: This essay addresses the difficulties that sociology as a discipline continues to experience in grasping the relations between technology, science and the social. I argue that these difficulties stem from a resolute centering of sociology on the social, which follows a generically Durkheimian blueprint. I elaborate a response to these difficulties which derives from recent lines of work in science and technology studies, and which entails a decentering of the social relative to the material and the conceptual, in terms (...) of both objects of analysis and explanatory formats. In order to display the direct sociological relevance of this approach, I move to the macro level, developing the conceptual apparatus of a decentered social theory via the discussion of a historical example of major sociological significance—the systematic gearing together of scientific research, technological innovation and industrial production that originated in the synthetic dye industry in the second half of the nineteenth century. Besides the interest of the topic itself, the aim is thus to exemplify in some detail what a decentered sociology might look like, both empirically and conceptually. (shrink)

Organic chemistry provides fertile ground for scholars interested in understanding the role of non-linguistic representations in scientific thinking. In this discipline, it is not plausible to regard diagrams as simply heuristic aids for expressing or applying what is essentially a linguistic theory. Instead, it is more plausible to think of linguistic representation as supplementing theories whose principal expression is diagrammatic. Among the many sorts of diagrams employed by organic chemists, structural formulas are the most important. In this paper, by examining (...) two central episodes in the development of structural formulas—Kekulé’s proposal of a structure for benzene and Ingold’s explanation of dipole moments in terms of ‘mesomerism’—I investigate how the norms for the production and interpretation of structural formulas evolve in response to experimental results and theoretical developments. I conclude that one principal way in which structural formulas embody the theory of organic chemistry is through these evolving norms. (shrink)

This article examines the revisionist role that current debates and philosophical positions on extended cognition might play for the historian of science, and uses as its case study August Kekulé’s formulation of the benzene molecule’s structure, including the dreams that Kekulé reported as the origin of his model. It builds on the notion of engaging philosophical positions through the historiography of nineteenth-century chemistry, but also examines some of the implications of the history of science for extended cognition. While an extended (...) cognition approach to Kekulé’s use of graphics and visual materials is promising, I argue that there is less usefulness for the idea of collective cognition. Instead I advocate using detailed historical studies to test theories of extended cognition. (shrink)

A selective history of the benzene problem is presented, starting with August Kekulé's proposal of a hexagonal structure in 1865 and his hypothesis of 1872 that the carbon–carbon bonds oscillate between single and double. Only those theories are included that were accepted or at least discussed by a significant number of chemists. Special attention is given to predictions, their empirical tests, and the effect of the outcomes of those tests on the reception of the theories. At the end of the (...) period covered by this article, chemists generally accepted the valence bond theory proposed by Linus Pauling; some of them considered this a more sophisticated version of Kekulé's oscillation hypothesis. The sequel describes the replacement of the valence bond theory by the molecular orbital theory in the period ending around 1980. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well as (...) the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)