According to ‘standard histories’ of nanotechnology, the colorful pictures of atoms produced by scanning probe microscopists since the 1980s essentially inspired visions of molecular nanotechnology. In this paper, I provide an entirely different account that, nonetheless, refers to aesthetic inspiration, First, I argue that the basic idea of molecular nanotechnology, i.e., producing molecular devices, has been the goal of supramolecular chemistry that emerged earlier, without being called nanotechnology. Secondly, I argue that in supramolecular chemistry the production of molecular devices was (...) inspired by an aesthetic phenomenon of gestalt switch, by certain images that referred to both molecules and ordinary objects, and thus symbolically bridged the two worlds. This opened up a new way of perceiving and drawing molecular images and new approaches to chemical synthesis. Employing Umberto Eco’s semiotic theory of aesthetics, I analyze the gestalt switch and the inspiration to build molecular devices and to develop a new sign language for supramolecular chemistry. More generally, I argue that aesthetic phenomena can play an important role in directing scientific research and that aesthetic theories can help understand such dynamics, such that they need to be considered in philosophy of science. (shrink)

Imag(in)ing the Nano-scale: Introduction Content Type Journal Article Category Introduction Pages 159-163 DOI 10.1007/s11569-011-0127-x Authors Rasmus Tore Slaattelid, Centre for the Study of the Sciences and the Humanities, University of Bergen, Pb. 7805, 5020 Bergen, Norway Fern Wickson, GenØk Centre for Biosafety, PB 6418, 9294 Tromsø, Norway Journal NanoEthics Online ISSN 1871-4765 Print ISSN 1871-4757 Journal Volume Volume 5 Journal Issue Volume 5, Number 2.

Monsters, argues Haraway, are sites of confusion and hybridity, entities that defy easy categorization and, as a consequence, hold promise, pleasure, and peril. Haraway adds that monsters are also not accidental or innocent: their creation requires sustained work, their existence has effects. Thus, to understand how Frankenstein came to be in Lilliput, the theme of this special edition, it is crucial to examine how monsters are constructed and how they do things in the world.In this article I propose to start, (...) if modestly, that examination. To do so I draw upon ethnographic data generated at two conferences held in 2005 to investigate some of the processes through which the monster of “nano”—this elusive and emergent entity—was brought to life by social scientists and humanities scholars. My initial goal is to explore how nano was defined, framed, and analyzed at these meetings—on the ethics and history of nano, respectively—and how these different ways of constituting and enacting nano have shaped subsequent understandings of, and interactions with, nano. The article next examines the stances and stakes of those who, through their involvement, became nano practitioners, and the ways in which nano was disciplined through their practices. (shrink)