Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when we (...) look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation. (shrink)

Reproduction is one of the most persistently generative themes in the history of science and cinema. Cabbage fairies, clones and monstrous creations have fascinated filmmakers and audiences for more than a century. Today we have grown accustomed not only to the once controversial portrayals of sperm, eggs and embryos in biology and medicine, but also to the artificial wombs and dystopian futures of science fiction and fantasy. Yet, while scholars have examined key films and genres, especially in response to the (...) recent cycle of Hollywood ‘mom coms’, the analytic potential of reproduction on film as a larger theme remains largely untapped. This introduction to a special issue aims to consolidate a disparate literature by exploring diverse strands of film studies that are rarely considered in the same frame. It traces the contours of a little-studied history, pauses to consider in greater detail a few particularly instructive examples, and underscores some promising lines of inquiry. Along the way, it introduces the six original articles that constituteReproduction on Film. (shrink)

What is the best way to analyse abstraction in scientific modelling? I propose to focus on abstracting as an epistemic activity, which is achieved in different ways and for different purposes depending on the actual circumstances of modelling and the features of the models in question. This is in contrast to a more conventional use of the term ‘abstract’ as an attribute of models, which I characterise as black-boxing the ways in which abstraction is performed and to which epistemological advantage. (...) I exemplify my claims through a detailed reconstruction of the practices involved in creating two types of models of the flowering plant Arabidopsisthaliana, currently the best-known model organism in plant biology. This leads me to distinguish between two types of abstraction processes: the ‘material abstracting’ required in the production of Arabidopsis specimens and the ‘intellectual abstracting’ characterising the elaboration of visual models of Arabidopsis genomics. Reflecting on the differences between these types of abstracting helps to pin down the epistemic skills and research commitments used by researchers to produce each model, thus clarifying how models are handled by researchers and with which epistemological implications. (shrink)

Case studies of diverse scientific fields show how scientists use a range of resources to generate new interpretative models and to establish their plausibility as explanations of a domain. They accomplish this by manipulating imagistic representations in particular ways. I show that scientists in different domains use the same basic transformations. Common features of these transformations indicate that general cognitive strategies of interpretation, simplification, elaboration, and argumentation are at work. Social and historical studies of science emphasize the diversity of local (...) contexts of practice. However, the existence of common strategies shows that this diversity masks an important repertoire of cognitive strategies. Scientists use this repertoire to adapt their representations to meet the cognitive demands of different contexts of practice. This paper considers the implications of this finding for the notion of scientists as cognitive agents in distributed knowledge-producing systems. (shrink)

The article takes the renewed popularity and interest in epidemiological modelling for Covid-19 as a point of departure to ask how modelling has historically shaped epidemiological reasoning. The focus lies on a particular model, developed in the late 1920s through a collaboration of the former field-epidemiologists and medical officer, Wade Hampton Frost, and the biostatistician and population ecologist Lowell Reed. Other than former approaches to epidemic theory in mathematical formula, the Reed-Frost epidemic theory was materialised in a simple mechanical analogue: (...) a box with coloured marbles and a wooden trough. The article reconstructs how the introduction of this mechanical model has reshaped epidemiological reasoning by shifting the field from purely descriptive to analytical practices. It was not incidental that the history of this model coincided with the foundation of epidemiology as an academic discipline, as it valorised and institutionalised new theoretical contributions to the field. Through its versatility, the model shifted the field’s focus from mono-causal explanations informed by bacteriology, eugenics or sanitary perspectives towards the systematic consideration of epidemics as a set of interdependent and dynamic variables. (shrink)

Although “theory” has been the prevalent unit of analysis in the meta-study of science throughout most of the twentieth century, the concept remains elusive. I further explore the leitmotiv of several authors in this issue: that we should deal with theorizing (rather than theory) in biology as a cognitive activity that is to be investigated naturalistically. I first contrast how philosophers and biologists have tended to think about theory in the last century or so, and consider recent calls to upgrade (...) the role of theory in the life sciences against the background of the recent “data deluge” in molecular biology, systems biology, etc. I then review thinking about theory in biology in relation to physical theory as a positive or negative exemplar. I conclude by discussing various aspects of a positive program for “naturalizing theorizing.”. (shrink)

Representation has been one of the main themes in the recent discussion of models. Several authors have argued for a pragmatic approach to representation that takes users and their interpretations into account. It appears to me, however, that this emphasis on representation places excessive limitations on our view of models and their epistemic value. Models should rather be thought of as epistemic artifacts through which we gain knowledge in diverse ways. Approaching models this way stresses their materiality and media-specificity. Focusing (...) on models as multi-functional artifacts loosens them from any pre-established and fixed representational relationships and leads me to argue for a two-fold approach to representation. (shrink)

In 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated courses in (...) practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete. (shrink)

En este trabajo realizamos una revisión historiográfica sobre la fabricación de anatomías artificiales que fueron ampliamente demandadas como herramientas didácticas en la enseñanza de la naturaleza, entre finales del siglo XVIII y principios del XX. Se analizan los contextos educativos y sociales que favorecieron la amplia difusión de este tipo de artefactos en el comercio de la cultura científica, y se describen las técnicas de manufactura. Se concluye que estos artefactos, fruto del ingenio humano, son fuentes materiales de extraordinario valor (...) para comprender la construcción y evolución de la ciencia, los avances en los recursos pedagógicos y las innovaciones tecnológicas. (shrink)

Scientific inquiry has led to immense explanatory and technological successes, partly as a result of the pervasiveness of scientific theories. Relativity theory, evolutionary theory, and plate tectonics were, and continue to be, wildly successful families of theories within physics, biology, and geology. Other powerful theory clusters inhabit comparatively recent disciplines such as cognitive science, climate science, molecular biology, microeconomics, and Geographic Information Science (GIS). Effective scientific theories magnify understanding, help supply legitimate explanations, and assist in formulating predictions. Moving from their (...) knowledge-producing representational functions to their interventional roles (Hacking 1983), theories are integral to building technologies used within consumer, industrial, and scientific milieus. -/- This entry explores the structure of scientific theories from the perspective of the Syntactic, Semantic, and Pragmatic Views. Each of these views answers questions such as the following in unique ways. What is the best characterization of the composition and function of scientific theory? How is theory linked with world? Which philosophical tools can and should be employed in describing and reconstructing scientific theory? Is an understanding of practice and application necessary for a comprehension of the core structure of a scientific theory? How are these three views ultimately related? (shrink)

ArgumentThe use of diagrams is pervasive in theoretical physics. Together with mathematical formulae and natural language, diagrams play a major role in theoretical modeling. They enrich the expressive power of physicists and help them to explore new theoretical ideas. Diagrams are not only heuristic or pedagogical tools, but they are also tools that enable developing the content of models into novel implications.

Moulages are contact media – images made by contagion in the most literal sense: their production relies on a process in which the object to be reproduced is touched by the reproducing material. In the case of dermatological moulages, the plaster touches the infected skin of the sick and, once dried, serves as the negative form for the waxen image of a disease. Focussing on the collection of the Hôpital Saint-Louis in Paris, the article situates the production of dermatological moulages (...) within the visual culture of 19th-century medicine and raises the question how an ancient technique of image production could become such a prevalent tool for the documentation of skin diseases during a period usually associated with the rise of scientific medicine and a reconsideration of theories of contagion in medical aetiology. (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)

This article explores the problem of the foundation of the European Molecular Biology Organization, by reconstructing a broader institutional framework, which includes other international actors – EURATOM, UNESCO and the International Laboratory of Genetics and Biophysics in Naples – and a relevant, but still neglected figure, the Italian geneticist Adriano Buzzati-Traverso. The article considers the tension between centralized and federal models of organization in the field of life sciences not just as an EMBO internal controversy, but rather as a structural (...) issue of European scientific cooperation in fundamental biology in the early 1960s. Along with EMBO, the article analyzes in particular the EURATOM Biology Division Program and the constitution of UNESCO International Cell Research Organization. Adriano Buzzati-Traverso, as founder of ILGB and scientific consultant of EURATOM and UNESCO, played a crucial role in the complex negotiation which ultimately led to the foundation of EMBO. A synchronic treatment of ILGB, EURATOM, UNESCO-ICRO and EMBO opens a window on the early 1960s institutional configuration of molecular biology in Europe, showing how it basically incorporated the “Cold Spring Harbor” decentralized model rather than reproducing the “CERN” centralized model. (shrink)

Late eighteenth- and early nineteenth-century anatomy depended upon a variety of visual displays. Drawings in books, particularly expensive, beautiful and elaborately illustrated books that have been the objects of historians' fascination, were understood to function alongside chalk drawings done in classrooms, casual and formalized experience with animal and human corpses, text describing or contextualizing the images, and preserved specimens. This article argues that British anatomists of the late Enlightenment discovered and taught an intelligible, orderly Nature through comprehensive systems of display. (...) These systems trained vision, and, taken as a whole, they can be used to understand a visual culture of science. Displays helped anatomists, artists and natural philosophers learn to see both the tiniest and the rarest of parts and an overall general plan of anatomy and relationship of parts. Each type of display was materially different from the others and each served to perfect human vision for a group of natural philosophers who valued sensory experience – primarily that of vision, but also that of touch – as the basis of learning. Together, these displays allowed the anatomist to see, in all of its dimensions, human nature, frozen in the ordered and unstressed state of fresh death, a comprehensible guide to life and its functions. A pedagogical context of use defined and bound such displays together as complementary parts of a unified project. A system of display stood in for Nature and at the same time represented her ordering by anatomists. (shrink)

I develop an account of scientific representations building on Charles S. Peirce's rich, and still underexplored, notion of iconicity. Iconic representations occupy a central place in Peirce's philosophy, in his innovative approach to logic and in his practice as a scientist. Starting from a discussion of Peirce's approach to diagrams, I claim that Peirce's own representations are in line with his formulation of iconicity, and that they are more broadly connected to the pragmatist philosophy he developed in parallel with his (...) scientific work. I then defend the contemporary relevance of Peirce's approach to iconic representations, and specifically argue that Peirce offers a useful ‘third way’ between what Mauricio Suárez has recently described as the ‘analytical’ and ‘practical’ inquiries into the concept of representation. As a philosophically minded scientist and an experimentally inclined philosopher, Peirce never divorced the practice of representing from questions about what counts as a representation... (shrink)

This article looks at how fisheries biologists of the early twentieth century conceptualized and measured overfishing and attempted to make it a scientific object. Considering both theorizing and physical practices, the essay shows that categories and understandings of both the fishing industry and fisheries science were deeply and, at times, inextricably interwoven. Fish were both scientific and economic objects. The various models fisheries science used to understand the world reflected amalgamations of biological, physical, economic, and political factors. As a result, (...) scientists had great difficulty stabilizing the concept of overfishing and many influential scholars into the 1930s even doubted the coherence of the concept. In light of recent literature in history of fisheries and environmental social sciences that critiques the infiltration of political and economic imperatives into fisheries and environmental sciences more generally, this essay highlights both how early fisheries scientists understood their field of study as the entire combination of interactions between political, economic, biological and physical factors and the work that was necessary to separate them. (shrink)

ArgumentI argue through an analysis of spectacle that the relationship between wildlife documentary films’ entertainment and educational mandates is complex and co-constitutive. Accuracy-based criticism of wildlife films reveals assumptions of a deficit model of science communication and positions spectacle as an external commercial pressure influencing the genre. Using thePlanet Earth(2006) series as a case study, I describe spectacle's prominence within the recent blue-chip renaissance in wildlife film, resulting from technological innovations and twenty-first-century consumer and broadcast market contexts. I connect spectacle (...) in contemporary wildlife films to its relevant precursors within natural history, situating spectacle as a central feature of natural history display designed to inspire awe and wonder in audiences. I show that contemporary documentary spectacle is best understood as an opportunity for affective knowing rather than a constraint on accuracy; as a result, spectacle contributes to the virtuous inter-reinforcement of entertainment and education at work in blue-chip wildlife films. (shrink)

ArgumentThis paper brings together the history of risk and the history of DNA repair, a biological phenomenon that emerged as a research field in between molecular biology, genetics, and radiation research in the 1960s. The case of xeroderma pigmentosum (XP), an inherited hypersensitivity to UV light and, hence, a disposition to skin cancer will be the starting point to argue that, in the 1970s and 1980s, DNA repair became entangled in the creation of new models of the human body at (...) risk – what is here conceptually referred to as the vulnerability aspect of body history – and new attempts at cancer prevention and enhancement of the body associated with the new flourishing research areas of antimutagenesis and anticarcinogenesis. The aim will be to demonstrate that DNA repair created special attempts at disease prevention: molecular enhancement, seeking to identify means to increase the self-repair abilities of the body at the molecular level. Prevention in this sense meant enhancing the body's ability to cope with the environmental hazards of an already toxic world. This strategy has recently been adopted by the beauty industry, which introduced DNA care as a new target for skin care research and anti-aging formulas. (shrink)

Preparative and analytical methods developed by separation scientists have played an important role in the history of molecular biology. One such early method is gel electrophoresis, a technique that uses various types of gel as its supporting medium to separate charged molecules based on size and other properties. Historians of science, however, have only recently begun to pay closer attention to this material epistemological dimension of biomolecular science. This paper substantiates the historiographical thread that explores the relationship between modern laboratory (...) practice and the production of scientific knowledge. It traces the historical development of gel electrophoresis from the mid-1940s to the mid-1960s, with careful attention to the interplay between technical developments and disciplinary shifts, especially the rise of molecular biology in this time-frame. Claiming that the early 1950s marked a decisive shift in the evolution of electrophoretic methods from moving boundary to zone electrophoresis, I reconstruct various trajectories in which scientists such as Oliver Smithies sought out the most desirable solid supporting medium for electrophoretic instrumentation. Biomolecular knowledge, I argue, emerged in part from this process of seeking the most appropriate supporting medium that allowed for discrete molecular separation and visualization. The early 1950s, therefore, marked not only an important turning point in the history of separation science, but also a transformative moment in the history of the life sciences as the growth of molecular biology depended in part on the epistemological access to the molecular realm available through these evolving technologies. (shrink)

In this article, I draw on my fieldwork creating protein models of hepatitis B at a biotech laboratory to think through how to approach the body and disease from ontological and phenomenological perspectives. I subsequently draw on Mariella Pandolfi’s work on how bodies can be made to suffer history and Paul Farmer’s work on global tuberculosis disparities to explore ways of analysing embodied activity as a means of identifying and clinically addressing enactments of social inequality and disease. I also introduce (...) Merleau-Ponty’s phenomenological concept of ‘flesh’ as a conceptual heuristic that allows us to understand the meaningful structuring of ontological worlds beyond our own. As I argue, bringing these perspectives together not only allows us to re-envision what an effective disease treatment should be in diverse medical contexts, but also how to better understand health disparities and the nature of disease itself. (shrink)

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various (...) areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate. (shrink)