This essay offers some preliminary and general considerations of big picture historiography of science, attempting an introductory specification of the topic by means of narratological analysis. It takes no strong, substantive position eitherpro or contrabig pictures themselves, preferring an approach which is more diagnostic and heuristic in nature. After considering what may be meant by a term such as ‘big picture’ and its cognates, it interrogates the kind of desire which could lie behind the wish expressed by the conference title (...) ‘Getting the Big Picture’: namely, that a big picture may be worth getting. It proceeds by way of a limited enquiry into what seems to be felt as a relative absence of big picture works in contemporary historiography, criticizing one very general historicocultural thesis which accounts for such an absence, advancing instead evolving features of the professional history of science community over the last thirty years as reasons for this relative absence. Concludingly, it turns the issues raised thus far on their head, in some measure at least. In trying for a more precise specification of the contemporary historiographical formation, we will discover eventually a situation not so much of relative absence of big pictures, rather one where there exists both frame and title for the picture, together with some distinguished painters' names; but where the canvas is only minimally marked, a partial and shadowy sketch, stylistically disjoined. Although this sounds paradoxical, a concrete paradox is not intended. The existence of frame and title enclosing mainly empty canvas indicates only the limitations of the pictorial metaphor for describing complex and developing sets of historiographical practice. What is instanced concludingly is less a theoretical paradox than an intelligible sequence and form of development which issues in a potential problem of practice. (shrink)

This essay examines the technical evolution and scientific context of William Crookes's effort to achieve an absolute vacuum in the 1870s. Prior to late 1876, along with interrogation of the radiometer effect, the quest for perfect vacuum was a major motive of his research programme. At this time, no absolutely dependable method existed to determine exactly the pressures at extreme rarefactions. Crookes therefore employed changes in radiometric, viscous and electrical effects with changing pressure in order to monitor the progress of (...) exhaustion. After late 1876, his research priorities shifted because he had reached a plateau of technical accomplishment in the effort to attain extreme vacua, and because observed effects in vacua—particularly electrical—assumed an importance in their own right, and as bases for elucidation and defence of his concept of a ‘fourth state of matter’ at very low pressures. (shrink)