ABSTRACT This essay offers a chronological survey of the range of songs and musical productions inspired by Darwin and his theory since they entered the public sphere some 150 years ago. It draws on an unusual set of historical materials, including illustrated sheet music, lyrics and librettos, wax cylinder recordings, vinyl records, and video recordings located in digital and sound archives and on the Internet. It also offers a characterization of the varied genres and a literary analysis of the forms (...) as a way of understanding the diverse audiences engaging, and indeed “entertaining,” Darwin and the implications of his theory. It argues that the engagement with Darwin and his celebrated theory is far more creative than has been appreciated and recommends that historians of science further explore Darwin and his theory as embodied in a fuller range of cultural expressions. This will lead to an understanding of Darwin's “iconic” status that draws on a fuller range of human sensory experience and that also enables us to appreciate his—and his theory's—enduring power to engage the human imagination. (shrink)

This paper examines the vital role played by electron microscopy toward the modern definition of viruses, as formulated in the late 1950s. Before the 1930s viruses could neither be visualized by available technologies nor grown in artificial media. As such they were usually identified by their ability to cause diseases in their hosts and defined in such negative terms as “ultramicroscopic” or invisible infectious agents that could not be cultivated outside living cells. The invention of the electron microscope, with magnification (...) and resolution powers several orders of magnitude better than that of optical instruments, opened up possibilities for biological applications. The hitherto invisible viruses lent themselves especially well to investigation with this new instrument. We first offer a historical consideration of the development of the instrument and, more significantly, advances in techniques for preparing and observing specimens that turned the electron microscope into a routine biological tool. We then describe the ways in which the electron microscopic images, or micrographs, functioned as forms of new knowledge about viruses and resulted in a paradigm shift in the very definition of these entities. Micrographs were not mere illustrations since they did the work for the electron microscopists. Drawing extensively on primary publications, we adduce the role of the new instrument in understanding the so-called eclipse phase in virus multiplication and the unexpected spinoffs of data from electron microscopy in naming and classifying viruses. Thus, we show that electron microscopy functioned not only to provide evidence, but also arguments in facilitating a reordering of the world that it brought into the visual realm. (shrink)

Sketched in 1979 by graphic designer Peter Saville, the record sleeve of Joy Division's Unknown Pleasures seemingly popularized one of the most celebrated radio-astronomical images: the ‘stacked plot’ of radio signals from a pulsar. However, the sleeve's designer did not have this promotion in mind. Instead, he deliberately muddled the message it originally conveyed in a typical post-punk act of artistic sabotage. In reconstructing the historical events associated with this subversive effort, this essay explores how, after its adoption as an (...) imaging device utilized in radio astronomy, the stacked plot gave representation to the diplomacy agendas of two distinct groups. The post-punk reworking of the stacked plot exemplified the ambition of this artistic movement to attack the images associated with social conventions and norms by amplifying their ‘semantic noise’, and, in so doing, seeking to negotiate a social space for those sharing these subversive goals. Conversely, radio astronomers used the stacked plot to display the presence of interfering radio transmitters in the frequencies exclusively allocated to astronomical research, thus advocating the removal of this electronic noise in the context of international telecommunication negotiations. The article thus shows how the representation of different types of noise through similar images shaped contrasting ambitions in the separate domains of science diplomacy and everyday diplomacy. (shrink)

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the diplomatic arena. (...) Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended. (shrink)

Thought experiments, models, diagrams, computer simulations, and metaphors can all be understood as tools of the imagination. While these devices are usually treated separately in philosophy of science, this paper provides a unified account according to which tools of the imagination are epistemically good insofar as they improve scientific imaginings. Improving scientific imagining is characterized in terms of epistemological consequences: more improvement means better consequences. A distinction is then drawn between tools being good in retrospect, at the time, and in (...) general. In retrospect, tools are evaluated straightforwardly in terms of the quality of their consequences. At the cutting edge, tools are evaluated positively insofar as there is reason to believe that using them will have good consequences. Lastly, tools can be generally good, insofar as their use encourages the development of epistemic virtues, which are good because they have good epistemic consequences. (shrink)

In the early twentieth century, viruses had yet to be defined in a material way. Instead, they were known better by what they were not – not bacteria, not culturable, and not visible with a light microscope. As with the ill-defined “gene” of genetics, viruses were microbes whose nature had not been revealed. Some clarity arrived in 1929 when Francis O. Holmes, a scientist at the Boyce Thompson Institute for Plant Research reported that Tobacco mosaic virus could produce local necrotic (...) lesions on tobacco plants and that these lesions were in proportion to dilutions of the inoculum. Holmes’ method, the local lesion assay, provided the first evidence that viruses were discrete infectious particles, thus setting the stage for physicochemical studies of plant viruses. In a field where there are few eponymous methods or diseases, Holmes’ assay continues to be a useful tool for the study of plant viruses. TMV was a success because the local lesion assay “made the virus visible” and standardized the work of virology towards determining the nature of the virus. (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)

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)

In this paper, I discuss the development and use of images employed by the Dresden Royal Museum for Zoology, Anthropology and Ethnography to resolve debates about how to use visual representation as a means of making ethnographic knowledge. Through experimentation with techniques of visual representation, the founding director, A.B. Meyer, proposed a historical, non-essentialist approach to understanding racial and cultural difference. Director Meyer's approach was inspired by the new knowledge he had gained through field research in Asia-Pacific as well as (...) new forms of imaging that made highly detailed representations of objects possible. Through a combination of various techniques, he developed new visual methods that emphasized intimate familiarity with variations within any one ethnic group, from skull shape to material ornamentation, as integral to the new disciplines of physical and cultural anthropology. It is well known that photographs were a favoured form of visual documentation among the anthropological and ethnographic sciences at thefin de siècle. However, in the scholarly journals of the Dresden museum, photographs, drawings, tables and etchings were frequently displayed alongside one another. Meyer sought to train the reader's eye through organized arrangements that represented objects from multiple angles and at various levels of magnification. Focusing on chimpanzees, skulls and kettledrums from Asia-Pacific, I track the development of new modes of making and reading images, from zoology and physical anthropology to ethnography, to demonstrate how the museum visually historicized humankind. (shrink)

This paper examines cave environments as unique spaces of knowledge production and shows how visualizations of natural cavities in maps came to be powerful tools in scientific reasoning. Faced with the challenge of limited vision, mapmakers combined empiricism and imagination in an experimental setting and developed specific translation strategies to deal with the uncertain origin of underground objects and the shifting boundaries between the known and the unknown. By deconstructing this type of cartographic representation, which has barely been studied, this (...) paper furnishes surprising insights into the scholarly practices and tools used to deal with this considerable epistemic uncertainty and to signal credibility and trust to potential users. The array of maps used for this study includes both archival and published sources, depicting caves in Europe, America and Siberia. (shrink)

In 1971, Günter Blobel and David Sabatini proposed a novel and quite speculative schematic model to describe how proteins might reach the proper cellular location. According to their proposal, proteins destined to be secreted from the cell contain a “signal” to direct their release. Despite the fact that Blobel and Sabatini presented their signal hypothesis as a “beautiful idea” not grounded in experimental evidence, they received criticism from other scientists who opposed such speculation. Following the publication of the 1971 model, (...) Blobel persisted in conducting experiments and revising the model to incorporate new data. In fact, over the period of 1975–1984, Blobel and colleagues published five subsequent schematic models of the signal hypothesis, each revised based on new laboratory evidence. I propose that the original 1971 model can be viewed as an epistemic creation. Additionally, analysis of the subsequent schematic diagrams over the period of 1975–1984 allows one to track Blobel’s changing conception of an epistemic object over time. Furthermore, the entire series of schematic diagrams presented by Blobel from 1971 to 1984 allow one to visualize the initial conception and subsequent reworking of a scientific theory. In 1999, Blobel was awarded the Nobel Prize in Physiology or Medicine for his work on the signal hypothesis, which was ultimately supported by experimental evidence gathered after the speculative model was published. (shrink)

Summary The young Hermann Helmholtz, in an 1838 letter home, declared that he always appreciated music much more when he played it for himself. Though a frequent concert-goer, and celebrated for his highly influential 1863 work on the physiological basis of music theory, Die Lehre von den Tonempfindungen, it is likely that Helmholtz's enduring engagement with music began with his initial, personal experience of playing music for himself. I develop this idea, shifting the discussion of Helmholtz's work on sound sensation (...) back to its origins, and examine the role of his material interaction with musical instruments and music itself. In his sound sensation studies, Helmholtz understood sound as an external, physical object. But Helmholtz also conceived of sound in musical terms. Further, Helmholtz's particular musical tastes as well as his deeply personal interaction with musical instruments allowed him to reconcile his conception of sound as physical object with his conception of sound as music. Helmholtz's physiological theory of sound sensation was both the product of and constitutive of how he heard and created sound. I argue that Helmholtz himself was the embodied reconciliation of his physiological theory of sound sensation and his belief that musical aesthetics were historically and culturally contingent. (shrink)