When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ and (...) explain how works of art achieve their effects. Physiological aesthetics provided the terms for new formalist languages of art and criticism, and in some instances suggested optimistic, even utopian, possibilities for art to remake human individuals and societies.Keywords: Physiology; Psychology; Evolution; Aesthetics; Modernism; Art history. (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)

With studies like Discourse Networks 1800/1900 and Gramophone, Film, Typewriter, Friedrich A. Kittler contributed significantly to transforming the history of media into a vital field of inquiry. This essay undertakes to more precisely characterize Kittler’s historiographical approach. When we look back on his early contributions to studies of the relationship between literature, madness and truth – among others, his doctoral dissertation on the Swiss poet and writer Conrad Ferdinand Meyer – what strikes us is the significance that Jacques Lacan’s structuralist (...) psychoanalysis had in shaping the orientation of Kittler’s later studies. His intensive engagement with Lacan galvanized Kittler’s concern with the question of sex and/or gender in the evolution of the humanities as well as his concern with the media history of the university. At the same time, Kittler’s reliance on Lacan led him to a kind of history that is interested above all in the internal logic of discourse. As we see, for instance, in Kittler’s anecdotic treatment of 19th-century physiologist Hermann von Helmholtz, this historiography does not involve any original research in archives and/or museums. Rather, it builds upon existing historical accounts and focuses its analyses on the issue of symbolic structures. Instead of investigating the history of the material culture of science and technology, what is thereby ultimately reinforced is a philosophical idealism in which knowledge and paranoia become superimposed in and by means of an ‘original syntax’ (Lacan). (shrink)

With the introduction of the technique of auscultation in nineteenth-century medicine, the auditory became a most important means of producing diagnostic knowledge. The correct classification and interpretation of the sounds revealed by auscultation, however, remained an issue of negotiation and often controversy throughout the mid-nineteenth century. This article examines the codification of lung sounds within two cultural and geographic contexts: first, the original approach as it was developed by Laennec and his followers in Paris that came to be dominant in (...) French medicine, and second, the alternative approach that grew out of Joseph Skoda’s reception of Laennec’s method in Vienna and became widely adopted in the German-speaking world. On one hand, it will be argued that lung sound classifications attempted a standardization of the perception and the interpretation of auscultation sounds. On the other hand, it will be shown that the development of auscultation sounds was shaped by the local context in which it took place. This article seeks to shed light on the way in which auditory experiences were instrumentalized for epistemic purposes in medicine. Furthermore, it discusses the role of standardization both as a mechanism for the universalization of knowledge and as a contextually bounded practice. (shrink)

In 1880, Charles Darwin publishedThe Power of Movement in Plants, a heavy volume of nearly six hundred pages in which he presented the results of many years of experiments conducted with his son Francis on the reaction of plants to the influence of light and gravity. His results contradicted the observations and explanations of the same phenomena offered by the German plant physiologist Julius Sachs in his influentialLehrbuch der Botanik(1868, English translation 1875). Darwin wished rather to ‘convert him than any (...) other half-dozen botanies put together’. Sachs, however, regarded Darwin's work with contempt. Taking up the topic in hisVorlesungen über Pflanzenphysiologiein 1882 and taking issue especially with Darwin's experiments on the movement of root radicles in reaction to gravity, he remarked sharply: In such experiments with roots not only is great precaution necessary, but also the experience of years and extensive knowledge of vegetable physiology, to avoid falling into errors, as did Charles Darwin and his son Francis, who, on the basis of experiments which were unskilfully made and improperly explained, came to the conclusion, as wonderful as it was sensational, that the growing point of the root, like the brain of an animal, dominates the various movements in the root. (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)

Epistemological considerations of philosophers and scientists from the late nineteenth century to the mid-twentieth century guided Brazilian physiologist Miguel Ozório de Almeida in formulating his researches and participating in national and international scientific debates. With his siblings, Álvaro Ozório de Almeida and Branca de Almeida Fialho, he participated in debates on Brazilian educational and scientific system’s reform and in international organizations. The family’s residence in Rio de Janeiro housed a laboratory that became a reference in experimental physiology researches in Brazil. (...) This article aims to present Miguel Ozório de Almeida’s conception of science, constructed mainly within the private laboratory’s sociability, providing new aspects of scientific work production in Brazil in the early twentieth century. I argue that Ozório de Almeida’s stand as an internationalist physiologist in national and international contexts was related to his reading of texts by Ernest Mach, Pierre Duhem, Henri Poincaré and William James. (shrink)

This article introduces Turing’s idea of a “paper machine” to identify and understand one important mode of clinical research in the modern hospital, how that research worked, and how office technology and industrialized labor shaped and helped drive it. The unusually rich archives of Berlin psychiatry allow detailed reconstruction of the making of the new diagnostic category “hyperkinetic syndrome” in the 1920s. From the generating of data to the processing of information to the visualizing of the nature and course of (...) the new syndrome in the lives of more than sixty patients, this case study shows how clinical research could be based on the apparatus of the clerks’ room (folders, registers, inventories, and the dispatch of documents), office technologies (new filing systems, preprinted forms, and duplicating machines), and the principles and paper practices of the division and rationalization of labor (charts organizing worktime in complex organizations). The result is an important example of clinical research embedded in the broader history of office technology, industrial labor, and the modern hospital. (shrink)

ArgumentThis article explores the entangled histories of three imaging techniques in early nineteenth-century British physical science, techniques in which a dynamic event (such as a sound vibration or an electric spark) was made to leave behind a fixed trace on a sensitive surface. Three categories of “sensitive surface” are examined in turn: first, a metal plate covered in fine dust; second, the retina of the human eye; and finally, a surface covered with a light-sensitive chemical emulsion (a photographic plate). For (...) physicists Michael Faraday and Charles Wheatstone, and photographic pioneer William Henry Fox Talbot, transient phenomena could be studied through careful observation and manipulation of the patterns wrought on these different surfaces, and through an understanding of how the imaging process unfolded through time. This exposes the often-ignored materiality and temporality of epistemic practices around nineteenth-century scientific images said to be “drawn by nature.”. (shrink)

ArgumentDarwin's narrative of the earthquake at Concepción, set within the frameworks of Lyellian uniformitarianism, romantic aesthetics, and the emergence of geology as a popular science, is suggestive of the role of the sublime in geological enquiry and theory in the early nineteenth century. Darwin'sBeaglediary and later notebooks and publications show that the aesthetic of the sublime was both a form of representing geology to a popular audience, and a crucial structure for the observation and recording of the event from the (...) beginning. The awesome spectacle of the earthquake proved in turn the magnitude of the forces at stake in earth history, and helped to make geology an epic conjoining the history of civilization with the history of the earth. (shrink)