Pub Date : 2023-03-16DOI: 10.1080/00026980.2023.2186577
Olivier Dufault
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A Cultural History of Chemistry in the Nineteenth Century covers the period from 1815 to 1914 and the birth of modern chemistry. The elaboration of atomic theory - and new ideas of periodicity, structure, bonding, and equilibrium - emerged in tandem with new instruments and practices. The chemical industry expanded exponentially, fuelled by an increasing demand for steel, aluminium, dyestuffs, pharmaceuticals, and consumer goods. And the chemical laboratory became established in its two distinct modern settings of the university and industry. At the turn of the century, the discovery of radioactivity took hold of the public imagination, drawing chemistry closer to physics, even as it threatened to undermine the whole concept of atomism. The 6 volume set of the Cultural History of Chemistry presents the first comprehensive history from the Bronze Age to today, covering all forms and aspects of chemistry and its ever-changing social context. The themes covered in each volume are theory and concepts; practice and experiment; laboratories and technology; culture and science; society and environment; trade and industry; learning and institutions; art and representation.
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Pub Date : 2023-03-16DOI: 10.1080/00026980.2023.2186584
Hasok Chang
Click to increase image sizeClick to decrease image size This article is part of the following collections: A Cultural History of Chemistry
点击放大图片点击缩小图片这篇文章是以下集合的一部分:化学文化史
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Pub Date : 2023-03-16DOI: 10.1080/00026980.2023.2186585
Evan Hepler-Smith
A Cultural History of Chemistry in the Modern Age covers the period from 1914 to the present. The impact of chemistry and the chemical industry on science, war, society, and the economy has made this era the “Chemical Age”. Having prospered in the West, chemical science spread across the globe and slowly became more diversified in terms of its ethnic and gendered mix. After flourishing for sixty years, the chemical industry was impacted by the Oil Crisis of the 1970s and became almost invisible in the West. While the industry has clearly delivered many benefits to society—such as new materials and better drugs—it has been excoriated by critics for its impact on the environment. The 6 volume set of the Cultural History of Chemistry presents the first comprehensive history from the Bronze Age to today, covering all forms and aspects of chemistry and its ever-changing social context. The themes covered in each volume are theory and concepts; practice and experiment; laboratories and technology; culture and science; society and environment; trade and industry; learning and institutions; art and representation.
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Pub Date : 2023-03-14DOI: 10.1080/00026980.2023.2186581
A. Roos
A Cultural History of Chemistry in the Early Modern Age covers the period from 1500 to 1700, tracing chemical debates and practices within their cultural, social, and political contexts. This era in the history of chemistry was notable for natural philosophy, scientific discovery, and experimental method, and also as the high point of European alchemy – exemplified by the immensely popular writings of Paracelsus. Developments in the chemistry of metallurgy, medicine, distillation, and the applied arts encouraged attention to materials and techniques, linking theoretical speculation with practical know-how. Chemistry emerged as an academic discipline – supported by educational texts and based in classroom and laboratory instruction – and claimed a public place. The 6 volume set of the Cultural History of Chemistry presents the first comprehensive history from the Bronze Age to today, covering all forms and aspects of chemistry and its ever-changing social context. The themes covered in each volume are theory and concepts; practice and experiment; laboratories and technology; culture and science; society and environment; trade and industry; learning and institutions; art and representation.
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Pub Date : 2023-03-13DOI: 10.1080/00026980.2023.2186580
W. Newman
A Cultural History of Chemistry in the Middle Ages covers the period from 600 to 1500 in European and Islamic cultures. Arabic theories and terminology for the science of matter were introduced into the West and became known as ‘alchemy’. Based in experiment and innovation – and bound up in networks of mining, manufacturing, trade and commerce – alchemical practice largely focused on the production of new substances through various processes. At the same time, alchemy was deeply theoretical, exploring the development of mineralogy, the perfection of corruptible matter, the prolongation of life, and the cure of diseases. The 6 volume set of the Cultural History of Chemistry presents the first comprehensive history from the Bronze Age to today, covering all forms and aspects of chemistry and its ever-changing social context. The themes covered in each volume are theory and concepts; practice and experiment; laboratories and technology; culture and science; society and environment; trade and industry; learning and institutions; art and representation.
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Pub Date : 2023-03-10DOI: 10.1080/00026980.2023.2186583
Georgette Taylor
as well as in Dutch genre painting, showing, for instance, how “alchemy’s impact on family life offered painters an outlet for humour as well as pathos” (p. 215). A painting by Hendrick Heerschop (ca. 1660–1680), The Alchemist’s Experiment Takes Fire, depicts an experiment gone badly wrong: a flask exploding, the alchemist in tattered clothing reacting with terror. His wife in the background, however, is engaged in more prosaic but necessary activities, wiping a child’s soiled bottom. Whilst the scatology in this painting was certainly part of a larger message about the futility of alchemy and Dutch moral topoi, as Drago indicates, it may have also been a satiric comment about the use of faeces in alchemical preparations. As Agnieszka Rec noted, there was a lot of dung in the early modern laboratory; dried horse manure was used for heating; dung was mixed with clay for luting; the philosopher Morienus even described dung as the starting material for the Philosopher’s Stone. “Faeces” could describe distillation dregs. We may well ask, as the artist intended, where the true “gold” was in this alchemist’s life and practice. Needless to say, alchemy in the visual arts is a very fertile area of research (sorry), and any facetiousness aside, Drago’s chapter excels at demonstrating the art-alchemy connections, unearthing true intellectual gold in her erudite assessment of visual culture. This latest production in the Bloomsbury series is similarly golden. It is a nicely produced hardcover book, with attractive illustrations and very fine analyses. It provides an enjoyable introduction to early modern chymistry, whilst also offering something to specialists. I highly commend the volume authors and editors, as well as the series editors for creating a reference source of lasting value to the field.
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Pub Date : 2023-03-03DOI: 10.1080/00026980.2023.2175959
J. Kirby
tant practical knowledge was to rulers and statecraft as part of a princely collection or Kunstkammer. In the fourth and final part, the book moves most explicitly beyond The Body of the Artisan as it reflects Smith’s experience of collaborative research in laboratory reconstruction of instructions fromMs. Fr. 640, a Frenchmanuscript of art and craft practices that forms the core of Smith’s Making and Knowing Project at Columbia University. Here she distills the core insight that the anonymous author-practitioner of this sixteenth-century collection was primarily interested in the categorisation of materials by manipulating, hypothesising, and testing them – a working method that goes well beyond the trial and error typically identified as the artisanalmodus operandi. This may also be the part of the book that speaks most to the interests of the readers of this journal, as it reveals an epistemically productive fascination with material transformation that was the core business of alchemy in the early modern period. This part concludes with a search for alternative formulations to Kunst to describe this cognitive activity, culminating in the final sentence of the book where it is called “material imaginary,” “fundamental structuring categories,” “artisanal epistemology,” and a “mode of work,” among other things. Confronted with the same limitations of language that vexed early modern artisans, Smith is on a similar quest for creative descriptions and translations. Indeed, at its most basic level, the book tries to grasp and make explicit in words what practical knowledge is; and herein lies the most significant difference with Smith’s previous monograph. As the subtitle of The Body of the Artisan: Art and Experience in the Scientific Revolution suggests, it situated artisanal epistemology in relation to science. Traces of this approach remain, but From Lived Experience to the Written Word primarily defines practical knowledge on its own terms. Characteristically, the book ends with an epilogue on “Global Routes of Practical Knowledge” in which Smith starts to undo the Eurocentric assumptions of the concept of the Scientific Revolution. There are books which close the discussion by offering the final word, and others which open fields by drastically altering the terms of discussion. From Lived Experience to the Written Word is a perfectly crafted book belonging to the latter category.
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Pub Date : 2023-02-01DOI: 10.1080/00026980.2023.2192590
Donna Bilak
250 Water Street in New York City marks the location of a former 48,000-squarefoot parking lot in Lower Manhattan currently under construction by the Howard Hughes Corporation, a Texas real estate development agency. Since its purchase in 2018, however, the Howard Hughes Corporation’s massive redevelopment scheme for this lot has experienced continuous setbacks. One problem stems from the construction zone itself. It encompasses the site of the thermometer factory that Giuseppe Tagliabue (1812–1878), an Italian-born, London-trained scientific instrument maker established in 1834. Tagliabue’s first place of business was 240 Water Street. By 1848, he had relocated to nearby 298 Pearl Street where he continued to manufacture thermometers, barometers, and hydrometers on a large scale, and in 1868 Tagliabue purchased and “fitted up” a five-story building at 302 Pearl Street. These addresses lie within a quarter mile of each other. Not only is the ground beneath the Howard Hughes Corporation’s construction site contaminated with mercury, but mercury pollutes the ground beneath and the air above the surrounding neighbourhood as well.
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