What are cells? How are they related to each other and to the organism as a whole? These questions have exercised biology since Schleiden and Schwann (1838–1839) first proposed cells as the key units of structure and function of all living things. But how do we try to understand them? Through new technologies like the achromatic microscope and the electron microscope. But just as importantly, through the metaphors our culture has made available to biologists in different periods and places. These (...) two new volumes provide interesting history and philosophy of the development of cell biology. Reynolds surveys the field's changing conceptual structure by examining the varied panoply of changing metaphors used to conceptualize and explain cells – from cells as empty boxes, as building blocks, to individual organisms, to chemical factories, and through many succeeding metaphors up to one with great currency today: cells as social creatures in communication with others in their community. There is some of this approach in theVisionsedited collection as well. But this collection also includes rich material on the technologies used to visualize cells and their dialectical relationship with the epistemology of the emerging distinct discipline of cell biology. This volume centres on, but is not limited to, ‘reflections inspired by [E.V.] Cowdry's [1924 volume]General Cytology’; it benefits from a conference on the Cowdry volume as well as a 2011 Marine Biological Lab/Arizona State University workshop on the history of cell biology. (shrink)

Despite much excellent work over the years, the vast history of scientific filmmaking is still largely unknown. Historians of science have long been concerned with visual culture, communication and the public sphere on the one hand, and with expertise, knowledge production and experimental practice on the other. Scientists, we know, drew pictures, took photographs and made three-dimensional models. Rather like models, films could not be printed in journals until the digital era, and this limited their usefulness as evidence. But that (...) did not stop researchers from making movies for projection at conferences as well as in lecture halls, museums and other public venues, not to mention for breaking down into individual frames for analysis. Historians of science are more likely to be found in the library, archive or museum than the darkened screening room, and much work is still needed to demonstrate the major effects of cinema on scientific knowledge. Film may have taken as long to change science as other areas of social life, but one can begin to glimpse important ways in which ‘image machines’ were beginning to mediate between backstage experimental work and more public demonstration even around 1900. (shrink)