VISUAL STUDIES OF SCIENCE
Bill Rankin, with Mario
Biagioli and Jimena Canales, Spring 2005.
I. THEORIES OF THE VISUAL
Phenomenology, Structuralism, and
Post-Structuralism
Arnheim, Rudolf. Visual Thinking.
1969.
Barthes, Roland. Mythologies.
1972.
——— Image, Music, Text. 1977.
——— Camera Lucida. 1981.
Deleuze, Gilles. Cinema 1: The Movement-Image.
1986.
——— Cinema 2: The Time-Image. 1989.
Foucault, Michel. The Birth of the Clinic.
1973.
——— Discipline and Punish. 1977.
Gombrich, Ernst. Art and Illusion: A Study in the
Psychology of Pictorial Representation. 1960.
Goodman, Nelson. Languages of Art: An Approach to a
Theory of Symbols. 1968.
Jay, Martin. Downcast Eyes: The Denigration of Vision
in Twentieth-Century French Thought. 1993.
Levin, David Michael, ed. Modernity
and the Hegemony of Vision. 1993.
Merleau-Ponty, Maurice. “The Primacy of Perception.” in The Primacy of Perception. 1964.
Rajchman, John, “Foucault’s Art of Seeing.” in Philosophical
Events: Essays of the 80’s. 1991.
Silverman, Kaja. The Threshold
of the Visible World. 1996. (last section)
Damisch, Hubert. The Origin of
Perspective. 1987.
Elkins, James. The Poetics of Perspective. 1994.
Galison, Peter. “Judgement Against
Objectivity.” in Picturing Science, Producing Art. 1998.
Panofsky, Erwin. Perspective as
“Symbolic Form.” 1927.
Pomian, Krzysztof. “Vision
and Cognition.” in Picturing Science, Producing Art. 1998.
Smith, Pamela. The Body of the Artisan. 2004.
Stafford, Barbara. Artful Science: Enlightenment,
Entertainment, and the Eclipse of Visual Education. 1994.
II. HISTORY/THEORY OF MEDIA AND MEDIATION
“Media Theory” and
its Discontents
Adorno, Theodor. The Culture
Industry. 1991. [c.1938].
Attali, Jacques. Noise: The Political Economy of
Music. 1977.
Benjamin, Walter. “The Task of the
Translator.” in Illuminations. [1923].
——— “The Work of Art in the Age of Mechanical
Reproduction.” in Illuminations. [1936].
Corbin, Alain. The Foul and the Fragrant: Odor and the
French Social Imagination. 1986.
——— Time, Desire, and Horror: Toward a History of the
Senses. 1995.
——— Village Bells: Sound and Meaning in the
Nineteenth-Century French Countryside. 1999.
Ellul, Jacques. The Technological
Society. 1964.
Flusser, Vilém. Towards a Philosophy
of Photography. 1983.
* Fox Talbot, William Henry. The
Pencil of Nature. 1844.
Frosh, Paul. The Image Factory: Consumer Culture,
Photography and the Visual Content Industry. 2003.
Fyfe, Gordon. “Art and its Objects:
William Ivins and the Reproduction of Art.” in Picturing Power.
1988.
Gitelman, Lisa. Scripts, Grooves, and Writing
Machines: Representing Technology in the
Ivins, William. Prints and Visual
Communication. 1969.
Kittler, Friedrich. Gramophone,
Film, Typewriter. 1997.
McLuhan,
——— Understanding Media. 1964.
Oetterman, Stephan. The Panorama: History of a Mass
Medium. 1997. [1980].
Ong, Walter. “Ramist Method and the
Commerical Mind” in Studies in the Renaissance 8 (1961).
Schwartz, Vanessa. Spectacular Realities: Early Mass
Culture in Fin-de-Siècle
Sterne, Jonathan. The Audible Past: Cultural Origins
of Sound Reproduction. 2003.
Printing and “Print Culture”
Bloch, R. Howard and Carla Hesse,
eds., Future Libraries (Representations 42; Spring 1993).
Eisenstein,
Johns,
——— “Science and the Book in Modern Cultural Historiography.”
SHPS 29 (1998).
Kusukawa, Sachiko. “Illustrating
Nature.” in Books and the Sciences in History. 2000.
McKitterick, Rosamond. “Books and Sciences Before Print.” in Books and the Sciences in History.
2000.
Secord, James. Victorian Sensation: The
Extraordinary Publication, Reception, and Secret Authorship of “Vestiges of the
Natural History of Creation.” 2000.
Shapin, Steven. “Pump and
Circumstance: Robert Boyle’s Literary Technology” in Social Studies of
Science 14 (1984).
Yeo, Richard. “Encyclopedic Knowledge.”
in Books and the Sciences in History. 2000.
Museums and Archives
Bann, Stephen. “‘Views of the Past’: Reflections on the
Treatment of Historical Objects and Museums of History (1750-1850).” in Picturing
Power. 1988.
Biagioli, Mario. “Confabulating
Jurassic Science.” in Technoscientific
Imaginaries. 1995.
Bourdieu, Pierre and Hans Haacke. Free Exchange. 1995.
Haraway, Donna. “Teddy-Bear Patriarchy:
Taxidermy in the Garden of Eden, New York City, 1908-1936.” in Primate
Visions. 1989.
Lenoir, Timothy. “The Naturalized History Museum.” in The Disunity of Science. 1996.
Mitchell, Timothy. “Orientalism and the
Exhibitionary Order.” in Colonialism and
Culture. 1992.
Pomian, Krzysztof. Collectors and Curiosities. 1990.
Sekula, Allan. “The Body and the Archive.” in October
39, 1986, 3-64.
* Sheldon, William. Atlas of Men: A Guide for
Somatotyping the Adult Male at All Ages. 1954.
Starn, Randolph. “A Historian’s Brief Guide to New
Museum Studies.” in AHR 110 (2005).
III. INSCRIPTION AND
REPRESENTATION IN SCIENCE STUDIES
Giere, Ronald. “Visual Models and
Scientific Judgment.” in Science without Laws. 1999.
Haraway, Donna. “The Biopolitics of
Postmodern Bodies.” in Differences 1 (1989).
Latour, Bruno. Laboratory Life. 1979.
Law, John and John Whittaker. “On
the Art of Representing.” in Picturing Power. 1988.
Lenoir, Timothy. “Inscription Practices
and Materialities of Communication.” in Inscribing Science. 1998.
Lynch, Michael and John Law. “Picture,
Texts, and Objects [bird guides].” in The
Science Studies Reader. 1988.
Lynch, Michael. “The Production of
Scientific Images.” in Communication and Cognition 31 (1998).
——— “Discipline and the Material Form of Images.” in Social
Studies of Science 15 (1985).
——— “Science in the Age of Mechanical Reproduction.” Biology and Philosophy 6 (1991).
——— “Representation is Overrated.” in Configurations
2 (1994).
Pang, Alex Soojung-Kim. “Visual
representation and post-constructivist history of science.” HSPS 28 (1997).
Rheinberger, Hans-Jörg. “Experimental
Systems, Graphematic Spaces.” in Inscribing Science. 1998.
IV. SCIENTIFIC IMAGE-MAKING
Visual Demonstration and Non-Verbal
“Vocabulary”
Hankins, Thomas and Robert Silverman,
“The Magic Lantern and the Art of Scientific Demonstration.” in Instruments
and the Imagination. 1995.
Rudwick, Martin. “The Emergence of a
Visual Language for Geological Science 1760-1840.” in History of Science
14 (1976).
Kaiser, David. “Stick-Figure Realism:
Convention, Reification, and the Persistence of Feynman Diagrams, 1948-1964.”
in Representations 70
(2000).
Klein, Ursula. Experiments, Models, Paper Tools:
Cultures of Organic Chemistry in the Nineteenth Century. 2003.
Mitman, Gregg. “Cinematic Nature,
——— Reel Nature:
Rotman, Brian. “Thinking Dia-Grams.” in The Science Studies Reader. 1995.
Secord, Anne. “Botany on a Plate:
Pleasure and the Power of Pictures in Promoting Early Nineteenth-Century
Scientific Knowledge.” in
Tucker, Jennifer. “Photography as
Witness, Detective, and Impostor: Visual Representation in Victorian Science.”
in Victorian Science in Context. 1997.
Graphs and Thematic Maps
Bruno, Giuliana. Atlas of Emotion.
2002. (chapter 7, on emotional maps)
Funkhouser, H. Gray. “Historical Development
of the Graphical Representation of Statistical Data.” in Osiris 3
(1937).
Hankins, Thomas. “Blood, Dirt, and
Nomograms: A Particular History of Graphs.” in
* Marey, E. J. La méthode graphique dans les sciences
expérimentales. 1878.
Monmonier, Mark. Air Apparent: How Meteorologists
Learned to Map, Predict, and Dramatize Weather. 1999.
Robinson, Arthur. Early Thematic
Mapping in the History of Cartography. 1982.
Tilling, Laura. “Early
Experimental Graphs.” in British Journal for the History of Science 8
(1975).
Tufte, Edward. The Visual Display of
Quantitative Information. 1983.
——— Envisioning Information. 1990.
——— Visual Explanations. 1997.
Auto-Inscription: Helmholtz and Marey,
Physiology and Physics
Brain, Robert. “Standards and Semiotics.”
in Inscribing Science. 1998.
Brain, Robert and M. Norton Wise. “Muscles and Engines: Indicator Diagrams and Helmholtz’s Graphical Methods.” in The Science Studies Reader. 1994.
Braun, Marta. Picturing Time: The
Work of Etienne-Jules Marey. 1992.
Chadarevian, Soraya de. “Graphical
Method and Discipline: Self-Recording Instruments in Nineteenth-Century
Physiology.” in SHPS 24 (1993).
Douard, John W. “E.-J. Marey’s Visual Rhetoric and the
Graphic Decomposition of the Body.” Studies in History and
Philosophy of Science. 1995.
Holmes, Frederic L., and Kathryn M.
Olesko. “The Images of Precision: Helmholtz and the Graphical Method in
Physiology.” in The Values of Precision. 1995.
Lenoir, Timothy. “Helmholtz and
the Materialities of Communication.” in Osiris 9 (1994).
——— “The Politics of Vision: Optics, Painting, and
Ideology in Germany, 1845-1895.” in Instituting Science.
1997.
* Marey, E. J. La machine animale, locomotion
terrestre et aérienne. 1873.
* Muybridge, Eadweard. Descriptive
Zoopraxography. 1893.
Rabinbach, Anson. “Time and Motion: Etienne-Jules Marey
and the Mechanics of the Body.” in The Human
Motor. 1990.
Snyder, Joel. “Visualization and
Visibility.” in Picturing Science, Producing Art. 1998.
Microscopy and Telescopy as Extensions of the
Senses
Canales, Jimena. “Photogenic Venus: The
‘Cinematographic Turn’ and its Alternatives in Nineteenth-Century France.” in
Dennis, Michael. “Graphic
Understanding: Instruments and Interpretation in Robert Hooke’s Micrographia.” in Science in Context 3
(1989).
* Frankel, Felice. Envisioning
Science: The Design and Craft of the Science Image. 2002.
Freedberg, David. “The Case of the
Urban Bee.” in Picturing Science, Producing Art. 1998.
Holmberg, Gustav “Mechanizing the Astronomer’s Vision: On
the Role of Photography in Swedish Astronomy, c. 1880-1914.” in Annals of
Science 53 (1996).
Rasmussen, Nicolas. Picture Control: The Electron
Microscope and the Transformation of Biology. 1997.
Schaffer, Simon. “On Astronomical
Drawing.” in Picturing Science, Producing Art. 1998.
——— “Astronomers Mark Time: Discipline and the Personal
Equation.” in Science in Context 2 (1988).