List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

In this essay I revisit The Prince and the Discourses and argue that across the design of these two texts on the theme of conspiracy Machiavelli constructs an ambush on Medici princes. I reconsider Mary Dietz's (1986), and Langton's and Dietz's (1987) suggestion that Machiavelli's The Prince was a deceptive political act through an exploration of the link Dietz and Sheldon Wolin (2004) draw between Machiavelli's method and Renaissance artistry. I suggest that Machiavelli applied a one-point linear perspective – a (...) scientific and visual method of pictorial representation and geometrical modelling that emerged for the first time in the Renaissance – to the political field. I test this hypothesis on the theme of conspiracy in Machiavelli’s work by arguing that The Prince ultimately presents one vantage point – that of the prince – while the Discourses offers another – that of the conspirators. I argue that a blind spot is created by these two texts when they are jointly considered: conspirators seduced, recruited, and trained by the Discourses eliminate a prince caught off guard for having followed the advice on conspiracy in The Prince. (shrink)

Modernite, uzun bir zamandır tüm dünyada, Avrupa-merkezci bir ideolojiyle suç ortaklığı yapmasına ve özünde barındırdığı çelişkilerin bağdaşmazlığına rağmen, bilgi üretimi ve disiplinlerin teorik çerçevesini belirlemede hâkim paradigma olmayı sürdürmektedir. Avrupa-merkezci ideolojiyle girişilen suçun iştirakçilerinden bir diğeri de, modernliğin kendi kendini gözleme tarzı olarak ve onunla birlikte gelişen, aralarında totolojik bir görünüm sergileyen sosyolojidir.Modernitenin özünde barındırdığı çelişkilerin bağdaşmazlığı, yadsıma, inkâr vs. ötekileştirme nosyonunu kaçınılmaz kılar.Sosyolojik literatürde ötekileştirme, özcü bir yaklaşımla Batıda yaşanan tarihsel sürecin tek doğru ve evrensel olduğu iddiasıyla geliştirilen tarih (...) yazımında, sömürgeleştirme faaliyetlerine koşut olarak geliştirilen oryantalist söylemde, ideal tiplerin oluşturulması gibi konularda referans noktası olmuştur.Bu makale, modernite ve sosyolojideki teorik çerçeve ve anlatının Avrupa-merkezci bir söylem barındırmasındanhareketle post-kolonyal teoriye göreeleştirisini yapmayı amaçlamaktadır.Ötekileştirmeyen bir paradigmanın izini sürerken post-kolonyal teorinin karşılaştığı zorluklar ve açmazlarıortaya koymak da bu çalışmanın bir diğer amacı olacaktır.Çalışma, post-kolonyal teorinin sosyolojideki oryantalist söylem üzerinden hâkim paradigmayı eleştirirken self-oryantalizmin ağına düştüğü hususları belirtmek suretiyle özgün olmayı hedeflemektedir. (shrink)

Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...) Bibliothek in Hamburg, and analyzes the role of Ernst Cassirer’s philosophy of symbolic forms for the members of the Warburg circle. Does perspective meet the requirements for becoming a further “symbolic form,” beyond those outlined by Cassirer? The article argues that, ultimately, perspective cannot possibly be a symbolic form; not because it does not meet Cassirer’s philosophical requirements, but rather, because that would uproot Cassirer’s overall project. While revisiting Panofsky with Cassirer unearths the wide-raging philosophical implication of the essay, revisiting Cassirer with Panofsky means to highlight the fundamentally perspectival nature of all symbolic forms. (shrink)

The claim of metabletic phenomenology about the changing nature of reality is a claim about the relation etween humanity and reality. First, it indicates that reality is a reflection of human life. Second, metabletic phenomenology indicates that the mirror relation between humanity and reality is one of participation. The example of linear perspective painting will illustrate these points. In turn, four psychological themes are identified in Van den Berg's work. The first and second themes concern, respectively, the character and place (...) of psychological reality. Themes three and four are addressed to the inherently therapeutic and ethical dimensions of Van den Berg's psychology. (shrink)

The ArgumentThere can be no doubt about the moral and epistemological significance of what Shapin calls the “physical place” of the scientific laboratory. The physical place is defined by the locales, barriers, ports of entry, and lines of sight that bound the laboratory and separate it from other urban and architectural environments. Shapin's discussion of the emergence of the scientific laboratory in seventeenth-century England provides a convincing demonstration that credible knowledge is situated at an intersection between physical locales and social (...) distinctions. In this paper I take up Shapin's theme of the “siting of knowledge production,” but I give it a different treatment – one based on ethnomethodological studies of work. Without denying all that can be witnessed in the spectacle of the scientist at the bench and of the architectural habitat of the bench, I argue that the “place” of scientific work is defined by locally organizedtopical contextures. The paper describes two examples of such spatial orders – “opticism” and “digitality” – associated with distinct complexes of equipment and practice. These topical spaces might initially be viewed as “ideal” or “symbolic” spaces, but I argue that they are no less material than the “physical setting” of the laboratory; indeed, they are the physical setting. (shrink)

“Although up to now the [visual] image has been [understood as] a construct of reason,” Kepler observes in the fifth chapter of his Ad Vitellionem Paralipomena, “henceforth the [visible] representations of objects should be considered as paintings [ picturae ] that are actual[ly projected] on paper or some other screen.” While not intended as a historical generalization, this claim nonetheless reflects historical reality. Virtually all visual theorists before Kepler did, in fact, conceive of optical images as subjective, not objective constructs (...) – or, to put it in modern terms, as virtual rather than real entities. By current lights, of course, the distinction between virtual and real images is both obvious and common-place: whereas the latter can be physically projected upon a screen, the former cannot. (shrink)

Sociologists, philosophers and historians of science are gradually recognizing the importance of visual representation. This is part of a more general movement away from a theory-centric view of science and towards an interest in practical aspects of observation and experimentation. Rather than treating science as a matter of demonstrating the logical connection between theoretical and empirical statements, an increasing number of investigations are examining how scientists compose and use diagrams, graphs, photographs, micrographs, maps, charts, and related visual displays. This paper (...) focuses on diagrams in biology, and tries to demonstrate how diagrams are an integral part of the production of scientific knowledge. In order to disclose some of the distinctive practical and analytical uses of diagrams, the paper contrasts the way diagrams and photographs are used in biological texts. Both diagrams and photographs are shown to be “constructions” that separately and together mediate the investigation of scientific phenoman. (shrink)

During the interwar period, the encyclopaedia became a popular educative instrument for demonstrating knowledge. Within the field of cultural internationalism, the pioneer of documentation Paul Otlet redefined the encyclopaedia as a documentary product or as we would say today a "multi-media" product. This article discusses the exchange of ideas between Otlet, Patrick Geddes and Otto Neurath and shows how the graphic and scenographic demonstration of encyclopaedic knowledge at the beginning of the twentieth century applied the values of scientiic universalism to (...) programs of international education and cultural reform. (shrink)

The author of the present paper argues that while trying to explain the institutional success of the science and its broad social impact, it is worth throwing aside the arguments concerning the universal traits of human nature, changes in the human mentality, or transformation of the culture and civilization, such as the development of capitalism or bureaucratic power. In the 16th century no new man emerged, and no mutants with overgrown brains work in modern laboratories. So one must also reject (...) the Great Divide between the cultures of the scientific and pre-scientific and replace it with multiple, uncertain and unexpected ‘not-so-great divides’, which can be described in meticulous anthropological studies. Although the achievements of science are certainly spectacular, and the gap between scientific practice and other areas of activity is so obvious, this does not mean that one must look for the \"great\" reasons behind this situation. One should rather focus on quite down-to-earth practices and tools used by scientists. A significant part of their activities can be described by referring to the craft of writing, reading and transforming of various types of inscriptions (records), and broadly understood visualization – their combining, performing, interpreting, confronting, comparing, shifting, shuffling etc. The important role of these tools and methods is especially visible in situations of scientific controversy. It is so because scientific controversies are won by the one able to muster on the spot the largest number of well aligned and faithful allies, and the technology of writing, printing and visualizing play a special role in mobilizing them. These are necessary to ensure that certain factors can be mobile – easy to move from place to place, and yet, immutable – not undergoing deformation as a result of the movement. This way, scientists are able to not only diffuse different types of factors relevant to the dispute and the process of constituting science, but also concentrate them in the centers of calculation, where, through accumulation, one can take actions not available elsewhere. (shrink)