Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16216
Edward Jones‐Imhotep
Over the last two decades, Science Studies has produced a fascinating body of literature on visual representation. A crucial part of that literature has explored the materiality of visual representation, primarily the “rendering practices” that make visual representations possible and embody epistemic virtues attached to the scientific self. This essay explores the practices and capacities that support visual representation, but it looks to a seemingly unlikely place for inspiration—the growing literature on the uses of sound in science. My interest here is to see how that literature points us to a view of sound as an epistemic resource that supports the visual. If there is a visual emphasis in modern science, it is made possible by a set of material practices that are only partly visual. As such, this essay suggests how the history of visual representations in science might be bound up with a history of scientific aurality.
{"title":"Sound and Vision","authors":"Edward Jones‐Imhotep","doi":"10.4245/SPONGE.V6I1.16216","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16216","url":null,"abstract":"Over the last two decades, Science Studies has produced a fascinating body of literature on visual representation. A crucial part of that literature has explored the materiality of visual representation, primarily the “rendering practices” that make visual representations possible and embody epistemic virtues attached to the scientific self. This essay explores the practices and capacities that support visual representation, but it looks to a seemingly unlikely place for inspiration—the growing literature on the uses of sound in science. My interest here is to see how that literature points us to a view of sound as an epistemic resource that supports the visual. If there is a visual emphasis in modern science, it is made possible by a set of material practices that are only partly visual. As such, this essay suggests how the history of visual representations in science might be bound up with a history of scientific aurality.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70957938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16374
S. Kusukawa
In this paper, I discuss a drawing that substituted for an engraving in a copy of Philosophical Transactions once owned by Thomas Kirke (1650–1706, FRS 1693). I suggest that prints allowed Kirke to train his eye as well as his hand. His case is useful for raising further questions about visual representations in early modern science.
{"title":"Thomas Kirke’s Copy of Philosophical Transactions","authors":"S. Kusukawa","doi":"10.4245/SPONGE.V6I1.16374","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16374","url":null,"abstract":"In this paper, I discuss a drawing that substituted for an engraving in a copy of Philosophical Transactions once owned by Thomas Kirke (1650–1706, FRS 1693). I suggest that prints allowed Kirke to train his eye as well as his hand. His case is useful for raising further questions about visual representations in early modern science.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70958100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.17357
L. Perini
One way visual representations might function in scientific reasoning is to convey content that is true or false, analogous to making a claim. An alternative way that visual representations might function is as an object that may make statements true or false, but is not itself true or false, analogous to a scientific model. In this paper I evaluate the most recent and extended defense of this latter position and show that the case study involved does not in fact support the view that the diagrams discussed function as truth-makers rather than truth bearers.
{"title":"Truth-bearers or Truth-makers? ,","authors":"L. Perini","doi":"10.4245/SPONGE.V6I1.17357","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.17357","url":null,"abstract":"One way visual representations might function in scientific reasoning is to convey content that is true or false, analogous to making a claim. An alternative way that visual representations might function is as an object that may make statements true or false, but is not itself true or false, analogous to a scientific model. In this paper I evaluate the most recent and extended defense of this latter position and show that the case study involved does not in fact support the view that the diagrams discussed function as truth-makers rather than truth bearers.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70958196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16137
M. Barany
This paper probes the foundations and limits of visual representation in the sciences through a close reading of the diagrams that accompanied definitions of the geometric point in the first century of printed editions of Euclid’s Elements. I begin with the modal form for such diagrams of Euclid’s “small and unsensible shape,” showing how it incorporates a broad spectrum of conventions and practices related to the point’s philosophical and practical roles in the surrounding Euclidean geometry. I then explore the form’s several variations in order to consider the role of “mere representation” in geometric exegesis, and conclude by characterizing the curious relationship between things and their images and that relationship’s implications for understanding scientific knowledge and practice.
{"title":"'That small and unsensible shape': Visual Representations of the Euclidean Point in Sixteenth-Century Print","authors":"M. Barany","doi":"10.4245/SPONGE.V6I1.16137","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16137","url":null,"abstract":"This paper probes the foundations and limits of visual representation in the sciences through a close reading of the diagrams that accompanied definitions of the geometric point in the first century of printed editions of Euclid’s Elements. I begin with the modal form for such diagrams of Euclid’s “small and unsensible shape,” showing how it incorporates a broad spectrum of conventions and practices related to the point’s philosophical and practical roles in the surrounding Euclidean geometry. I then explore the form’s several variations in order to consider the role of “mere representation” in geometric exegesis, and conclude by characterizing the curious relationship between things and their images and that relationship’s implications for understanding scientific knowledge and practice.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70957240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16152
Cory Travers Lewis
Frederick Grinnell’s “Everyday Practice of Science” is an ambitious attempt to survey the methodological issues facing practicing scientists. His examples and anecdotes are mainly drawn from his own field of biochemistry, which he argues is representative of the scientific method in general because, quoting Nobel Laureate Sir Peter Medawar, “Biologists work very close to the frontier between bewilderment and understanding.”(p.4) Grinnell’s goal is to explore the ambiguity and messiness of actual scientific practice, but not with an eye to undermine its credibility. Rather, he tries to show how the day-to-day practice of science functions to generate reliable hypotheses from the complexity of reality.
{"title":"REVIEW: Frederick Grinnell, The Everyday Practice of Science: Where Intuition and Passion Meet Objectivity and Logic","authors":"Cory Travers Lewis","doi":"10.4245/SPONGE.V6I1.16152","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16152","url":null,"abstract":"Frederick Grinnell’s “Everyday Practice of Science” is an ambitious attempt to survey the methodological issues facing practicing scientists. His examples and anecdotes are mainly drawn from his own field of biochemistry, which he argues is representative of the scientific method in general because, quoting Nobel Laureate Sir Peter Medawar, “Biologists work very close to the frontier between bewilderment and understanding.”(p.4) Grinnell’s goal is to explore the ambiguity and messiness of actual scientific practice, but not with an eye to undermine its credibility. Rather, he tries to show how the day-to-day practice of science functions to generate reliable hypotheses from the complexity of reality.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70957527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16144
Laurent Dissard
Between 1968 and 1975, international and multidisciplinary rescue excavations were undertaken in Eastern Turkey before the construction of the Keban Dam. This article focuses on three specific visual techniques (the artifact typology, the trench shot, and the gridded map) found in the site reports of this salvage project, in order to analyze the way archaeology visually defines its object(s) of study. While scientific excavations make discoveries of the past visible, their representations in the discipline’s final publications conceal the human agents responsible for them. In other words, as tools of visualization foreground archaeological knowledge, the conditions of its production are concurrently sidelined. By relegating the messy process of “digging” to the background, archaeology’s techniques of visualization allow its practitioners to see the past, and all of its objects, from a distant present located “nowhere.”
{"title":"Seeing the Past from Nowhere: Images and Science in Archaeology","authors":"Laurent Dissard","doi":"10.4245/SPONGE.V6I1.16144","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16144","url":null,"abstract":"Between 1968 and 1975, international and multidisciplinary rescue excavations were undertaken in Eastern Turkey before the construction of the Keban Dam. This article focuses on three specific visual techniques (the artifact typology, the trench shot, and the gridded map) found in the site reports of this salvage project, in order to analyze the way archaeology visually defines its object(s) of study. While scientific excavations make discoveries of the past visible, their representations in the discipline’s final publications conceal the human agents responsible for them. In other words, as tools of visualization foreground archaeological knowledge, the conditions of its production are concurrently sidelined. By relegating the messy process of “digging” to the background, archaeology’s techniques of visualization allow its practitioners to see the past, and all of its objects, from a distant present located “nowhere.”","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70957506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.17155
W. Goodwin
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.
{"title":"Visual Representations of Structure and the Dynamics of Scientific Modeling","authors":"W. Goodwin","doi":"10.4245/SPONGE.V6I1.17155","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.17155","url":null,"abstract":"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.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70957657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.16119
M. Spencer
Over 18 months of ethnographic fieldwork with a group of computational physicists, I encountered many negative assessments of the part that images should play in the accomplishment of good research. In this essay I explore the question of where these anxieties might come from and what they mean. Using Bachelard’s philosophy, I first point to the role that the image plays in conditioning the imagination and in training intuitive judgement. But to get to the bottom of the trouble with images we are led through Rheinberger and Stiegler to a view of scientific cognition that extends beyond the mind to prosthetic circuits of artefacts, including both images and written inscriptions. Rather than locating the problem as one of the relation between the image and what it represents, I argue for the importance of general cultural difficulties in managing and manipulating artefactual assemblages.
{"title":"Trouble with Images in Computational Physics","authors":"M. Spencer","doi":"10.4245/SPONGE.V6I1.16119","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.16119","url":null,"abstract":"Over 18 months of ethnographic fieldwork with a group of computational physicists, I encountered many negative assessments of the part that images should play in the accomplishment of good research. In this essay I explore the question of where these anxieties might come from and what they mean. Using Bachelard’s philosophy, I first point to the role that the image plays in conditioning the imagination and in training intuitive judgement. But to get to the bottom of the trouble with images we are led through Rheinberger and Stiegler to a view of scientific cognition that extends beyond the mind to prosthetic circuits of artefacts, including both images and written inscriptions. Rather than locating the problem as one of the relation between the image and what it represents, I argue for the importance of general cultural difficulties in managing and manipulating artefactual assemblages.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70956859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.17158
B. Obrist
The paper raises the question of the function of visual representations in medieval cosmographical texts. It proposes to view diverse functions of figures in relation to changing discursive environments, including differing philosophical positions and changing social and intellectual contexts. It further suggests a distinction between figures that were elaborated within the highly specialized disciplines of mathematics and philosophy of nature in Greek Antiquity and figures that were instrumental in transmitting accepted world models, thus avoiding the opposition between scientific and unscientific types of verbal and pictorial documents. Simplifying changes, when figures are abstracted form their geometrical context and accompany doxographical, descriptive accounts, are characterized in terms of schematization. Concomitantly, mathematical and philosophical demonstrations tend to give way to proofs of a predominantly rhetorical nature: images are verbally construed and, in order to enhance these, actual visual figures— mostly linear, diagrammatic constructs—are added. With regard to the Middle Ages, the paper distinguishes two principal periods: the period from the seventh to the eleventh century and the period of the so-called twelfth-century Renaissance. First, the verbal and pictorial cosmological corpus of Roman origin gave rise to explanations and variations but not to consequential theoretical developments and cosmological diagrams tended to fuse with summarizing tables at this time. Then, during the twelfth century, mathematical and philosophical documents of a specialized kind that were translated from the Arabic and also from the Greek became available in the Latin West. In mathematics, specialized types of study remained, however, sparse. Continuous elaborations of the assimilated material set in later only, within the thirteenth-century university context. Nevertheless, twelfth-century authors of cosmographical accounts became increasingly aware that their expositions and visual figures were ultimately derived from geometrical models of the universe. More diversified types of demonstration and corresponding visual figures were being used, as exemplified by William of Conches’ Dragmaticon philosophiae.
本文提出了中世纪宇宙学文本中视觉表现的功能问题。它建议在不断变化的话语环境中看待人物的不同功能，包括不同的哲学立场和不断变化的社会和知识背景。它进一步表明，在希腊古代高度专业化的数学和自然哲学学科中阐述的数字与在传播公认的世界模型中起作用的数字之间存在区别，从而避免了科学和非科学类型的口头和图像文件之间的对立。简化的变化，当数字是从他们的几何背景抽象出来，并伴随文献，描述性的帐户，是在图式方面的特点。与此同时，数学和哲学的论证倾向于让位于主要是修辞性质的证明:图像被口头解释，为了增强这些，添加了实际的视觉形象——主要是线性的、图解的结构。关于中世纪，论文区分了两个主要时期:从七世纪到十一世纪的时期和所谓的十二世纪文艺复兴时期。首先，罗马起源的语言和图像宇宙学语料库产生了解释和变化，但没有产生相应的理论发展，宇宙学图表在这个时候倾向于与汇总表融合。然后，在12世纪，从阿拉伯语和希腊语翻译的专门类型的数学和哲学文献在拉丁西方变得可用。然而，在数学方面，专门类型的研究仍然很少。在13世纪的大学背景下，对被同化的材料进行了持续的阐述。然而，12世纪的宇宙学作者们越来越意识到，他们的阐述和视觉形象最终来自宇宙的几何模型。以海螺威廉(William of Conches)的戏剧哲学(Dragmaticon philosophy)为代表的论证形式和相应的视觉形象更加多样化。
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Pub Date : 2012-10-03DOI: 10.4245/SPONGE.V6I1.17159
Cindy Stelmackowich
At the turn of the nineteenth century when anatomy and hands-on dissection became the prerequisite for a medical career, the medical community in England and France increasingly relied upon visual representations as part of a complex system of reinforcement of their professional goals. The production of novel illustrated textbooks that disseminated arguments through systematizing illustrations were thus integral to their professional status. Through an examination of a series of realistic diagrams that outlined the new methods of surgical and preservation techniques, this paper argues that visual diagrams were instrumental in supporting the systematic codification and prestige on which nineteenth-century medical knowledge was to depend. It analyses the visual rhetoric and the complex representational languages of these intricate and equally precise illustrations by asking how these illustrations embraced new representational strategies as well as embodied idealizing aesthetic techniques.
{"title":"The Instructive Corpse: Dissection, Anatomical Specimens, and Illustration in Early Nineteenth-Century Medical Education","authors":"Cindy Stelmackowich","doi":"10.4245/SPONGE.V6I1.17159","DOIUrl":"https://doi.org/10.4245/SPONGE.V6I1.17159","url":null,"abstract":"At the turn of the nineteenth century when anatomy and hands-on dissection became the prerequisite for a medical career, the medical community in England and France increasingly relied upon visual representations as part of a complex system of reinforcement of their professional goals. The production of novel illustrated textbooks that disseminated arguments through systematizing illustrations were thus integral to their professional status. Through an examination of a series of realistic diagrams that outlined the new methods of surgical and preservation techniques, this paper argues that visual diagrams were instrumental in supporting the systematic codification and prestige on which nineteenth-century medical knowledge was to depend. It analyses the visual rhetoric and the complex representational languages of these intricate and equally precise illustrations by asking how these illustrations embraced new representational strategies as well as embodied idealizing aesthetic techniques.","PeriodicalId":29732,"journal":{"name":"Spontaneous Generations-Journal for the History and Philosophy of Science","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70958123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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