Scientific Visual Representations In History

This book explores continuity and ruptures in the historical use of visual representations in science and related disciplines such as art history and anthropology. The book also considers more recent developments that attest to the unprecedented importance of scientific visualizations, such as video recordings, animations, simulations, graphs, and enhanced realities. The volume collects historical reflections concerned with the use of visual material, visualization, and vision in science from a historical perspective, ranging across multiple cultures from antiquity until present day. The focus is on visual representations such as drawings, prints, tables, mathematical symbols, photos, data visualizations, mapping processes, and (on a meta-level) visualizations of data extracted from historical sources to visually support the historical research itself. Continuity and ruptures between the past and present use of visual material are presented against the backdrop of the epistemic functions of visual material in science. The function of visual material is defined according to three major epistemic categories: exploration, transformation, and transmission of knowledge.

What makes a good scientific image? Is science defined by its pictures? The present book offers a broad comparative survey of the history, generation, use and function of images in scientific practice based on an extensive range of historical sources in the natural sciences, technology and medicine, particularly physics, astronomy, and chemistry.

A new collection explores the complex role of visual representation in science.

A comprehensive history of data visualization—its origins, rise, and effects on the ways we think about and solve problems. With complex information everywhere, graphics have become indispensable to our daily lives. Navigation apps show real-time, interactive traffic data. A color-coded map of exit polls details election balloting down to the county level. Charts communicate stock market trends, government spending, and the dangers of epidemics. A History of Data Visualization and Graphic Communication tells the story of how graphics left the exclusive confines of scientific research and became ubiquitous. As data visualization spread, it changed the way we think. Michael Friendly and Howard Wainer take us back to the beginnings of graphic communication in the mid-seventeenth century, when the Dutch cartographer Michael Florent van Langren created the first chart of statistical data, which showed estimates of the distance from Rome to Toledo. By 1786 William Playfair had invented the line graph and bar chart to explain trade imports and exports. In the nineteenth century, the “golden age” of data display, graphics found new uses in tracking disease outbreaks and understanding social issues. Friendly and Wainer make the case that the explosion in graphical communication both reinforced and was advanced by a cognitive revolution: visual thinking. Across disciplines, people realized that information could be conveyed more effectively by visual displays than by words or tables of numbers. Through stories and illustrations, A History of Data Visualization and Graphic Communication details the 400-year evolution of an intellectual framework that has become essential to both science and society at large.

How can cartoon images aid in understanding bacterial biological processes? What prompts physicists to blur their images before showing them to biologists? Considering that the astronomer’s data consists solely of invisible, electric impulses, what is the difference between representing outer space as images, graphs, or sound? How does a work of contemporary art differ from a scientific image if we cannot visually distinguish between the two? How do aesthetics, art, and design influence scientific visualization and vice versa? This volume asks critically important questions about scientific data representation and provides significant insights to a field that is interdisciplinary in its very core. The authors investigate scientific data representation through the joint optics of the humanities and natural sciences. The volume particularly appeals to scholars in visual and aesthetic studies, data visualization, scientific illustration, experience culture, information design, and science communication.

constitutive of reference in laboratory sciences as cultural sign systems and their manipulation and superposition, collectively shared classifications and associated conceptual frameworks,· and various fonns of collective action and social institutions. This raises the question of how much modes of representation, and specific types of sign systems mobilized to construct them, contribute to reference. Semioticians have argued that sign systems are not merely passive media for expressing preconceived ideas but actively contribute to meaning. Sign systems are culturally loaded with meaning stemming from previous practical applications and social traditions of applications. In new local contexts of application they not only transfer stabilized meaning but also can be used as active resources to add new significance and modify previous meaning. This view is supported by several analyses presented in this volume. Sign systems can be implemented like tools that are manipulated and superposed with other types of signs to forge new representations. The mode of representation, made possible by applying and manipulating specific types of representational tools, such as diagrammatic rather than mathematical representations, or Berzelian fonnulas rather than verbal language, contributes to meaning and forges fine-grained differentiations between scientists' concepts. Taken together, the essays contained in this volume give us a multifaceted picture of the broad variety of modes of representation in nineteenth-century and twentieth-century laboratory sciences, of the way scientists juxtaposed and integrated various representations, and of their pragmatic use as tools in scientific and industrial practice.

Ever since the boom of spectrum analysis in the 1860s, spectroscopy has become one of the most fruitful research technologies in analytic chemistry, physics, astronomy, and other sciences. This book is the first in-depth study of the ways in which various types of spectra, especially the sun's Fraunhofer lines, have been recorded, displayed, and interpreted. The book assesses the virtues and pitfalls of various types of depictions, including hand sketches, woodcuts, engravings, lithographs and, from the late 1870s onwards, photomechanical reproductions. The material of a 19th-century engraver or lithographer, the daily research practice of a spectroscopist in the laboratory, or a student's use of spectrum posters in the classroom, all are looked at and documented here. For pioneers of photography such as John Herschel or Hermann Wilhelm Vogel, the spectrum even served as a prime test object for gauging the color sensitivity of their processes. This is a broad, contextual portrayal of the visual culture of spectroscopy in the 19th and early 20th centuries. The illustrations are not confined to spectra--they show instruments, laboratories, people at work, and plates of printing manuals. The result is a multifacetted description, focusing on the period from Fraunhofer up to the beginning of Bohr's quantum theory. A great deal of new and fascinating material from two dozen archives has been included. A must for anyone interested in the history of modern science or in research practice using visual representations.

This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.