The Human Animal in Western Art and ScienceLeonardoLeonardo da Vinci: Experience, Experiment, and DesignSeen | Unseen: Art, Science, and Intuition from Leonardo to the Hubble Space Telescope by Martin Kemp; Martin Kemp; Martin Kemp; Martin Kemp.

This article takes stock of the seeming wealth of visual and material sources concerning stars and numbers that has come down to us from early imperial China (221 BCE–755 CE) and their minimal impact on how we write the history of astronomy and mathematics in this period. My goal is to offer ideas about how we might better engage with these sources and work across ancient and modern disciplines. I begin by outlining the conceptual categories into which our (...) historical subjects divided these sciences, followed by an overview of those visual and material sources we know from textual sources to have once existed versus those that are currently extant. The historiographic disconnect, I argue, is due in part to an inherent disconnect in the sources that have survived and, in some degree, to terminological and categorical confusion between those working in the history of science, divination, and art. Pointing to what are, in my opinion, good examples of how we might move forward and beyond the limits imposed by our sources and disciplinary boundaries, I then end on a list of questions I think fruitful to explore. What, for example, do we mean by “accuracy” when speaking of how constellations are represented in technical literature and tomb murals? (shrink)

This paper is a review of the 6th European Spring School (Maó, 2011). We have considered all the communications (key-note lectures, papers and posters). After introducing the meeting and a few details about the organization, we have presented an idea of the topics discussed during the School. We have followed a classification based on the type of narrative used. Finally, we have introduced some conclusions, new challenges, and future work.

This is a brief review of the significance of Martin Rudwick’s article, ‘The Emergence of a Visual Language for Geological Science 1760–1840’, published in this journal 40 years ago.

Understanding what is distinctive about the role of models in science requires characterizing broad patterns in how these models evolve in the face of experimental results. That is, we must examine not just model statics—how the model relates to theory, or represents the world, at some point in time—but also model dynamics—how the model both generates new experimental results and is modified in response to them. Visual representations of structure play a central role in the theoretical reasoning of (...) organic chemists. Not surprisingly, these representations have changed in important ways–in response to experimental and theoretical developments– throughout the history of organic chemistry. In many cases it is appropriate to understand the visual representations used by organic chemists as models. The evolution of the structural representations of organic chemists therefore provides a clear example of the dynamics of scientific modeling. In this paper I use a conception of scientific modeling drawn from the work of Mary Hesse to examine how the concept of a molecular conformation was incorporated into the visual representations of structure used by organic chemists. (shrink)

This paper analyses the role played by members of the Curie family in the visual diplomacy of cancer treatments. This relationship started in 1921, when Marie Curie travelled to the US, accompanied by her two daughters, Ève and Irène, to receive a gram of radium at the White House from President Warren Harding. In the years that followed, Ève Curie, as the biographer and natural heir of radium discoverers Marie and Pierre Curie, continued to contribute to the visual (...) diplomacy of cancer campaigning. Two events will be analysed through an interdisciplinary lens, merging history of science and visual-diplomacy studies, to show how the legacy of the Curies played out in the international consolidation of pre-war transnational alliances in the fight against cancer. One involves the picture of the chargé d'affaires of the France Republic, Jules Henry, receiving the biography authored by Ève,Madame Curie, at the French embassy in Washington. The other concerns the photograph of Ève visiting the Portuguese Oncology Institute (IPO) in 1940, which was immediately reproduced in the Institute's bulletin in order to raise awareness of cancer prevention strategies, and also captured in film as a propaganda tool for the Estado Novo regime (1933–74). (shrink)

The present contribution offers an overview of the main problems concerning the representation of the planets in the pre-Islamic Iranian world, the origin of their denominations, their astral roles and the reasons behind their demonization in the Zoroastrian and Manichaean frameworks. This is a preliminary attempt to resume the planetary iconography and iconology in western and eastern Iranian sources, involving also external visual data, such as those coming from Dunhuang and the Chinese world. The article offers an intellectual journey (...) into a net of mutual cultural and spiritual relations, focusing on the image of the heaven (and of its celestial beings), thereby proposing a new synthesis and highlighting a number of intercultural contaminations. (shrink)

The theme of visual representations in science was already central to our research when we aended the 6th European Spring School on History of Science and Popularization in Menorca, Spain, in 2011. As discussed in the review of this conference by Ignacio SuayMatallana and Mar Cuenca-Lorente (245), many participants not only described the particulars of the generation of individual images, but also broader issues surrounding the constitution of visual domains. We were impressed by the range (...) of scholarship surrounding the production, circulation, and interpretation of a wide variety of images, yet a nagging question remained: what issues unite this diversity of research and compel us to investigate such representations? Beyond their novelty, why study scientific images at all? (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

Parallel to Kemp's interest in contemporary science, one of his most consistent themes is the historical exploration of the possibilities of perceived and represented structures and patterns as organisational imperatives in nature and cognition. Structures in the context of Kemp's writing not only relate to the privileged observation sites of modern science but also act as instruments for an art history of contextually examined yet philosophically approached continuities.

This short essay provides an overview of the Visual Studies section of the special issue “Queer in the Clinic.” Addressing the impact of visual culture on queer experiences in the clinic, the author offers thoughts on the graphic artwork of Edie Fake and Brain Cremins’s essay included in this issue. Arguing that contemporary and historical visual assessments of the LGBTQ clinical subject are vital contributors to queer bioethical debates, she explains relevant concepts such as “radical somatic transformation,” (...) “the nature of bodily possibility,” and Walter Benjamin’s “world of secret affinities.”. (shrink)

Visual cultures are being increasingly discussed in the history of science literature, although relatively very little of that work concerns the nuclear age. In addition, within the discrete yet bourgeoning literature on global nuclear art and culture, Oceania is often overlooked despite its central role in the development of the American, British, and French nuclear weapon capabilities, as well as their associated colonial legacies. This article serves to redress both concerns by examining the visual politics of (...) Maralinga in relation to settler-colonial and Aboriginal experiences, vulnerabilities and presentations. I do so by surveying artworks with a connection to the Australian experience of nuclear colonialism and find that the figure of biological life has been conspicuously left absent from contemporary non-Indigenous Australian depictions of British nuclear testing in Australia. (shrink)

Containing 609 encyclopedic articles written by more than 200 prominent scholars, The Oxford Companion to the History of Modern Science presents an unparalleled history of the field invaluable to anyone with an interest in the technology, ideas, discoveries, and learned institutions that have shaped our world over the past five centuries. Focusing on the period from the Renaissance to the early twenty-first century, the articles cover all disciplines, historical periods, concepts, and methodologies and philosophies. Coverage is international, (...) tracing the spread of science from its traditional centers and explaining how the prevailing knowledge of non-Western societies has modified or contributed to the dominant global science as it is currently understood. Revealing the interplay between science and the wider culture, the Companion includes entries on topics such as minority groups, art, religion, and science's practical applications. One hundred biographies of the most iconic historic figures, chosen for their contributions to science and the interest of their lives, are also included. Above all The Oxford Companion to the History of Modern Science is a companion to world history: modern in coverage, generous in breadth, and cosmopolitan in scope. The volume's utility is enhanced by a thematic outline of the entire contents, a thorough system of cross-referencing, and a detailed index that enables the reader to follow a specific line of inquiry along various threads from multiple starting points. Each essay has numerous suggestions for further reading, all of which favor literature that is accessible to the general reader, and a bibliographical essay provides a general overview of the scholarship in the field. Lastly, as a contribution to the visual appeal of the Companion, over 100 black-and-white illustrations and an eight-page color section capture the eye and spark the imagination. (shrink)

This article provides a strategic history of the role assigned by modern historians to visual representation in early modern science, an aspect of historiography that is largely ignored in the scholarly literature. Despite the current undervaluation of images and visual reasoning, historians in the 1940s and 1950s who established the 20th century concept of the Scientific Revolution, also assigned a conspicuous role to images, claiming 15th century art as a chapter in the history of (...) class='Hi'>science and identifying the first modern scientists in artists such as Brunelleschi and Leonardo. My analysis of the writings that shaped the discourse on visual representation---by giants such as George Sarton, Herbert Butterfield, and Alexandre Koyré---shows that the handful of concepts introduced in these early discussions formed the foundations of the subsequent scholarly approach to early modern scientific images. However, close scrutiny during the 1970s defined these concepts as interesting but not as key elements for the emergence of modern science proposed earlier. The wave of social studies of science in the 1980s further diminished the importance of images, to the point that recent surveys of early modern science neither consider the role of visual representation nor include figures in their narratives. Several recent publications with suggestive titles such as The Power of Images in Early Modern Science promise to recover a significant role for images in the Scientific Revolution. The present inquiry into the earlier discourse seeks to clarify the historiographic framework into which these new efforts fit. (shrink)

Aby Warburg's Bilderatlas Mnemosyne, left unfinished in 1929, has attracted significant interest in recent decades. This essay offers a new interpretation of Warburg's “picture atlas,” not in relation to modernist collage and photomontage, but as an heir to scientific pedagogical exhibitions of the late Wilhelmine period. It deals in particular with two “public enlightenment” shows curated by the Leipzig medical historian Karl Sudhoff, whose work Warburg admired and employed: the first on with the history of hygiene in Dresden in (...) 1911, the second in Leipzig, three years later, on the development of scientific images. Like Warburg, Sudhoff appreciated artworks and artifacts as sources for the history of science and medicine. His exhibitions consisted of assemblages of photographic reproductions—some of which were provided by Warburg himself—and uncannily anticipate Mnemosyne in both form and content. By examining the exchange of materials and display methods between the two scholars, the article explores how their respective visual projects reflected deeper disagreements over the public role of science, the epistemic power of images, and the persistence of the irrational in the human psyche. (shrink)

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape (...) images in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (shrink)

Symposium " Visual Cognition in the History of Science ", (bourse du CNFHPS, Académie des sciences).

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories, such as Darwin's theory of evolution and sexual selection, deliberately drawing (...) on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science - and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media, from photography to oil painting. This volume reminds us that science and art are not tightly compartmentalized, separate influences, but rather fields that shared forms - manifest as waves, layers, lines, or geometries - and invest in the idea of the evolution of form. (shrink)

Philosophical science is a living reality in the personal minds of genial thinkers, bound to their limitations in tradition, experience and mental energy and developed in the dialectic of their spatio–temporal history. In an age of mass pictorial media of communication it is natural and possibly fruitful to present even a purely intellectual doctrine to the public with the visual aids which any exercise in thought now popularly demands. The indefatigable editor of the Philosophical Library, New York, (...) bows to our Zeitgeist in this luxurious volume which tempts everyman to make the acquaintance of the world’s great and thinkers of the past three thousand years. To nearly one thousand illustrations of historic portraits, facsimiles, archaeological diagrams and photographs he has added succinct thumbnail biographies and thematic explanations, which are clearly printed on double–column pages of approximately Demy Quarto format and handsomely bound. In such a presentation personal interest is gained for philosophy, while systematic depth is lost; but doctrinal analysis should be sought, perhaps, properly in the orthodox textbook. (shrink)

The paper analyzes a complex of methodological problems associated with the visual turn in modern historical science, as well as the peculiarities of the perception of the historical past and the organization of history teaching in modern culture and in the system of historical education. The analysis evaluates the prospects of already existing approaches in philosophy in the development of problems of the visual. The ideas of Maurice Merleau-Ponty on the phenomenology of perception, with his emphasis (...) on the “physical presence” of a body in the process of perception, are proposed as a significant source for the reflection on the visual. The involvement of visual elements in the historical narrative, as shown in the article, complicates the methodology and practice of source criticism, while at the same time allowing historical science to make its contribution to understanding the image as such. (shrink)

The article examines Thomas Kuhn's work in the history of science with special attention to its relevance to subsequent developments in social epistemology. The article begins with a discussion of Kuhn's historical work, and the so-called historical turn in philosophy of science. It then examines Kuhn's views on textbook science, followed by an analysis of Kuhn's views on the relationship between the history of science and the philosophy of science. Then it discusses Kuhn's (...) contributions to our understanding of the social dimensions of scientific inquiry. Finally, it discusses his influence on the social epistemology of science and the sociology of science. (shrink)

This book covers the basic guidelines of Vittorio Benussi’s research during the period at Graz and at Padua. It does so in the light of a thorough study of his Nachlass. The book re-evaluates Benussi’s work as a historical piece, and shows how his work is still relevant today, especially in the areas of cognitive psychology and cognitive science. The volume deals with this original and ingenious - though largely ignored - scholar and discusses his work as a leading (...) experimental psychologist. Benussi’s contributions as discussed in this book were particularly relevant in the fields of visual and tactile perception, time perception, forensic psychology, hypnosis and suggestion, unconscious, and emotions. His classical papers are impressive in their originality, energy, range of approaches, experimental skill, the wealth of findings, and the quality of theoretical discussions. This book demonstrates that Benussi was ahead of his time and that his themes, experiments and research programmes are highly relevant to contemporary cognitive psychology. (shrink)

In this paper, I investigate the variety and richness of the taxonomical practices between the end of the nineteenth and the early twentieth centuries. During these decades, zoologists and paleontologists came up with different quantitative practices in order to classify their data in line with the new biological principles introduced by Charles Darwin. Specifically, I will investigate Florentino Ameghino’s mathematization of mammalian dentition and the quantitative practices and visualizations of several German-speaking paleontologists at the beginning of the twentieth century. In (...) so doing, this paper will call attention to the visual and quantitative language of early twentieth-century systematics. My analysis will therefore contribute to a prehistory of the statistical frame of mind in biology, a study which has yet to be written in full. Second, my work highlights the productive intertwinement between biological practices and philosophical frameworks at the turn of the nineteenth century. Deeply rooted in Kantian bio-philosophy, several biologists sought to find rules in order to apply ordering principles to chaotic taxonomic information. This implies the necessity to investigate the neglected role of Kantian and Romantic bio-philosophy in the unfolding of twentieth-century biology. (shrink)

In this paper, I investigate the variety and richness of the taxonomical practices between the end of the nineteenth and the early twentieth centuries. During these decades, zoologists and paleontologists came up with different quantitative practices in order to classify their data in line with the new biological principles introduced by Charles Darwin. Specifically, I will investigate Florentino Ameghino’s mathematization of mammalian dentition and the quantitative practices and visualizations of several German-speaking paleontologists at the beginning of the twentieth century. In (...) so doing, this paper will call attention to the visual and quantitative language of early twentieth-century systematics. My analysis will therefore contribute to a prehistory of the statistical frame of mind in biology, a study which has yet to be written in full. Second, my work highlights the productive intertwinement between biological practices and philosophical frameworks at the turn of the nineteenth century. Deeply rooted in Kantian bio-philosophy, several biologists sought to find rules in order to apply ordering principles to chaotic taxonomic information. This implies the necessity to investigate the neglected role of Kantian and Romantic bio-philosophy in the unfolding of twentieth-century biology. (shrink)

This article traces the history of interdisciplinarity as a contemporary form of thought and of producing knowledge in the Federal Republic of Germany from 1955 to 1975. It establishes that concepts of interdisciplinary research and teaching circulated in diverse fields of knowledge and modes of articulation, and evaluates the transformations that interdisciplinarity underwent along the way. After detailing the process by which the adjective “interdisciplinary” first came into usage in scientific publications in the late 1950s, this article discusses how (...) interdisciplinary research and teaching began to feature in debates about university reforms and the founding of new universities in the 1960s. The article then draws on the examples of Bochum, Konstanz, and Bielefeld to illustrate how debates about disciplinary specialization and interdisciplinary connections unfolded in visual modes of expression such as diagrams or sketches. In a last step, the article examines how visual and textual reflections connected interdisciplinarity to the architecture of envisioned universities, and hence related this time-specific form of thought and knowledge production to the material environments of future research and teaching. (shrink)

Despite much excellent work over the years, the vast history of scientific filmmaking is still largely unknown. Historians of science have long been concerned with visual culture, communication and the public sphere on the one hand, and with expertise, knowledge production and experimental practice on the other. Scientists, we know, drew pictures, took photographs and made three-dimensional models. Rather like models, films could not be printed in journals until the digital era, and this limited their usefulness as (...) evidence. But that did not stop researchers from making movies for projection at conferences as well as in lecture halls, museums and other public venues, not to mention for breaking down into individual frames for analysis. Historians of science are more likely to be found in the library, archive or museum than the darkened screening room, and much work is still needed to demonstrate the major effects of cinema on scientific knowledge. Film may have taken as long to change science as other areas of social life, but one can begin to glimpse important ways in which ‘image machines’ were beginning to mediate between backstage experimental work and more public demonstration even around 1900. (shrink)

This article argues that the foundational separation between psychoanalysis and experimental psychology was challenged in important ways by psychoanalytic infant researchers. Through a close examination of American psychoanalyst René Spitz, it extends John Forrester’s conception of reasoning in cases outside classic psychoanalytic practices. Specifically, the article interrogates the foundations of reasoning in cases—the individual, language, and the doctor–patient relationship—to show how these are reimagined in relation to the structures of American developmental psychology. The article argues that the staunch separation of (...) experimental psychology and psychoanalysis, reiterated by philosophers and historians of psychology, is flimsy at best—and, conversely, that the maintenance of these boundaries enabled the production of a cinematic case study. Spitz created films that used little language and took place outside the consulting room with institutionalized infants. Yet key aspects of the psychoanalytic case, as put forth by John Forrester, were depicted visually. These visual displays of transference, failure, and interpersonal emotions highlight the foundations of what Forrester means by reasoning in cases. The article concludes that Spitz failed at creating classic psychoanalytic evidence, but in so doing stretched the epistemology of the case. (shrink)

This handbook offers the first comprehensive reference guide to the interdisciplinary field of model-based reasoning. It highlights the role of models as mediators between theory and experimentation, and as educational devices, as well as their relevance in testing hypotheses and explanatory functions. The Springer Handbook merges philosophical, cognitive and epistemological perspectives on models with the more practical needs related to the application of this tool across various disciplines and practices. The result is a unique, reliable source of information that guides (...) readers toward an understanding of different aspects of model-based science, such as the theoretical and cognitive nature of models, as well as their practical and logical aspects. The inferential role of models in hypothetical reasoning, abduction and creativity once they are constructed, adopted, and manipulated for different scientific and technological purposes is also discussed. Written by a group of internationally renowned experts in philosophy, the history of science, general epistemology, mathematics, cognitive and computer science, physics and life sciences, as well as engineering, architecture, and economics, this Handbook uses numerous diagrams, schemes and other visual representations to promote a better understanding of the concepts. This also makes it highly accessible to an audience of scholars and students with different scientific backgrounds. All in all, the Springer Handbook of Model-Based Science represents the definitive application-oriented reference guide to the interdisciplinary field of model-based reasoning. (shrink)

The fossil record is paleontology’s great resource, telling us virtually everything we know about the past history of life. This record, which has been accumulating since the beginning of paleontology as a professional discipline in the early nineteenth century, is a collection of objects. The fossil record exists literally, in the specimen drawers where fossils are kept, and figuratively, in the illustrations and records of fossils compiled in paleontological atlases and compendia. However, as has become increasingly clear since the (...) later twentieth century, the fossil record is also a record of data. Paleontologists now routinely abstract information from the physical fossil record to construct databases that serve as the basis for quantitative analysis of patterns in the history of life. What is the significance of this distinction? While it is often assumed that the orientation towards treating the fossil record as a record of data is an innovation of the computer age, it turns out that nineteenth century paleontology was substantially “data driven.” This paper traces the evolution of data practices and analyses in paleontology, primarily through examination of the compendia in which the fossil record has been recorded over the past 200 years. I argue that the transition towards conceptualizing the fossil record as a record of data began long before the emergence of the technologies associated with modern databases (such as digital computers and modern statistical methods). I will also argue that this history reveals how new forms of visual representation were associated with the transition from seeing the fossil record as a record of objects to one of data or information, which allowed paleontologists to make new visual arguments about their data. While these practices and techniques have become increasingly sophisticated in recent decades, I will show that their basic methodology was in place over a century ago, and that, in a sense, paleontology has always been a “data driven” science. (shrink)

This article reexamines Vico’s early critique of Cartesian reasoning and of how the Cartesian method, which comes from epistemology, creates problems for the sciences once embedded into their methodologies and given a foundational role. The focus will be on De nostri temporis studiorum ratione (1709), where Vico argues against generalizing the Cartesian method and overemphasizing clarity and distinctness in the search for truth. To this end, Vico’s relation to Cartesianism is first carefully contextualized. Then, Vico is presented as a hylomorphist (...) when it comes to how scientific disciplines and their instruments interrelate, something key for understanding why he questions the “instrumentalization” of the Cartesian method in the first place. Afterwards, Vico’s account of the impossibility of maximal scientific progress when the Cartesian method is prioritized across the sciences is presented, as probabilistic reasoning and the importance of the imagination and memory take centerstage. Lastly, the article looks at Vico’s opposition to the geometrical method’s role in physics and his defense of visual thinking in mathematics. The hope throughout is to advance a picture of the early Vico as being not only a neo- Baconian pragmatist, but a hypermodern ”meta-Cartesian” thinker concerned with humanity’s optimizing its creative potential in order to achieve scientific advances. (shrink)

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...) contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

When the French edition of _Confronting Images_ appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and (...) contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.” To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. _Confronting Images_ also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s _Lacemaker_. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in (...) the long nineteenth century. I examine the way visual scientific performances---such as magic lantern shows, optical illusions, and public experiments---were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of (...) Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

The purpose of this study is to examine how trends in the use of images in modern life science journals have changed since the spread of computer-based visual and imaging technology. To this end, a new classification system was constructed to analyze how the graphics of a scientific journal have changed over the years. The focus was on one international peer-reviewed journal in life sciences, Cell, which was founded in 1974, whereby 1725 figures and 160 tables from the (...) research articles in Cell were sampled. The unit of classification was defined as a graphic and the figures and tables were divided into 5952 graphics. These graphics were further classified into hierarchical categories, and the data in each category were aggregated every five years. The following categories were observed: data graphics, explanation graphics, and hybrid graphics. Data graphics increased by more than sixfold between 1974 and 2014, and some types of data graphics including mechanical reproduction images and bar charts displayed notable changes. The representation of explanatory graphics changed from hand-painted illustrations to diagrams of Bezier-curves. It is suggested that in addition to the development of experimental technologies such as fluorescent microscopy and big data analysis, continuously evolving application software for image creation and researchers’ motivation to convince reviewers and editors have influenced these changes. (shrink)

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, (...) and the digital image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

The traditional presentation about historical time-passing consists in a linear succession of facts in which some aspects of the lifeworld evolve from others in anirreversible manner. The presentation of change is connected to the presentation of gradual or revolutionary linear changes that areirrevocable. I believe that this presentation could be considered correct for living organisms, but does not take account of some important aspects of demonstrative presentations about artefacts and technologies. For example, we can ontologically assume that “hammer-beating” evolved from (...) “stone-beating”. In this sense, the “hammer-beating-time” could be considered contemporary-time and the “stone-beating-time” could be considered past-time. However, we still beat things with stones and stone-like artefacts. The technology of the stone-beating is still been used. That means that relationship between the stone and the hammer cannot be seen as “evolutive” in the same sense that organisms “evolve” from each other. We must assume then, that the stone and the hammer must be interchangeable technologies which do not overshadow each other. This family of technologies and artefacts are contemporary to each other. Time-passing metaphors must then be substituted with metaphors of a “technological instability” that can be associated to a foundational cultural explosion. (shrink)

With their landmark architectures, exhibitions and museums of science and technology partake in the spatial inscription of science in twentieth century landscapes. Unlike other beacons of progress, exhibitions and museums of science and technology double up, inside, as material arrangements of objects, visuals and texts aiming to confer meaning onto the modern world. They both embody and seek to order the spectacle of modernity while often being deployed with the aim of promoting particular visions of social and (...) material progress. An approach sensitive to the material, spatial, and experiential dimensions of displaying science and technology suggests that exhibitions and museums were in the twentieth century crucial sites for reflecting upon and promoting particular futures. (shrink)