The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances---such as magic lantern shows, optical illusions, and public experiments---were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)

What big questions and large‐scale narratives give coherence to the history of science? From the late 1970s onward, the field has been transformed through a stress on practice and fresh perspectives from gender studies, the sociology of knowledge, and work on a greatly expanded range of practitioners and cultures. Yet these developments, although long overdue and clearly beneficial, have been accompanied by fragmentation and loss of direction. This essay suggests that the narrative frameworks used by historians of science need to (...) come to terms with diversity by understanding science as a form of communication. The centrality of processes of movement, translation, and transmission is already emerging in studies of topics ranging from ethnographic encounters to the history of reading. Not only does this approach offer opportunities for crossing boundaries of nation, period, and discipline that are all too easily taken for granted; it also has the potential for creating a more effective dialogue with other historians and the wider public. (shrink)

What big questions and large‐scale narratives give coherence to the history of science? From the late 1970s onward, the field has been transformed through a stress on practice and fresh perspectives from gender studies, the sociology of knowledge, and work on a greatly expanded range of practitioners and cultures. Yet these developments, although long overdue and clearly beneficial, have been accompanied by fragmentation and loss of direction. This essay suggests that the narrative frameworks used by historians of science need to (...) come to terms with diversity by understanding science as a form of communication. The centrality of processes of movement, translation, and transmission is already emerging in studies of topics ranging from ethnographic encounters to the history of reading. Not only does this approach offer opportunities for crossing boundaries of nation, period, and discipline that are all too easily taken for granted; it also has the potential for creating a more effective dialogue with other historians and the wider public. (shrink)

In the late 1930s networks of amateur observers across Britain were collecting data on birds , aircraft and society itself . This paper concentrates on birdwatching practice in the period 1930–1955. Through an examination of the construction of birdwatching's subjects, the Observers, and their objects, birds, it is argued that amateur strategies of scientific observation and record reflected, and were part-constitutive of, particular versions of ecological, national and social identity in this period. The paper examines how conflicts between a rural, (...) organicist Britishness and a modern, planner-preservationist Britishness were elaborated and contained within the figure of the birdwatcher and within the institutional epistemologies of the Royal Society for the Protection of Birds and the British Trust for Ornithology. Such conflicts are shown to be embedded in the structuring of visual perception in different strategies of bird and aircraft identification, particularly between analytic and gestalt methods; the paper examines, using the related ‘field-science’ of aircraft recognition, the importance of identificatory processes in the construction of the Observer, and concludes by examining whether tensions between organicist and scientific discourses were in any sense resolved by the end of this period. (shrink)

ABSTRACTAnalysing the contents of magazines published with the stated intention of conveying information about science and technology to the public provides a mechanism for evaluation what counted as ‘popular science’. This article presents numerical surveys of the contents of three magazines published in inter-war Britain and offers an evaluation of the results. The problem of defining relevant topic-categories is addressed, both direct and indirect strategies being employed to ensure that the topics correspond to what the editors and publishers took to (...) be the principal areas of science and technology of interest to their readers. Analysis of the results of the surveys reveals different editorial policies depending on the backgrounds of the publishers and their anticipated readerships. The strong focus of the two most populist magazines on applied science and ‘hobbyist’ topics such as natural history, radio and motoring is noted and contrasted with the very limited coverage of theoretical science. In conclusion, a survey of changes in the contents over the periods of publication is used to identify trends in the coverage of science during this period. (shrink)

ArgumentDiscussions of the scientific uses of moving-image technologies have emphasized applications that culminated in static images, such as the chronophotographic decomposition of movement into discrete and measurable instants. The projection of movement, however, was also an important capability of moving-image technologies that scientists employed in a variety of ways. Views through the microscope provide a particularly sustained and prominent instance of the scientific uses of the moving image. The category of “education” subsumes theses various scientific uses, providing a means by (...) which to bridge the cultures of scientific and popular scientific moving images. (shrink)

The history of microcinematography is explored here as an example of the possible historiographical directions for work on science and film in the twentieth century. Topics discussed include investigations of the role of time in experiment, and the constant interplay between static and dynamic modes of imaging in scientific research; the role of films as depictions of both the objects of science and the process of scientific looking itself; and the possibility for telling a social history of science through investigation (...) of the production and reception of cinema. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances—such as magic lantern shows, optical illusions, and public experiments—were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)