Canales Syllabus

Science and Art
Graduate Seminar in General Education

Spring 2010
Jimena Canales
MON 2-4
Science Center
Department for the History of Science 469

The purpose of this course is to design a Harvard General Education course on
Science and Art in the areas of Aesthetic and Interpretive Understanding and
Science of the Physical Universe. Its purpose is to produce a set of clear
pedagogical goals, a syllabus, a reader, course lecture outlines and sequence,
assignments and guides for evaluations.

The General Education Course aims to have two essential components: the first
will provide students with a survey of key moments where science and art meet;
the second aims to introduce students to recent methods in the study of images.
We anticipate to teach the course in 2012-13. The course will include an activity-
based final assessment and involvement with the Harvard museums and
galleries.

General Survey
The first goal is for students to obtain a thorough knowledge of the most
important episodes in history where science and art converge. For pedagogical
purposes this will be conveyed in a strictly chronological manner, with the aim of
Jimena Canales: Science and Art

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starting in the 15
th
century (with the invention of perspective) and ending in the
twentieth century with Cubism (when perspective is critiqued).

Beyond an interchange model
The course will introduce students to some classic images of science. It will also
introduce students to recent methodological perspectives. We will not only
consider the relation of Science and Art as that between two distinct disciplines
that can be compared and contrasted, but we will complement this approach by
studying them together as particular ways of knowing the world and ourselves
within it that are interrelated in intricate ways. The course therefore is not
primarily about how science and scientific instruments have been represented in
arts or literature. It is also not about how scientists use artistic techniques or are
influenced by artistic trends.

Beyond an illustration and pedagogy model
Recent work in visual studies of science has moved beyond considering scientific
images as straightforward illustrations serving demonstrative or pedagogical
purposes. Images frequently transcend the narrow scientific purpose for which
they at times are intended, and often take on a life of their own that can best be
studied by seeing how they move across texts, disciplines and confront
audiences in different and unexpected ways.

Changing Categories
The second goal of the General Education Course is methodological and
historiographic. It inquires how our way of thinking about the relation between
Science and Art has shifted throughout history. The course will therefore track
important changes in the meaning ascribed to the categories of art and science
at different historical periods.

Limitations

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The focus of the class will be mainly on visual relations between art and science.
Other relations could be highlighted, such as sculptural (models), textual
(literary), auditory (musical), spatial (architectural), olfactory (culinary). Although
the course will touch on these relations, they will not be central to the course.

Graduate Seminar Syllabus

Course Assignments:
Mid-Term: (25% of grade)
Write a 45 minute lecture for a General Education course and include visual
material (if any) that you would like to use in it.

Final Assignment 1: (due the last day of classes, 25% of grade)
Write a second 45 minute lecture for a General Education course and include
visual material (if any) that you would like to use in it.

Final Assignment 2: (due the last day of reading period, 25% of grade)
Write a syllabus for a General Education course as you would like to teach it.
This syllabus should be accompanied by a 2 page (single-spaced) introduction
justifying the choice of topics and assignments.

Grading: Mid-term, Final 1, and Final 2 are 25% of grade. Participation: 25%

Accommodations for students with disabilities:
Students needing academic adjustments or accommodations because of a
documented disability must present their Faculty Letter from the Accessible
Education Office (AEO) and speak with the professor by the end of the second
week of the term. All discussions will remain confidential.

Course Schedule:

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The main part of the course will consist in reviewing relevant readings on the
topic. The readings will be divided according to disciplinary subheadings.

Programmatic Essays in History and Philosophy of Science
Most of the essays in this section advance views of how the relation between
science and scientific images should be considered. We will ask:

1. How do each of these authors ask us to think about the relation between
science and art, or science and scientific images?
2. Evaluate their normative claims. What are the positive aspects and
negative aspects of each approach? How do they aim to teach us new aspects of
art and science that have not been considered before?
3. Write a list of the should and should not do according to each author or
text.

Hallmark texts in History and Philosophy of Science
Each of the texts in this section are examples of innovative approaches to the
study of scientific images.

1. What is the main thesis of each text (describe in one or two sentences at
most).
2. Describe what disciplinary and methodological approach the author is
using. What other authors is she/he engaging with and how does the author mark
its difference from them?

Hallmark texts in Art History
1. How do these texts define a specific art historical approach, and what do
we gain or lose from it?
2. How does this approach intersect with the programmatic and hallmark
essays in HPS that you read?

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Hallmark texts in History (excluding Art History)
1. How has the discipline of history (excluding art history) confronted the
study of images in the last decades?
2. What specific aspects of images have been highlighted and why?

Hallmark texts in Visual Culture
1. What does the distinct discipline of visual culture add to other disciplines?
2. How is it different from art history?
3. How does it intersect with the field of visual studies of science?

Hallmark texts in Continental Philosophy
1. What are the key concerns of continental philosophers when studying
images and the cultures they are embedded in?
2. According to each author, why is the study of images important?
3. What particular types of images does each author study?

Hallmark texts in Media Studies
1. How would you define a particular Media Studies approach to images
and visual culture?
2. What particular types of images are the focus of media studies?
3. What can media studies add to other approaches?

Hallmark texts in Film Studies
1. How does each author define images and their relation to reality?
2. What are the specific concerns of Film Studies that differ from previous
approaches?
3. How does each author justify the study of moving images over static
ones?


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The Science and Art industry
1. When did Science and Art become a recognizable area?
2. List chronologically the most important contributions (books, exhibits, etc.)
in Science and Art.

Course reading list:

Programmatic Essays history and philosophy of science
Kuhn, Thomas S. "Comments on the Relations of Science and Art." In The
Essential Tension: Selected Studies in Scientific Tradition and Change, 340-51.
Chicago: University of Chicago Press, 1977.

Holton, Gerald. "Einstein's Influence on the Culture of Our Time." In Einstein,
History and Other Passions, 125-45. Cambridge, Mass.: Harvard University
Press, 1996.

Introduction to Lynch, Michael and Steve Woolgar (eds), Representation in
scientific practice (MIT Press, 1988), pp. 232-65.

Lynch, Michael. "The Production of Scientific Images: Vision and Re-Vision in the
History, Philosophy and Sociology of Science." Communication and Cognition 31
(1998): 213-28.

Treichler, Paula A., and Lisa Cartwright. "Introduction." Camera Obscura 28
(1992): 5-18.

Introduction in Jones, Caroline A. and Peter Galison, (eds). Picturing science and
producing art (Routledge, 1998), pp. 1-23.


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Pang, Alex Soojung-Kim. "Visual Representation and Post-Constructivist History
of Science." Historical Studies in the Physical Sciences 28 (1997): 139-71.

Lenoir, Timothy. "Inscription Practices and Materialities of Communication." In
Inscribing science: scientific texts and the materiality of communication, edited by
Timothy Lenoir, 1-19. Stanford, Calif.: Stanford University Press, 1998.

Wise, Norton. "Making Visible." Isis 97 (2006): 75-82.

Daston, Lorraine, and Elizabeth Lunbeck. "Introduction: Observation Observed."
In Histories of Scientific Observation, edited by Lorraine Daston and Elizabeth
Lunbeck, 2011.

Hallmark texts history and philosophy of science
Kuhn, Thomas S. The Structure of Scientific Revolutions. 2nd ed. Chicago:
University of Chicago Press, 1970. (Selections on images and perception)

Rudwick, Martin J.S. "The emergence of a visual language for geological science
1760-1840." History of Science 14 (1976): 149-95.

Shapin, Steven, and Simon Schaffer. Leviathan and the Air-Pump: Hobbes,
Boyle and the Experimental Life. Princeton: Princeton University Press, 1985.
(Selections on virtual witnessing)

Lynch, Michael, and John Law. "Picture, Texts, and Objects." In The Science
Studies Reader, edited by Mario Biagioli, 317-41. New York: Routledge, 1999.

Latour, Bruno. "Drawing Things Together." In Representation in Scientific
Practice, 19-68. Cambridge, Mass.: MIT Press, 1990.


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Kaiser, David. Drawing theories apart : the dispersion of Feynman diagrams in
postwar physics. Chicago: University of Chicago Press, 2005.

Galison, Peter. "Image of Self." In Things That Talk: Object Lessons from Art and
Science, edited by Lorraine Daston, 257-94. Brooklyn, New York: Zone, 2004.

Rheinberger, Hans-Jrg. "Scrips and Scribbles." MLN 118 (2003): 622-36.

Daston and Galison, Epistemologies of the Eye in Daston, Lorraine, and Peter
Galison. Objectivity. New York: Zone Books, 2007.

Hallmark texts art history
Gombrich, E. H. Art and illusion : a study in the psychology of pictorial
representation. 1st Princeton/Bollingen pbk. ed. Vol. 5, A.W. Mellon lectures in
the fine arts ; 5. Princeton, N.J.: Princeton University Press, 1989.

Panofsky, Erwin. Perspective as symbolic form. 1st ed. New York :Cambridge,
Mass.: Zone Books ;Distributed by the MIT Press, 1991.

Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the
Nineteenth Century. Cambridge, Mass.: MIT Press, 1990.

Kemp, Martin. The science of art : optical themes in western art from
Brunelleschi to Seurat. New Haven: Yale University Press, 1990.

Hallmark texts in History
Corbin, Alain. "A History and Anthropology of the Senses." In Time, Desire and
Horror, edited by Alain Corbin, 181-95. Cambridge: Polity Press, 1995 (1990).

Hallmark texts in visual culture

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Alpers, Sveltana. The Art of Describing: Dutch Art in the Seventeenth Century.

Mitchell, W. J. T. Picture theory : essays on verbal and visual representation.

Visual Culture Questionnaire, October 77 (1996), pp. 25-70

Hallmark texts in Media Studies
Ivins, William Mills. Prints and visual communication. Cambridge: Harvard
University Press, 1953.

McLuhan, Marshall. The Gutenberg galaxy : the making of typographic man.
Toronto: University of Toronto Press, 1962.

Kittler, Friedrich A., and Anthony Enns. Optical media : Berlin lectures 1999.
English ed. Cambridge, UK ;Malden, MA: Polity, 2010.

Vogl, Joseph Becoming-media: Galileo's Telescope, Grey Room: New German
Media Theory (Fall 2007)

Hallmark texts in Continental Philosophy
Debord, Guy. La Socit du spectacle. Paris: Gallimard, 1992.

Michel Foucault, Las Meninas, The Order of Things: An Archaeology of the
Human Sciences (New York: Vintage Books, 1970), 3-16.

Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by
Alan Sheridan. 2nd Vintage Books ed. New York: Vintage Books, 1995 (1975).
(selections on the panopticon).

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Rorty, Richard. Philosophy and the mirror of nature. Princeton: Princeton

Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century
French Thought. Berkeley: University of California Press, 1993.

Baudrillard, Jean. Simulacra and simulation, The Body, in theory. Ann Arbor:
University of Michigan Press, 1994.

Virilio, Paul. The Vision Machine. Edited by Colin MacCabe and Paul Willemen,
Perspectives. Bloomington: Indiana University Press, 1994.

Rancire, Jacques. The future of the image. London: Verso, 2007.

Hallmark texts in Film Theory
Mnsterberg, Hugo. The photoplay : a psychological study. New York [etc.]: D.
Appleton and Company, 1916.

Arnheim, Rudolf. Film as art. Berkeley: University of California Press, 1957.

Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality.
Princeton, N.J.1960.

Bazin, Andr. "Science Film: Accidental Beauty." In Science is Fiction: The Films
of Jean Painlev, edited by Andy Masaki Bellows and Marina McDougall, 144-47.
Cambridge, Mass.: MIT Press, 1947.

Bazin, Andr. "The Myth of Total Cinema." In What is Cinema?, edited by Hugh
Gray, 17-22. Berkeley: University of California Press, 2005 (1946).

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Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In
Illuminations, edited by Hannah Arendt, 217-51. New York: Schocken, 1969.

Susanne K. Langer, "A Note on the Film," Feeling and Form: A Theory of Art
Developed from Philosophy in a New Key (New York: Charles Scribner's Sons,
1953), 411-15.

Deleuze, Gilles. Cinema 1: The Movement-Image. Translated by Hugh
Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press,
1986.

The Science and Art Industry
Edward Steichen, The Family of Man (1955)

Introduction to Darius, Jon. Beyond Vision: One Hundred Historic Scientific
Photographs. 1984: Oxford University Press, 1984.

James S. Ackerman, Natural Sciences & The Arts: Aspects Of Interaction From
The Renaissance To The 20th Century (ACTA Universitatis Upsaliensis)

Foreword and Acknowledgements in Thomas, Ann, Marta Braun, and National
Gallery of Canada. Beauty of another order : photography in science. New
Haven: Yale University Press in association with the National Gallery of Canada,
Ottawa, 1997.

Linda Dalrymple Henderson, Editors Introduction: I. Writing Modern Art and
Science An Overview; II. Cubism, Futurism, and Ether Physics in the Early
Twentieth Century, Science in Context 17(4), 423466 (2004).


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Keller, Corey, Art San Francisco Museum of Modern, and Albertina Graphische
Sammlung. Brought to light : photography and the invisible, 1840-1900. San
Francisco] :New Haven: San Francisco Museum of Modern Art ;In association
with Yale University Press, 2008.

Hagner, M., R.G. Mazzolini, and C. Pogliano. "Introduction to Nine Biographies of
Scientific Images." Nuncius 24, no. 2 (2009): 279-89.

History of the Book
Johns, Adrian. The nature of the book : print and knowledge in the making.
Chicago, Ill.: University of Chicago Press, 1998.

General Education Course Summary
Andreas Vesaliuss anatomical atlas, Leonardo da Vincis sketches on the
proportions of the human body, Galileo Galilees drawings of the moon, and
Robert Hookes Micrographia are only four classic examples out of many more
illustrating the important relations between science and visual culture. In recent
years, some of the best work in history of science, history of art, and in the
growing field of visual studies has greatly increased the repertoire of examples
where science and visual culture meet, underlining the need for a more sustained
attention to this topic. The wealth of research into the visual material of science
now provides us with the unique opportunity of creating a course entirely
dedicated to this topica course to expand our understanding of the history of
science, art and visual culture. The purpose of this course is to study the most
important scientific developments of the modern era through scientific images.
We propose to organize the course chronologically, starting in the Early
Modern period and culminating in the Twentieth Century. Each of these historical
periods will be divided into sections highlighting areas with the most fruitful and
developed interactions between science and visual culture. During the Early

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Modern period we will focus on the invention of perspective, anatomy and
astronomy, studying the work of Brunelleschi, Vesalius and Galileo as our main
examples. Thematically, we will explore changes in visual culture connected to
human dissection, telescopy and microscopy, as previously unobservable
phenomena were made visible. We will also explore the topic of dissemination of
scientific knowledge and the processes of virtual witnessing through an analysis
of print culture.
For the modern period, a focus on images offers an opportunity to
question the divide between the life sciences and the physical sciences. By
focusing on the similarities and differences in the images used by naturalists,
medical doctors, physiologists, astronomers and physicists we can explore new
places of contact. We will trace the development of naturalistic images through
the history of the camera obscura, the camera lucida, and photography in
science. We will also explore a parallel development in the use of diagrams in
science, from Watt indicator diagrams used to monitor steam engines to
analogous graphic traces of muscle work. This section will also offer us the
opportunity to underline the continuing importance of the science of physiognomy
from evolutionary theory to psychiatry and criminology during this period (Darwin,
Charcot, Bertillon, Lombroso).
The final chronological period will take us from the late nineteenth century
to the twentieth century. For this period we will not only focus on the use of
images by scientists but we will stress their role in the invention of new
communication and mass media technologies. Telegraphy, cinematography, X-
rays, telephony, radio, television and radar were all tightly connected to the
development of electrodynamics that characterized the Second Industrial
Revolution. We will trace how experimentation across fields (ranging from
psychiatry to nuclear physics) with electrical wires, vacuum tubes, glass bulbs,
clockwork and trigger mechanisms left an undeniable mark on modern science,
visual culture and communications. The role of the World Wars in shaping not
only the scientific culture of the twentieth century but also its visual culture will be

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stressed, by stressing new interactions between scientific laboratories, factories,
and artists studios. We will continue the course with a reflection on changes in
the physical and biological sciences connected to the use of electron microscopy.
Finally, we will conclude with a focus on medical technologies, from early
electroencephalographic (EEG) work to CRT, PET and MRI scan technologies,
to stress the impact of these new imaging technologies on contemporary views of
subjectivity, health and disease.
A final component of the course will be methodological. As we trace these
developments chronologically, we will repeatedly ask how the relation between
science, art and visual technologies was understood at a given historical period.
Our purpose is not to frame our historical material using the categories of art,
science and the visual as we understand them today; rather, we aim to show how
these categories themselves were shaped in the course of history. The aim of the
course as a whole is not to merely illustrate these relations with historical
examples, but to explore how we have thought about these relations and why.

Final Project
The General Education Course will culminate with a final project where groups of
students will curate a virtual exhibit and publish a print catalog of the exhibit. The
final printed catalog will include a programmatic introduction describing the
rationale behind the particular selection of images and extensive commentary on
each of the images chosen.

Lecture Organization
Each lecture of the General Education Course will start with a close study of a
paradigmatic image of a specific time period. The images will be arranged
chronologically. This organization is meant to encourage attendance to lectures,
which tends to drop sharply in General Education courses.

Optional Movies

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Lumire Shorts
Jean Comandon
Jean Painleve
Ballet Mcanique
Frank Gilbreth
Blow-Up
Rashomon
Truman Show
The Matrix


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Extended Art and Science Bibliography:

Monographs and review essays
General
James Elkins, The Domain of Images (1999).
In the domain of visual images, those of fine art form a tiny minority. This text calls upon art
historians to look beyond their traditional subjects - painting, drawing, photography - to the vast
array of non-art images, including those from science, technology, commerce and medicine.

Mitchell, W. J. T. Picture Theory.

Kemp, Martin. The Science of Art (Yale University Press, 1990)

Baigrie, Brian S. (ed.) Picturing knowledge (University of Toronto Press, 1996)

Jones, Caroline A. and Peter Galison, (eds). Picturing science and producing art (Routledge,
1998), pp. 1-23.

Lynch, Michael. The production of scientific images: vision and re-vision in the history,
philosophy, and sociology of science, Communication and Cognition 31 (1998), 213-28.

Lynch, Michael. The phenomenological geneology of natural science, In Scientific Practice and
Ordinary Action. pp. 118-125.

Lynch, Michael and Steve Woolgar (eds), Representation in scientific practice (MIT Press, 1988),
pp. 232-65.

Pang, Soojung-Kim. Visual representation and post-constructivist history of science, HSPS 28
(1997), 139-71.

Timothy Lenoir (ed), Inscribing science: scientific texts and the materiality of communication
(Stanford: Stanford University Press, 1998).

Linda Dalrymple Henderson, Editors Introduction: I. Writing Modern Art and Science An
Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century, Science in
Context 17(4), 423466 (2004).

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Luc Pauwels (Ed.), Visual Cultures of Science. Rethinking Representational Practices in
Knowledge Building and Science Communication. Hanover (NH): Dartmouth College
Press/University Press of New England, 2006

Human Studies Vol. 11, No. 2-3, April/July, 1988.
Specialized journal volumes
Natural sciences and the arts: Aspects of interaction from the Renaissance to
the 20th century. An international symposium.

Representations, Fall 2000.
Special Issue: Seeing Science in Representations, 1992.

Camera Obscura 29. Special issue: Imaging Technologies, Inscribing Science. 2 Articles by
Paula A. Treichler, Lisa Cartwright, Ella Shohat, Stacie Colwell, Valerie Hartouni, Sandy Stone,
Constance Penley, Ann D. Satterfield, Ann Barry Flood, Joe Henderson, Eric Baumgartner, Scott
Chesnut, Brian Driscoll, Anne Henderson and Linda Hurd, and Estelle S. Fletcher.

Camera Obscura 28. Special issue: Imaging Technologies, Inscribing Science. Articles by Paula
A. Treichler, Lisa Cartwright, Katie King, Jamie Feldman, Alexandra Juhasz, Juanita Mohammed,
Alisa Solomon, Carol Stabile, Anne Balsamo, Giuliana Bruno, and Fatimah Tobing Rony.

Special Issue on Studies in Visual Images in Communication and Cognition 31 (1998)

Science in Context, 17(4), (2004).

Focus: Science and Visual Culture, Isis 2006.

Nine Biographies of Scientific Images." Nuncius 24, no. 2 (2009).

Photography
Exhibitions on Art and Science
Brought to Light: Photography and the Invisible, 1840-1900

Peter Galassi, Before Photography: Painting and the Invention of Photography (New
York, 1981), and the rejoinder by Rosalind Krauss, Photographys Discursive

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Spaces, Art Journal 42 (Winter 1982)

Jeffrey, Ian. Revisions: an alternative history of photography (National Museum of Photography,
1999).

Hamilton, Peter and Hargreaves, Roger. The beautiful and the damned: the creation of
identity in nineteenth century photography (London, 2001)

General
Hansen, Julie and Suzanne Porter. The physicians art.

Kemp, Martin and Marina Wallace. Spectacular bodies: The art and the science of the human
body from Leonardo to now (University of California, 2000)

Lepp, Nicola, Martin Roth and Klaus Vogel. Der neue Mensch.

Lippincott, Kristen. The story of time.

Petherbridge, Deanna and Ludmilla Jordanova. The quick and the dead: artists and
anatomy.

Sturgis, Alexander. Telling Time. London: National Gallery Company, 2000.

Lme au corps: arts et sciences 1793-1993. Galeries nationals du Grand Palais, Paris
(October 1993-January 1994)

Cosmos, Palazzo Grassi in Venice. The catalogue is titled Cosmos: from Goya to de
Chirico, from Friederich to Kiefer, Art in search of infinity.

Cosmos: du Romantisme lAvant-garde, Muse des beaux-arts de Montral: (1999).
Dans le champ des etoiles: Les photographes et le ciel (1850-2000) Paris, muse dOrsay
June-September 2000 and Stuttgart, Staatsgalerie (December 2000-April 2001).

Astronomy
19th century

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Bigg, Charlotte. Photography and the Labour History of Astrometry: The Carte du Ciel. In The
Role of Visual Representations in Astronomy, edited by K. Hentschel and A. Wittman, 90-106.
Thun: Deutsch, 2000.

Gustav, Holmberg. Mechanizing the Astronomers Vision: On the Role of Photography in
Swedish Astronomy, c. 1880-1914. Annals of Science 53 (1996): 609-16.

Lankford, John. The Impact of Photography on Astronomy. In Astrophysics and Twentieth-
Century Astronomy, edited by Owen Gingerich, 16-39. Cambridge: Cambridge University Press,
1984.

Pang, Alex Soojung-Kim. Stars Should Henceforth Register Themselves: Astrophotography at
the Early Lick Observatory. British Journal for the History of Science 30 (1997): 177-202.

. Technology, Aesthetics, and the Development of Astrophotography at the Lick
Observatory. In Inscribing Science, edited by Timothy Lenoir, 223-48. Stanford, Calif.: Stanford

. Victorian Observing Practices, Printing Technologies, and Representations of the Solar
Corona, 1: The 1860s and 1870s. Journal for the History of Astronomy 25 (1994): 249-74.

. Victorian Observing Practices, Printing Technologies, and Representations of the Solar
Corona, 2: The Age of Photomechanical Reproduction. Journal for the History of Astronomy 26
(1995): 63-75.

Rothermel, Holly. Images of the Sun: Warren de la Rue, George Biddell Airy, and Celestial
Photography. British Journal for the History of Science 26 (1993): 137-69.

Schaffer, Simon. The Leviathan of Parsontown: Literary Technology and Scientific
Representation. In Inscribing Science, edited by Timothy Lenoir, 182-222. Stanford, Calif.:
Stanford University Press, 1998.

. On Astronomical Drawing. In Picturing Science, Producing Art, edited by Caroline A.
Jones and Peter Galison, 441-74. New York: Routledge, 1998.

Klaus B. Staubermann, Making stars: projection culture in nineteenth-century German
astronomy, BJHS 34 (2001), pp 439-451.

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Klaus Hentschel, Mapping the Spectrum: Techniques of Visual Representation in Research and
Teaching by (Hardcover - May 16, 2002)

Criminology
Alan Sekula

John Tagg

Medicine
Georges Didi-Huberman

Alberto Cambrosio, Daniel Jacobi and Peter Keating, Arguing with Images: Paulings Theory of
Antibody Formation. Representations 89, 94-130. Reprinted in: Luc Pauwels (Ed.), Visual
Cultures of Science. Rethinking Representational Practices in Knowledge Building and Science
Communication. Hanover (NH): Dartmouth College Press/University Press of New England,
2006; pp. 153-194.

Gilman, Sander. Disease and representation: images of illness from madness to AIDS
(Cornell, 1988)

Meteorology
Katherine Anderson, Looking at the sky: the visual context of Victorian meteorology,
BJHS 36 (2003): pp 301-332.

Psychology
Silverman, Debora L. Psychologie Nouvelle. In Art Nouveau in Fin-de-Sicle France,
75-106. Berkeley: University of California Press, 1989. Note: On Charcot and art.
Experimental Psychology

Douwe Draaisma and Sarah de Rijcke, The graphic strategy : the uses and functions of
illustrations in Wundts Grundzge, History of the human sciences Vol. 14, no. 1 (Feb. 2001), p.
1-24. ill.

Physiology

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Holmes, Frederic L and Kathryn Olesko, The Images of Precision: Helmholtz and the Graphical
Method in Physiology, In The Values of Precision. Ed M. Norton Wise, 198-221. (Princeton,
Princeton University Press, 1995)

Brain, Robert M., and M. Norton Wise. Muscles and Engines: Indicator Diagrams and
Helmholtzs Graphical Methods. In The Science Studies Reader, edited by Mario Biagioli, 51-66.
New York: Routledge Press, 1999.

Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830-1904). Chicago: University
of Chicago, 1992.

Dagognet, Francois. Etienne-Jules Marey : a passion for the trace (1992).

Frizot, Michel. La chronophotographie, avant le cinmatographie : temps, photographie et
mouvement autour de E.-J. Marey. Beaune: Association des Amis de Marey : Ministre de la
culture, 1984.

Douard, John W. (1995). Etienne-Jules Mareys Visual Rhetoric and the Graphic Decomposition
of the Body, Studies in the History and Philosophy of Science 26:2, 175-204.

Darwin
James Krasner, A Chaos of Delight: Perception and Illusion in Darwin's Scientific Writing,
Representations Summer 1990, 31: 118-41.

Prodger, Philip. Illustration as strategy in Charles Darwins The expression of the
emotions in man and animals, in Timothy Lenoir (ed), Inscribing science: scientific texts and the
materiality of communication (Stanford: Stanford University Press, 1998), pp. 140-181.

Photography
Tucker, Jennifer. Photography as Witness, Detective and Impostor: Visual Representation in
Victorian Science. In Victorian Science in Context, edited by Bernard Lightman, 378-408.
Chicago: Chicago University Press, 1997.

Tucker, Jennifer. Nature Exposed: Photography as Eyewitness in Victorian Science. Baltimore:
Johns Hopkins University Press, 2005.

Wilder, Kelley E. Photography and science, Exposures. London: Reaktion, 2009.

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Geimer, Peter. Noise or Nature? Photography of the Invisible around 1900. In Shifting
Boundaries of the Real: Making the Invisible Visible, edited by Helga Nowotny and Martina
Weiss, 119-35. Zrich: AG an der ETH, 2000.

Levitt, Theresa. Biots Paper and Aragos Plates: Photographic Practice and the Transparency of
Representation. Isis 94, no. 3 (2003): 456-76.

Levitt, Theresa. The shadow of enlightenment : optical and political transparency in France, 1789-
1848. Oxford: Oxford University Press, 2009.

Other
Daston, Lorraine, and Peter Galison. The Image of Objectivity. Representations 40 (1992): 81-
128.

Bernard Lightman, The Visual Theology of Victorian Popularizers of Science: From
Reverent Eye to Chemical Retina, Isis 91 (December 2000): pp. 651-680. Notes: Deals with
Darwin and the popularizer of astronomy Agnes Clerke. His theoretical framework draws from
Crary.

Anne Secord, Botany on a Plate: Pleasure and the Power of Pictures in Promoting Early
Nineteenth-Century Scientific Knowledge, Isis 93 (2002): pp. 28-57. Note: Draws on the
historiography of pleasure.

Blum, Ann Shelby. Picturing nature: American nineteenth-century zoological illustration
(Princeton University Press, 1993).

Flint, Kate. The Victorians and the visual imagination (Cambridge: Cambridge University Press,
2000). (D227)

Spectacle
Schwartz, Vanessa R. Spectacular Realities: Early Mass Culture in Fin-de-Sicle Paris. Berkeley:
University of California Press, 1998.

Pedagogy
Stafford, Barbara Maria. Artful Science: Enlightenment Entertainment and the Eclipse of Visual
Education. Cambridge, Mass.: MIT Press, 1994.

23

Brian Dolan, Pedagogy through print: James Sowerby, John Mawe and the problem of
colour in early nineteenth-century natural history illustration, BJHS 31 (1998),
pp 275-304.

David Kaiser, Stick-Figure Realism: Convention, Reification, and the Persistence of
Feynman Diagrams, 1948-1964, Representations, Spring 2000, 70: 49-86.

Geology
Rudwick, Martin J.S. The emergence of a visual language for geological science 1760-
1840, History of Science 14 (1976), 149-95.

Le Grand, Homer. Is a picture worth a thousand experiments? [on geology] in H E Le Grand
(ed), Experimental Inquiries: historical, philosophical and social studies of experimentation in
science (Kluwer, 1990).

Klonk, Charlotte. Science and the perception of nature: British landscape art in the late eighteenth
and early nineteenth centuries (Yale University Press, 1996)

Colonialism
Visual Economies in Pinney, Christopher, and Nicolas Peterson, eds. Photographys Other
Histories. Edited by Nicholas Thomas, Critical Perspectives on Art, Material Culture, and
Representation. Durham: Duke University Pres, 2003.

Smith, Bernard, European Vision and the South Pacific (Yale University Press, 1985)
Stepan, Nancy Leys. Picturing tropical nature (Reaktion, 2001)

Optical Regimes
Foucault, Ceci n'est pas une pipe (Paris: Fata Morgana, 1973), ch. iii.

Jay, Martin. Chapters 1 and 2 (mainly on the Enlightenment) of Downcast eyes: the
denigration of vision in twentieth-century French thought (University of
California, 1993)

Crary, Jonathan. Techniques of the observer: on vision and modernity in the nineteenth century
(MIT Press, 1990)

24

Michel Foucault, Las Meninas, The Order of Things: An Archaeology of the Human
Sciences (New York: Vintage Books, 1970), 3-16.

Joel Snyder, and Ted Cohen, Las Meninas and the Paradoxes of Visual Representation
7 (Critical Inquiry, Winter, 1980), 429-447.

Svetlana Alpers, Interpretation Without Representation; or the Viewing of Las
Meninas, Representations, I:1 (February, 1983) 31-57.

Circulation and Reproduction
Walter Benjamin
Foucault
Latour

Cognition/Scientific Aesthetics
E.H. Gombrich

Kuhn, Thomas S. Comments on the Relations of Science and Art. In The Essential Tension:
Selected Studies in Scientific Tradition and Change, 340-51. Chicago: University of Chicago
Press, 1977. Note: Responds to authors who, basing themselves on Kuhns work, point to
essential similarities between art and science. Mentions Gombrich.

Norman Bryson, response to Gombrich

Cognition and Vision
Arnheim, Rudolf. Toward a psychology of art. Berkeley: University of California Press, 1966.

Arnheim, Rudolf. Visual thinking. Berkeley: University of California Press. 1969.

Scientific Aesthetics
Fechner

Helmholtz, On the Relation of Optics to Painting, In Science and
Culture: Popular and Philosophical Essays, 279-308. Chicago: University of
Chicago Press, 1995 (1871).


25

Darwin on vision

Charles Henry

Cinema
Canales, Jimena. "Photogenic Venus: The 'Cinematographic Turn' and Its Alternatives in
Nineteenth-Century France." Isis 93 (2002): 585-613.

Lisa Cartwright, 'Experiments of Destruction': Cinematic Inscriptions of Physiology,
Representations Fall 1992, 40, 129-52.

Christopher Kelty & Hannah Landecker Experimental Microcinematography, or how to
not see what is there. Time-lapse microcinematography began as early as 1909, and has been
an invisible part of scientific and public practice ever since. It is an experimental system used in
tissue culture research (immortality), in public schooling (apostrophe and prosopopaeia) and in
apoptosis research (death). We present two aspects of this history: the visual presentation cells
under glass, the fragile manufacture of living images; and the experimental representation the
chartering of experience and the use of such experiments to observe, answer, and fascinate.

Hannah Landecker, Within but Without the Body: Biological Worlds and Times in
Experiment and Film, presented at Experimental Cultures: Configurations of
Life Sciences, Art, and Technology (1830-1950), Berlin, Germany (December,
2001).

Cartwright, Lisa. Science and the Cinema. In The Visual Culture Reader, edited
by Nicholas Mirzoeff, 199-213. London: Routledge, 1998.

Doanne, Mary Anne (1996). Temporality, Storage, Legibility: Freud, Marey and the
Cinema, Critical Inquiry 22:2, 313-343.

Doanne, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive.
Cambridge, Mass.: Harvard University Press, 2002.

Aubin, David. "'The memory of life itself': Bnard cells and the cinematography of self-
organization." Studies In History and Philosophy of Science 39 (2008): 359-69.


26

Bigg, Charlotte. "A Visual History of Jean Perrins Brownian Motion Curves." In Histories of
Scientific Observation, edited by Lorraine Daston and Elizabeth Lunbeck. Chicago: University of
Chicago Press.

Film Theory
Bergson, Henri. The Cinematographical Mechanism of Thought and
the Mechanistic Illusion, Chapter 4 of Creative Evolution. Mineola, N.Y.: Dover, 1998. pp. 272-
370. Focus on the section Becoming in Modern Science: Two Views of Time,
pp.329-344.

Deleuze, Introduction to Cinema 1: The Movement-Image. Translated by Hugh
Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press,
1986.

Peter Galison, The Suppressed Drawing: Paul Diracs Hidden Geometry, Representations 72
(2000): 145-166.
20th century

Peter Galison Judgment against Objectivity.

David Kaiser, Stick-Figure Realism: Convention, Reification, and the Persistence of
Feynman Diagrams, 1948-1964, Representations, Spring 2000, 70: 49-86.

Other
Baynes, Ken and Francis Pugh. The art of the engineer (Lutterworth Press, 1981)
Bermingham, Ann. Learning to draw: studies in the cultural history of a polite and useful art (Yale,
2000).

King, Roger. Curing toothache on the stage? The importance of reading pictures in context,
History of Science 33 (1995), 396-416.

Baxandall, Michael. Patterns of intention: on the historical explanation of pictures (Yale, 1985)

Gage, John. Colour and meaning: art, science and symbolism (Thames and Hudson, 1999).


27

Hankins, Thomas and Robert Silverman. Instruments and the imagination (Princeton University
Press, 1995)

Jordanova, Ludmilla. Sexual visions: images of gender in science and medicine between the
eighteenth and twentieth centuries (Univ of Wisconsin, 1989) (E542A,B)

Jordanova, Ludmilla. Nature displayed.

Leppert, Richard. Art and the committed eye: the cultural functions of imagery (Westview Press,
1996)

Jackson, Mark. Images of deviance, BJHS 28 (1995), 3119-37.

Anderson, Patricia. The printed image and the transformation of popular culture 1790-
Imaging Technologies/Techniques
1860 (Oxford, Clarendon Press, 1991).

Gaskell, Engraved book illustration, Biblis 10 (2000), 41-52.

Twyman, Michael. Printing 1770-1970: an illustrated history of its development and uses in
England (British Library, 1998), especially pp. 18-66 and 85-110.

Tufte, Edward R. The visual display of quantitative information (Graphics Press, 1983).

Various
18th century
Te Heesen, Anke. The world in a box: The Story of an Eighteenth-Century Picture
Encyclopedia (University of Chicago Press, 2002)

Susanne B. Keller, Sections and views: visual representation in eighteenth-century
earthquake studies, BJHS 31 (1998), pp 129-159

Bindman, David. Ape to Apollo: Aesthetics and the idea of race in the 18th century
(Reaktion, 2002).

Baxandall, Michael. The bearing of the scientific study of vision on painting in the 18th

28

century: Pieter Camper's De visu (1746). Uppsala : Almqvist & Wiksell, 1985.
In: natural sciences and the arts: Aspects of interaction from the Renaissance to
the 20th century. An international symposium p.125-132.

Lisbet Koerner, Linnaeus' Floral Transplants, Representations, Summer 1994, 47: 144-
69.

Beretta, Marco. Chemical imagery and the enlightenment of matter, in William Shea (ed), Visual
image in the Enlightenment (Canton, MA: Science History Publications, 2000), pp. 57-88.

Baigrie, Brian. Descartess scientific illustrations, in Baigrie (ed), Picturing knowledge

Dennis, Michael. Graphic understanding: instruments and interpretation in Robert Hookes
Micrographia, Science in Context 3 (1989), 309-64.

Primary
Diderot, Encyclopedia: The complete illustrations, 1762-1777 (Published: New York,
Abrams, 1978).

Jordanova, Ludmilla. Defining features: scientific and medical portraits 1660-2000
Representations of science and scientists
(Reaktion Books, 2000)

Beretta, Marco. Imaging a career in science: the iconography of Antoine Laurent Lavoisier
(Canton, MA: Science History Publications, 2001).

Fortune, Brandon Brame and Deborah J Warner, Franklin and his friends: portraying the man of
science in eighteenth-century America (Univ Pennsylvania Press, 1999).

Haslam, Fiona. From Hogarth to Rowlandson: medicine in art in eighteenth-century Britain
(Liverpool University Press, 1996)

http://www.images.google.com
Internet sources
http://www.imdb.com/ (for films)

29

http://artseek.com/institutions/museums (for museums)
National Portrait Gallery: http://www.npg.org.uk

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