rather, this Special Issue suggests, we need to reconstruct how the concrete conditions of the zoo as an institution influenced, enabled, triggered, facilitated, obstructed, or impeded scientific research. The zoo was and is a multifunctional space serving different constituencies, such as scientists of different disciplines, artists, breeders, and the general public. This collection of articles argues (...) that despite or even because of its hybrid character, the zoo generated knowledge about exotic animals in often unexpected ways. This Special Issue conceives of “science at the zoo” as a an “impure,” yet very rich epistemic constellation with its very own dynamic, tensions, and contradictions. The first part of this introduction provides a historical overview of the topic. Synthesizing the existing secondary literature, it addresses the major themes of science at the zoo: the debate among scientists about the pros and cons of research conducted in and outside the cages; the gap between the promise of doing research at the zoo and the actual practices; and the emergence of new fields of knowledge such as zoo veterinary medicine, zoo biology, and conservation science. The introduction's second part draws out the common topics that connect the eight articles of this Special Issue: the multiplicity of spaces interacting with the zoo; the broad range of historical actors, including academics, animal traders, and zoo keepers; the changing roles of the zoo-going public; and the negotiation of authority and epistemic hierarchies in producing knowledge about zoo animals. The large numbers of zoos and the long temporal range these articles cover bring the constant evolution of “science at the zoo”-and hence its intrinsic historical dimension-to the fore. (shrink)

Microbial diversity has become a leitmotiv of contemporary microbiology, as epitomized in the concept of the microbiome, with significant consequences for the classification of microbes. In this paper, I contrast microbiology’s current diversity ideal with its influential predecessor in the twentieth century, that of purity, as epitomized in Robert Koch’s bacteriological culture methods. Purity and diversity, the two polar opposites with regard to making sense of the microbial world, have been operationalized in microbiological practice by tools such as the “clean” (...) Petri dish versus the “dirty” Winogradsky column, the latter a container that mimics, in the laboratory, the natural environment that teems with diverse microbial life. By tracing the impact of the practices and concepts of purity and diversity on microbial classification through a history of techniques, tools, and manuals, I show the shifts in these concepts over the last century. Juxtaposing the dominant purity ideal with the more restricted, but continuously articulated, diversity ideal in microbial ecology not only provides a fresh perspective on microbial classification that goes beyond its intellectual history, but also contextualizes the present focus on diversity. By covering the period of a century, this paper outlines a revised longue durée historiography that takes its inspiration from artifacts, such as Petri dish and the Winogradsky column, and thereby simple, but influential technologies that often remain invisible. This enables the problem of historical continuity in modern science to be addressed and the accelerationist narratives of its development to be countered. (shrink)

Microbial diversity has become a leitmotiv of contemporary microbiology, as epitomized in the concept of the microbiome, with significant consequences for the classification of microbes. In this paper, I contrast microbiology’s current diversity ideal with its influential predecessor in the twentieth century, that of purity, as epitomized in Robert Koch’s bacteriological culture methods. Purity and diversity, the two polar opposites with regard to making sense of the microbial world, have been operationalized in microbiological practice by tools such as the “clean” (...) Petri dish versus the “dirty” Winogradsky column, the latter a container that mimics, in the laboratory, the natural environment that teems with diverse microbial life. By tracing the impact of the practices and concepts of purity and diversity on microbial classification through a history of techniques, tools, and manuals, I show the shifts in these concepts over the last century. Juxtaposing the dominant purity ideal with the more restricted, but continuously articulated, diversity ideal in microbial ecology not only provides a fresh perspective on microbial classification that goes beyond its intellectual history, but also contextualizes the present focus on diversity. By covering the period of a century, this paper outlines a revised longue durée historiography that takes its inspiration from artifacts, such as Petri dish and the Winogradsky column, and thereby simple, but influential technologies that often remain invisible. This enables the problem of historical continuity in modern science to be addressed and the accelerationist narratives of its development to be countered. (shrink)