ABSTRACT An overview of some of the main modes of making images of natural objects and processes, as they have appeared in the history of science, leads to two main conclusions. First, the dichotomies that have traditionally distinguished, for example, art from science, museums from laboratories, and geometrical from algebraic methods have produced a poverty of understanding of visualization. It is at the intersections of these dichotomies where much of the creative work of science occurs, and it is into those (...) intersections that this Focus section leads us. Second, the section suggests that we need to understand images as arguments. Generalizing, we need to develop a “materialized epistemology” that reunites sensual with ideational knowing. Recent work in the history of science is already pointing the way and producing a dramatically new historiography. (shrink)

ArgumentIn the winter of 1849–1850 in Königsberg, German physiologist Hermann von Helmholtz (1821–1894) conducted pioneering measurements concerning the propagation speed of stimulations in the living nerve. While recent historians of science have paid considerable attention to Helmholtz's uses of the graphic method, in particular his construction of an instrument called “myographion,” this paper draws attention to theinscription surfacesthat he used in effective ways for capturing and transmitting his findings. Against the background of recent archival findings, I show that Helmholtz used (...) isinglass copies of his graphical recordings in order to communicate the basic principle of previous measurements to the academic public. As the correspondence with his Berlin-based friend and colleague Emil du Bois-Reymond (1818–1896) and the subsequent development of the myographion make clear, these curves were not meant as measurements but functioned as demonstrations. In other words, Helmholtz's curves did provide “images of precision” (Olesko and Holmes 1993) – but they were not precise images. (shrink)

ArgumentThis paper arrives at a normative position regarding the relevance of Henri Bergson's philosophy to historical enquiry. It does so via experimental historical analysis of the adaptation of cinematographic devices to physiological investigation. Bergson's philosophy accorded well with a mode of physiological psychology in which claims relating to mental and physiological existence interacted. Notably however, cinematograph-centered experimentation by British physiologists including Charles Scott Sherrington, as well as German-trained psychologists such as Hugo Münsterberg and Max Wertheimer, contributed to a cordoning-off of (...) psychological from physiological questioning during the early twentieth century. Bergson invested in a mode of intellectual practice in which psychological claims had direct relevance to the interpretation of physiological nature. The in-part cinematograph-inspired breakdown of this mode had significance for subsequent interpretations of his philosophy. It is suggested that this experimental particularization of Bergson's contentions indicates that any adaptation of his thought for historical enquiry must be disciplinarily specific. (shrink)

During the nineteenth century physiologists and clinicians developed several graphical recording systems for the mechanical registration of heart sounds. However, none of these replaced traditional methods of auscultation. The paper describes criticism of the aural sense as one of the driving forces behind the development of phonocardiography and analyses its variants from a technological and clinical perspective. Against the background of the physiological “method of curves,” the parameters that prevented the implementation of phonocardiography against overwhelming odds are highlighted. Contemporaries denied (...) specific evidence beyond auscultation. Many clinicians also feared that the art of auscultation was being undermined by the new, reproducible mechanical methods. The paper argues that phonocardiography was on the one hand regarded as impractical in clinical settings; on the other hand—and even more important—implicit practices, tacit knowledge and cultural models fostered skepticism against the new method. The argument of “self-evidence”—often connected to medical images, curves, graphs or tables—was not valid for the visualization of cardiac sounds in the opinion of the promoters of acoustic heart sound registration and its individual interpretation. Rather, the acts of subjective hearing and objectively reporting what was heard seemed “self-evident” for pathophysiological characteristics and the development of a diagnosis. Therefore, auscultation and phonocardiography coexisted with different emphases. While auscultation remained the method of choice for a bedside diagnosis, phonocardiography played its role in differential diagnostics or research settings. (shrink)

After 1900, the selective breeding of a few standard animals for research in the life sciences changed the way science was done. Among the pervasive changes was a transformation in scientists' assumptions about relationship between diversity and generality. Examination of the contents of two prominent physiology journals between 1885 and 1900, reveals that scientists used a diverse array of organisms in empirical research. Experimental physiologists gave many reasons for the choice of test animals, some practical and others truly comparative. But, (...) despite strong philosophical differences in the approaches they represented, the view that it was best to incorporate as many species as possible into research on physiological processes was widespread in both periodicals. Authors aimed for generality, but they treated it as a conclusion that would or would not follow from the examination of many species. After 1900, an increasing emphasis on standardization, the growth of the experimental method and the growing industrialization of the life sciences led to a decline in the number of species used in research. In this context, the selective breeding of animals for science facilitated a change in assumptions about the relationship between generality and diversity. As animals were increasingly viewed as things that were assumed to be fundamentally similar, scientific generality became an a priori assumption rather than an empirical conclusion. (shrink)

In this paper I examine the notion and role of metaphors and illustrations in Maxwell's works in exact science as a pathway into a broader and richer philosophical conception of a scientist and scientific practice. While some of these notions and methods are still at work in current scientific research-from economics and biology to quantum computation and quantum field theory-, here I have chosen to attest to their entrenchment and complexity in actual science by attempting to make some conceptual sense (...) of Maxwell's own usage; this endeavour includes situating Maxwell's conceptions and applications in his own culture of Victorian science and philosophy. I trace Maxwell's notions to the formulation of the problem of understanding, or interpreting, abstract representations such as potential functions and Lagrangian equations. I articulate the solution in terms of abstract-concrete relations, where the concrete, in tune with Victorian British psychology and engineering, includes the muscular as well as the pictorial. This sets the basis for a conception of understanding in terms of unification and concrete modelling, or representation. I examine the relation of illustration to analogies and metaphors on which this account rests. Lastly, I stress and explain the importance of context-dependence, its consequences for realism-instrumentalism debates, and Maxwell's own emphasis on method. (shrink)