history of science

The New Bibliographical Presses at Rare Book School

by editor Erin Schreiner, and guest contributor Roger Gaskell

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The Rare Book School Replica Copperplate Press, in the Albert & Shirley Small Special Collections Library, University of  Virginia

In the inaugural issue of the Journal of the Printing Historical Society (1965), Philip Gaskell defined the bibliographical press as “a workshop or laboratory which is carried on chiefly for the purpose of demonstrating and investigating the printing techniques of the past by means of setting type by hand, and of printing from it on a simple press.” Just a few weeks ago, we had the honor and pleasure of inaugurating the bibliographical pressroom and exhibition space at the University of Virginia, in the Albert and Shirley Small Special Collections Library. Thanks to a collaboration between the University Library, Rare Book School, and the bookseller Roger Gaskell, UVa is now home to two bibliographical presses for use in public demonstrations, bibliographical instruction, and scholarly research. One is a common letterpress, used for printing text and images from type and relief blocks; the other is a rolling press, used for printing from intaglio plates. This is the first and only bibliographical rolling press, and it is a significant step for scholars not only of the history of printing, but also of the history of art, science, cartography, and other disciplines which rely on historical texts printed from intaglio plates, either exclusively or in combination with letterpress text.

Roger Gaskell, a scholar and bookseller, designed the new bibliographical rolling press, a replica based on the designs published in Diderot and d’Alembert’s Encyclopédie in 1769. As an antiquarian bookseller specializing in natural history and science books, Roger has always been interested in the production history and bothered by the lack of rigorous bibliographical language for the description of illustrated books. In 1999, a fellowship at the Clark Library in Los Angeles allowed him to study intaglio plates inserted into letterpress printed books, and he formed the idea then that building a replica wooden rolling press was essential for a better understanding of the mechanics and workshop practices of intaglio printing. Six years ago, Michael Suarez invited him to teach at Rare Book School and over dinner, Roger pitched to Michael the idea that Rare Book School should commission the building of a wooden rolling press based on a historical model. Some years later they discussed this again. But what to build? A press based on the design published by Bosse in 1645? That has been done: there is a fine replica in the Rembrandt House in Amsterdam that is frequently used for public demonstrations. A copy of an existing press? Gary Gregory was doing this for his Printing Office of Edes and Gill in Boston. It was the inspired suggestion of Barbara Heritage to build a press based on the Encyclopédie engravings. By good fortune Roger had seen a surviving press of very similar design on display in the print shop of the Louvre in Paris some years earlier. This made the Encyclopédie the perfect source as its accuracy, as well as a number of constructional details, which could be verified by examination of a contemporary press. The Chalcographie du Louvre press is now in storage at the Atelier des Arts, Chalcographie et Moulage at St Denis to the North of Paris where Roger spent a day photographing and measuring, in preparation for his new press.

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Robert Bernard (b. 1734) after Jacques Goussier (1722–1799). Imprimerie en taille-douce, Développement de la Presse, in Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, vol. 7 (plates). Paris, 1769.

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The Chalcographie du Louvre press at the Atelier des Arts, Chalcographie et Moulage at St Denis. Photograph by Roger Gaskell.

The use of working replicas gives students and researchers access to the technologies of book production that shaped the transmission of texts and images. Traditionally, the production of literary texts has driven the development of bibliography, bibliographical teaching, and the bibliographical press movement. But it has also long been understood that the ability to print images in multiples was as revolutionary for the development of other disciplines, including medicine, science, technology and travel literature, as the printing of texts has been to religious movements and imaginative literature. At UVa and Rare Book School, students and researchers can now work with the two – and only two – printing technologies responsible for all book production before the nineteenth century: relief and intaglio printing. There we can develop the habits of mind necessary to understand the implications of the extraordinary synergy of mind, body and machine which shaped the modern world in the west. Presses like these were used to print engravings and etchings for collectors, popular broadsides and ballads, indeed all kinds of ephemera as well as printed books.

 

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Erin Schreiner, the rolling press, and prints in the Albert and Shirley Small Special Collections Library, UVa

As a discipline, bibliography has been shaped by its leading scholars’ interests in English drama, poetry, and fiction, and in incunabula. Scholars working in the history of art and science, and anyone working with books on travel and exploration, are at a bibliographical loss – it’s hard to understand why an illustrated book came to be the way it is because bibliographical literature (with a very few exceptions) does not address the problems raised by printing in non-letterpress media. What’s more, this problem extends beyond rolling press printed matter and the handpress period and into twentieth century non-letterpress materials made on mimeograph, ditto, and Xerox machines. Much of the work by media historians is rightly viewed with skepticism by the bibliographical community, yet this community has not yet figured out how to think about printed matter that isn’t made from folded sheets of letterpress.

Printing is the work of the body as much as it is the work of the mind; it’s time to roll up our sleeves. Particularly in the absence of substantial archival records of rolling press printers and intaglio plate artists, we must get our bodies behind the press to confront the constraints of printing for books from intaglio plates. We need to print images and put them in books, we need to confront the reality of doing this in multiples (and probably also in debt), and in coordination with the production of letterpress text. Doing this work will make way for the kind of grounded thinking about print that makes for good scholarship.

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Megan McNamee, RBS Mellon Fellow & A.W. Mellon Postdoctoral Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery, pulls a print on the Rare Book School Copperplate Replica Press. 

Roger Gaskell is a scholar and bookseller, now living and working in Wales. He teaches The Illustrated Scientific Book to 1800 course bi-annually at Rare Book School, and teaches a regular seminar, Science in Print in the Department of History and Philosophy at the University of Cambridge.

Reptiles, Amphibians, Herptiles, and other Creeping Things: Variations on a Taxonomic Theme

by Contributing Editor Spencer J. Weinreich

King Philip Came Over For Good Soup. Kingdom, Phylum, Class, Order, Family, Genus, Species. Few mnemonics can be as ubiquitous as the monarch whose dining habits have helped generations of biology students remember the levels of the taxonomic system. Though the progress of the field has introduced domains (above kingdoms), tribes (between family and genus) and a whole array of lesser taxons (subspecies, subgenus, and so on), the system remains central to identifying and thinking about organic life.

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Green anaconda (Eunectes murinus): a reptile, not an amphibian (photo credit: Smithsonian’s National Zoo)

Consider “reptiles.” Many a precocious young naturalist learns—and impresses upon their parents with zealous (sometimes exasperated) insistence—that snakes are not slimy. The snake is a reptile, not an amphibian, covered with scales rather than a porous skin. Reaching high school biology, this distinction takes on taxonomic authority: in the Linnaean system, reptiles and amphibians belong to separate classes (Reptilia and Amphibia, respectively). The division has much to recommend it, given the two groups’ considerable divergences in physiology, life-cycle, behavior, and genetics. But, like all scientific categories, the distinction between reptiles and amphibians is a historical creation, and of surprisingly recent vintage at that.

When Carl Linnaeus first published his Systema Naturæ in 1735, what we know as reptiles and amphibians were lumped together in a class named Amphibia. The class—“naked or scaly body; molar teeth, none, others, always; no feathers” (“Corpus nudum, vel squamosum. Dentes molares nulli: reliqui semper. Pinnæ nullæ”)—was divided among turtles, frogs, lizards, and snakes. Linnaeus concludes his outline with these words:

the benignity of the Creator chose not to extend the class of amphibians any further; indeed, if it should enjoy as many genera as the other classes of animals include, or if that which the teratologists fantasize about dragons, basilisks, and such monsters were true, the human race could hardly inhabit the earth” (“Amphibiorum Classem ulterius continuare noluit benignitas Creatoris; Ea enim si tot Generibus, quot reliquæ Animalium Classes comprehendunt, gauderet; vel si vera essent quæ de Draconibus, Basiliscis, ac ejusmodi monstris si οι τετραλόγοι [sic] fabulantur, certè humanum genus terram inhabitare vix posset”) (n.p.).

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Sand lizard (Lacerta agilis), an amphibian according to Linnaeus (photo credit: Friedrich Böhringer)

In the 1758 canonical tenth edition of the Systema, Linnaeus provided a more elaborate set of characteristics for Amphibia: “a heart with a single ventricle and a single atrium, with cold, red blood. Lungs that breathe at will. Incumbent jaws. Double penises. Frequetly membranaceous eggs. Senses: tongue, nose, eyes, and, in many cases, ears. Covered in naked skin. Limbs: some multiple, others none” (“Cor uniloculare, uniauritum; Sanguine frigido, rubro. Pulmones spirantes arbitrarie. Maxillæ incumbentes. Penes bini. Ova plerisque membranacea. Sensus: Lingua, Nares, Oculi, multis Aures. Tegimenta coriacea nuda. Fulcra varia variis, quibusdam nulla”) (I.12). Interestingly, Linnaeus now divides Amphibia into three, based on their mode of
locomotion:

  1. Reptiles (“those that creep”), including turtles, lizards, frogs, and toads;
  2. Serpentes (“those that slither”), including snakes, worm lizards, and caecilians;
  3. Nantes (“those that swim”), including lampreys, rays, sharks, sturgeons, and several other types of cartilaginous fish (I.196).
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Smokey jungle frog (Leptodactylus pentadactylus), a reptile according to Laurenti and Brongniart (photo credit: Trisha M. Shears)

Linnaeus’s younger Austrian contemporary, Josephus Nicolaus Laurenti, also groups modern amphibians and reptiles together, even as he excludes the fish Linnaeus had categorized as swimming AmphibiaLaurenti was the first to call this group Reptilia (19), and though its denizens have changed considerably in the intervening centuries, he is still credited as the “auctor” of class Reptilia. The French mineralogist and zoologist Alexandre Brongniart also subordinated “batrachians” (frogs and toads) within the broader class of reptiles. All the while, exotic specimens continued to test taxonomic boundaries: “late-eighteenth-century naturalists tentatively described the newly discovered platypus as an amalgam of bird, reptile, and mammal” (Ritvo, The Platypus and the Mermaid, 132).

It was not until 1825 that Brongniart’s compatriot and contemporary Pierre André Latreille’s Familles naturelles du règne animal separated Reptilia and Amphibia as adjacent classes. The older, joint classification survives in the field of herpetology (the study of reptiles and amphibians) and the sadly underused word “herptile” (“reptile or amphibian”).

“Herptile” is a twentieth-century coinage. “Reptile,” by contrast, appears in medieval English; derived from the Latin reptile, reptilis—itself from rēpō (“to creep”)—“reptile” originally meant simply “a creeping or crawling animal” (“reptile, n.1” in OED). The first instance cited by the Oxford English Dictionary is from John Gower’s Confessio Amantis (c.1393): “And every neddre and every snake / And every reptil which mai moeve, / His myht assaieth for to proeve, / To crepen out agein the sonne” (VII.1010–13). The Vulgate Latin Bible uses reptile, reptilis to translate the “creeping thing” (רֶמֶשׂ) described in Genesis 1, a usage carried over into medieval English, as in the “Adam and Eve” of the Wheatley Manuscript (BL Add. MS 39574), where Adam is made lord “to ech creature & to ech reptile which is moued on þe erþe” (fol. 60r). Eventually, these “creeping things” became a distinct group of animals: an early sixteenth-century author enumerates “beestes, byrdes, fysshes, reptyll” (“reptile, n.1” in OED). I suspect the identification of the “reptile” (creeping thing) with herptiles owes something to the Serpent in the Garden of Eden being condemned by God to move “upon thy belly” (Gen. 3:14). The adjective “amphibian” is attested in English as early as 1637, but in the sense of “having two modes of existence.” Not until 1835—after the efforts of Latreille and his English popularizer, T. H. Huxley—does the word come to refer to a particular class of animals (“amphibian, adj. and n.” in OED).

The crucial point here is that the distinction between the two groups, grounded though it may be in biology and phylogenetics, is an artifact of taxonomy, not a self-evident fact of the natural world. For early modern, medieval, and ancient observers, snakes and salamanders, turtles and toads all existed within an ill-defined territory of creeping, crawling things.

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Fourteenth-century icon of Saint George and a very snakelike dragon (photo credit: Museum of Russian Icons, Moscow)

The farther back we go, the more fantastic the category becomes, encompassing dragons, sea serpents, basilisks, and the like. Religion, too, played its part, as we have seen with Eve’s serpentine interlocutor: Egypt’s plague of frogs, the dragon of Revelation, the Leviathan, the scaly foes of saints like George and Margaret, were within the same “reptilian”—creeping, crawling—family. To be sure, the premodern observer was perfectly aware of the differences between frogs and lizards, and between different species (what could be eaten and what could not, what was dangerous and what was not). But they would not—and had no reason to—erect firm ontological boundaries between the two sorts of creatures.

When we go back to the key works of medieval and ancient natural philosophy, the same nebulosity prevails. Isidore of Seville’s magisterial Etymologies of the early seventh century includes an entry “On Serpents” (“De Serpentibus”), which notes,

the serpent, however, takes that name because it crawls [serpit] by hidden movements; it creeps not with visible steps, but with the minute pressure of its scales. But those which go upon four feet, such as lizards and geckoes [stiliones could also refer to newts], are not called serpents but reptiles. Serpents are also reptiles, since they creep on their bellies and breasts” (“Serpens autem nomen accepit quia occultis accessibus serpit, non apertis passibus, sed squamarum minutissimis nisibus repit. Illa autem quae quattuor pedibus nituntur, sicut lacerti et stiliones, non serpentes, sed reptilia nominantur. Serpentes autem reptilia sunt, quia ventre et pectore reptant.”) (XII.iv.3).

The forefather of premodern zoology, Aristotle, opines in Generation of Animals “there is a good deal of overlapping between the various classes;” he groups snakes with fish because they have no feet as easily he links them with lizards because they are oviparous (II.732b, trans. A. L. Peck).

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Atlantic puffin (Fratercula arctica), a reptile according to modern phylogenetics (photo credit: NOAA Photo Library—anim1991)

As it turns out, our modern category of “reptile” (class Reptilia) has proved similarly elastic. In evolutionary terms, this is because “reptiles” are not a clade—a group of organisms defined by a single ancestor species and all its descendants. Though visually closer to lizards, for example, genetically speaking the crocodile is a nearer relative to birds (class Aves). Scientists and science writers have thus claimed—sometimes facetiously—that the very category of reptile is a fiction (see Welbourne, “There’s no such thing as reptiles”). The clade Sauropsida, including reptiles and birds (as a subset thereof), was first mooted by Huxley and subsequently resurrected in the twentieth century to address the problem. Birds are now reptiles, though they seldom creep. If I may be permitted a piece of Isidorean etymological fantasy, perhaps this is the true import of the “reptile” as “creeping thing,” as they creep across and beyond taxonomic boundaries, eternally frustrating and fascinating those who seek to understand them.

 

 

 

The Great Art

By guest contributor Adrian Young

One can hardly imagine a more audacious ambit for a museum exhibit than that of the Staatlische Museen zu Berlin’s new show, Alchemy: the Great Art, now at the Kulturforum. In the curators’ words:

“Alchemy is a creation myth and therefore intimately related to artistic practice – this idea permeates all eras and cultures, shaping Alchemy’s theoretical underpinnings as well as artistic creativity. An exhibition dedicated to the art of Alchemy is consequently predestined for the Staatliche Museen zu Berlin, whose diverse collections stretch over time from pre- and early history to the present. Alchemy is a universal theme for a universal museum”

As if to underpin its universal sweep, that thesis is inscribed on a wall above Matthäus Merian the Elder’s beautiful image of the cosmos, published in 1617.  Here, the position of the heavens above, the earth below, and humanity in between are assured within a hierarchy ordained by the divine unity of creation. The planets correspond to metals and vice versa, mercury for Mercury, at once products and signifiers of the same heavenly power.

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Robert Fludd, Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia (1617-1618). (Image courtesy of the Wellcome Library)

From this document, and from the assemblage of some 200 remarkable objects like it, spanning continents and millennia, we are meant to learn something of the universal creative ambition that drove alchemy as a global, timeless, and human craft. As a creative practice, the ars magna (or “great art,” to use alchemy’s medieval European appellation) wedded the pursuit of beauty and the pursuit of knowledge within the same practical tradition. It was only after the advent of Enlightenment rationality obscured their longstanding relationship that art and science seemed to diverge into bifurcating paths. However, though we rational moderns may have lost sight of a creative unity the pre-moderns knew well, by assembling the material culture of a deep alchemical past alongside the artistic products of a scientifically minded present, the exhibit suggests that “art” and “science” need be understood as separate enterprises. Rather, it claims, we have always been modern. We have always sought truth and beauty alike in the manipulation and transformation of material things. Creators have always been alchemists.

It is a seductive and tantalizing notion. Historians might chafe instinctively at claims of universality, as I did when I read the exhibit’s opening scrawl—“this idea permeates all eras and cultures”? But why not? One is inclined to indulge the thought, at least for a moment, while examining the treasures assembled here. And there are treasures. A ding, or ritual cauldron, from thirteenth-century BCE China still draws viewers in with a ring of intricately rendered cicadas; the metamorphosis of these insects suggest that a similar same property of transformation operated inside this metal crucible, and in remains at work in crucibles like it in laboratories and workshops the world over. Wall scrolls by sixteenth-century Daoist artist Lu Zhi depict the search for truth as the work of gathering herbs in the mountains. These hang near sixteenth-century European allegorical representations of the mountainous earth as a temple in which to mine divine knowledge.  Alchemical correspondences abound.

Whether these artifacts were products of “art” or “science” is of course a nonsensical question. Indeed, the exhibition reminds its visitors that artists and alchemists were practitioners of allied creative crafts, which they often plied in the same princely courts. A small work by Hans Jakob Sprüngli from the early seventeenth century drives that point home well. In his “Venus and Armor against the backdrop of renaissance architecture,” painted figures are ensconced in a field of gold leaf and stained glass. Master artists, like master alchemists, relied on an intimate, practical, and embodied knowledge of the materials from which they produced their works of truth or beauty. Artists today are much the same in their attention to material things, an alchemical affinity they even share with contemporary scientists. Think of Joseph Beuys, for instance, whose works are represented in the exhibition by a 1986 offprint displaying his “goldkuchen.” In Beuys’s use of fur, fat, and gold, physical objects became agents of affect, begetting emotional reactions and transformations. Pieces by a younger generation of artists do much the same. Sara Shönfeldt’s 2013 series “All You Can Feel (Maps)” is an object lesson in the commonalities of practice between science and art. Shönfeldt placed dissolved chemical compounds like the recreational drug MDMA onto pretreated negatives which, once developed produced full-color portraits of chemicals. Their crystalline browns and greens are reminiscent of minerals or landscapes, feeling simultaneously geological and geographical.  It is a use of darkroom technology that recalls earlier work by Walter Ziegler and Heinz Hajek-Halke, also represented in the gallery. Photography and its attendant chemical techniques long provided a practical if little-celebrated bridge between the hands-on work of art and science. Can we meaningfully call those shared practices alchemy? The genealogy, here at least, is manifest.

Continuities with the past need not be happy ones. Deep in the heart of the exhibit, in its lower level, lurks the specter of the homunculus. The artificial being, made living by the alchemist’s manipulation of inanimate matter is also evoked here to suggest alchemical practice’s persistence into our present.  Underscoring the idea’s lingering presence in the popular imagination, images of Frankenstein’s monster sit next to a copy of Japanese graphic novel Full Metal Alchemist. That the notion of a monstrous artificial life still haunts us powerfully reinforces the exhibition’s argument; in our era of genetically modified and artificial life, one of alchemy’s chief ambitions is enacted daily in scientific practice. At the center of the “Homonculus” section is one of the “Ripley Scrolls,” on loan from the Getty and one of the exhibition’s most arresting objects. Unwound inside a twenty-foot-long case, it becomes the body of arcane alchemical knowledge now splayed open for visitors. However, the exhibit which most monstrously evokes the grotesque possibilities of alchemical transformation might well be on the floor above, where another of Sara Schönfeldt’s pieces melds scientific and artistic practice. “Hero’s Journey (Lamp)” (2014) stores urine inside a large glass tank, lit by lamps on both sides. The light only penetrates so far through the liquid murk, fading from amber to blood red before disappearing in a dark center of clotted black.

By assembling in one gallery historical objects and art pieces from across time and space, the exhibition attempts a kind of curatorial alchemy, building a synthesis from diverse elements. Like most grand experiments, it falls somewhat short. Though the SMB is indeed a universal museum, Europe’s heritage dominates. While the exhibit proffers alchemy as a universal mode of creation, there are no representative objects from the New World, sub-Saharan Africa, or Oceania with which to substantiate such a claim. East Asian objects appear much more frequently–the Museum für Asiatische Kunst is the source of a number of fascinating exhibits– though these sometimes seem to reaffirm Western narratives. A section on the “chemical wedding” is a case in point. In a famous alchemical allegory, male and female, corresponding to mercury and sulfur, are bonded and give rise to a hermaphroditic compound.  It was a notion that originated with Jābir ibn Hayyān and spread in alchemical texts throughout the Mediterranean world, though we see it represented directly only by Western European artifacts. However, we are told that the idea shared an affinity with the wedding of opposites in other traditions—enter a bronze sculpture depicting the marriage of Shiva and Parvati from late eighteenth- or early nineteenth- century Madurai, which gestures at similar alchemical dualities in the Hindu world. The bronze’s precise relation to “alchemy” is sadly unexplained; rather,  we are left to ponder the exact global unities between such dualities on our own.

Those artifacts which do receive closer temporal or spatial framings are all the more compelling for it, even if the resulting narratives are in tension with the exhibition’s universal aspirations. Assertions of timeless continuity might productively trouble our understanding of science and art in the present, but historians of science have long offered more circumscribed historically situated assertions of continuity between alchemy, chymistry, and chemistry. In this show, too, the artifacts that best challenge the too-neat dichotomies that seem to separate modernity and reason from premodernity and magic are those that speak evocatively of their own historical moments. Take, for instance, that eminently enlightenment document, the Encyclopedie, whose entry “Chemie” is represented by Louis-Jacques Goussier’s engraving “Laboratoire et Table des Reports,” (1771).  Here, a table arranges the traditional signs for the elements, rationally ordering notations inherited from alchemy. Or, better, take the image of Sigismund Bacstrom’s “Apparatus to attract the Lunar Humidity” in Johan Freiderich Fleischer’s 1797 Chemical Moonshine, on loan from the Getty. Here, the glassware of the empirical chemical laboratory (an alchemical inheritance, to be sure) is turned toward the goal of capturing the fleeting essence of moonlight itself. It evokes Yoko Ono, but gestures even more strongly toward the tumultuous, contingent, and fleeting worlds that existed on the edges of the chemical revolution.

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Sigismund Bacstrom (German, ca. 1750–1805), “Device for Distilling Lunar Humidity,” ink and watercolor in Johan Friedrich Fleischer, “Chemical Moonshine,” trans. Sigismund Bacstrom, 1797, frontispiece. 950053.4.1 (Image courtesy of the Getty Research Institute.)

 

 Was I ultimately taken in by the allure of the exhibition’s universal aspiration? More than I might have expected. Assertions of similarity between art and science abound in books and museum exhibits, perhaps less because we aim to bridge C.P. Snow’s two cultures and more because we in the fragile arts hope to ally with the slightly sturdier sciences in this era of shrinking funding and diminishing respect for the academy.  Alchemy, by focusing our attention on the practical knowledge required by the work of creation, suggests genuine and overlooked affinities. I am inclined to understand those commonalities as the product of a shared, historically and regionally specific genealogy. But no matter. If the ideal of a common and universal human creative impulse can compel us to study the rich material heritage of the alchemical past, or indeed any past, then all to the good. Like the elusive philosopher’s stone, perhaps the ambition itself is of less consequence than the things learned in yearning for it. What’s more, artists and alchemists alike have long known what some historians have only recently rediscovered: that objects can speak with a vocabulary the written word does not always afford. In this exhibit, aesthetic objects, whether contemporary sculptures or scientific plates, evoke their pasts with a remarkable richness. As windows into the practical histories of alchemy and art, these materials, whatever their ordering, exude a transformative power of their own.

“Alchemy: The Great Art” is on view at the Kulturforum in Berlin until the 23rd of July, 2017.

Adrian Young is a postdoctoral fellow at the Berlin Center for the History of Knowledge, where he is revising his dissertation “Mutiny’s Bounty: Pitcairn Islanders and the Making of a Natural Laboratory on the Edge of Britain’s Pacific Empire” for publication. Though not a historian of alchemy by any stretch, he maintains an abiding interest in material culture and object lessons.

Evolution Made Easy: Henry Balfour, Pitt Rivers, and the Evolution of Art

by guest contributor Laurel Waycott

In 1893, Henry Balfour, curator of the Pitt Rivers Museum in Oxford, UK, conducted an experiment. He traced a drawing of a snail crawling over a twig, and passed it to another person, whom he instructed to copy the drawing as accurately as possible with pen and paper. This second drawing was then passed to the next participant, with Balfour’s original drawing removed, and so on down the line. Balfour, in essence, constructed a nineteenth-century version of the game of telephone, with a piece of gastropodic visual art taking the place of whispered phrases. As in the case of the children’s game, what began as a relatively easy echo of what came before resulted in a bizarre, near unrecognizable transmutation.

Plate I. Henry Balfour, The Evolution of Decorative Art (New York: Macmillan & Co., 1893).

In the series of drawings, Balfour’s pastoral snail morphed, drawing by drawing, into a stylized bird—the snail’s eyestalks became the forked tail of the bird, while the spiral shell became, in Balfour’s words, “an unwieldy and unnecessary wart upon the, shall we call them, ‘trousers’ which were once the branching end of the twig” (28). Snails on twigs, birds in trousers—just what, exactly, are we to make of Balfour’s intentions for his experiment? What was Balfour trying to prove?

Balfour’s game of visual telephone, at its heart, was an attempt to understand how ornamental forms could change over time, using the logic of biological evolution. The results were published in a book, The Evolution of Decorative Art, which was largely devoted to the study of so-called “primitive” arts from the Pacific. The reason that Balfour had to rely on his constructed game and experimental results, rather than original samples of the “savage” art, was that he lacked a complete series necessary for illustrating his theory—he was forced to create one for his purposes. Balfour’s drawing experiment was inspired by a technique developed by General Pitt Rivers himself, whose collections formed the foundation of the museum. In 1875, Pitt Rivers—then known as Augustus Henry Lane Fox—delivered a lecture titled “The Evolution of Culture,” in which he argued that shifting forms of artifacts, from firearms to poetry, were in fact culminations of many small changes; and that the historical development of artifacts could be reconstructed by observing these minute changes. From this, Pitt Rivers devised a scheme of museum organization that arranged objects in genealogical fashion—best illustrated by his famous display of weapons used by the indigenous people of Australia.

Plate III. Augustus Henry Lane-Fox Pitt-Rivers, The Evolution of Culture, and Other Essays, ed. John Linton Myres (Oxford, Clarendon Press, 1906).

Here, Pitt Rivers arranged the weapons in a series of changing relationships radiating out from a central object, the “simple cylindrical stick” (34). In Pitt Rivers’ system, this central object was the most “primitive” and “essential” object, from which numerous small modifications could be made. Elongate the stick, and eventually one arrived at a lance; add a bend, and it slowly formed into a boomerang. While he acknowledged that these specimens were contemporary and not ancient, the organization implied a temporal relationship between the objects. This same logic was extended to understandings of human groups at the turn of the twentieth century. So-called “primitive” societies like the indigenous groups of the Pacific were considered “survivals” from the past, physically present but temporally removed from those living around them (37). The drawing game, developed by Pitt Rivers in 1884, served as a different way to manipulate time: by speeding up the process of cultural evolution, researchers could mimic evolution’s slow process of change over time in the span of just a few minutes. If the fruit fly’s rapid reproductive cycle made it an ideal model organism for studying Mendelian heredity, the drawing game sought to make cultural change an object of the laboratory.

It is important to note the capacious, wide-ranging definitions of “evolution” by the end of the nineteenth century. Evolution could refer to the large-scale, linear development of entire human or animal groups, but it could also refer to Darwinian natural selection. Balfour drew on both definitions, and developed tools to help him to apply evolutionary theory directly to studies of decorative art. “Degeneration,” the idea that organisms could revert back to earlier forms of evolution, played a reoccurring role in both Balfour’s and Pitt Rivers’ lines of museum object-based study. For reasons never explicitly stated, both men assumed that decorative motifs originated with realistic images, relying on the conventions of verisimilitude common in Western art. This leads us back, then, to the somewhat perplexing drawing with which Balfour chose to begin his experiment.

Balfour wrote that he started his experiment by making “a rough sketch of some object which could be easily recognized” (24). His original gastropodic image relied, fittingly, on a number of conventions that required a trained eye and trained hand to interpret. The snail’s shell and the twig, for instance, appeared rounded through the artist’s use of cross-hatching, the precise placement of regularly spaced lines which lend a sense of three-dimensional volume to a drawing. Similarly, the snail’s shell was placed in a vague landscape, surrounded by roughly-sketched lines giving a general sense of the surface upon which the action occurred. While the small illustration might initially seem like a straightforward portrayal of a gastropod suctioned onto a twig, the drawing’s visual interpretation is only obvious to those accustomed to reading and reproducing the visual conventions of Western art. Since the image was relatively challenging to begin with, it provided Balfour with an exciting experimental result: specifically, a bird wearing trousers.

Plate II. Henry Balfour, The Evolution of Decorative Art (New York: Macmillan & Co., 1893).

Balfour had conducted a similar experiment using a drawing of a man from the Parthenon frieze as his “seed,” but it failed to yield the surprising results of the first. While the particulars of the drawing changed, somewhat—the pectoral muscles became a cloak, the hat changed, and the individual’s gender got a little murky in the middle—the overall substance of the image remained unchanged. It did not exhibit evolutionary “degeneration” to the same convincing degree, but rather seemed to be, quite simply, the product of some less-than-stellar artists. While Balfour included both illustrations in his book, he clearly preferred his snail-to-bird illustration and reproduced it far more widely. He also admitted to interfering in the experimental process: omitting subsequent drawings that did not add useful evidence to his argument, and specifically choosing participants who had no artistic training (25, 27).

Balfour clearly manipulated his experiment and the resulting data to prove what he thought he already knew: that successive copying in art led to degenerate, overly conventionalized forms that no longer held to Western standards of verisimilitude. It was an outlook he had likely acquired from Pitt Rivers. In Notes and Queries on Anthropology (1892), a handbook circulated to travelers who wished to gather ethnographic data for anthropologists back in Britain, Pitt Rivers outlined a number of questions that travelers should ask about local art. The questions were leading, designed in a simple yes/no format likely to provoke a certain response. In fact, one of Pitt Rivers’ questions could, essentially, offer the verbal version of Balfour’s drawing game. “Do they,” he wrote, “in copying from one another, vary the designs through negligence, inability, or other causes, so as to lose sight of the original objects, and produce conventionalized forms, the meaning of which is otherwise inexplicable?” (119–21). Pitt Rivers left very little leeway—both for the artist and the observer—for creativity. Might the artists choose to depict things in a certain way? And might the observer interpret these depictions in his or her own way? Pitt River’s motivation was clear. If one did find such examples of copying, he added. “it would be of great interest to obtain series of such drawings, showing the gradual departure from the original designs.” They would, after all, make a very convincing museum display.

Laurel Waycott is a PhD candidate in the history of science and medicine at Yale University. This essay is adapted from a portion of her dissertation, which examines the way biological thinking shaped conceptions of decoration, ornament, and pattern at the turn of the 20th century.

Coming to Terms with the Cybernetic Age

by guest contributor Jamie Phillips

Rare the conference attracting a crowd on a cold December Saturday morning, but such happened recently at NYU’s Remarque Institute. Space filled out early for the conclusion of a two-day conference on Cybernetics and the Human Sciences (PDF). The turnout bore out the conference’s contention of a renewed historiographical and philosophical interest in cybernetics, the science of “control and communication in the animal and the machine,” as Norbert Wiener subtitled his 1948 work that gave the interdisciplinary movement its name. As Leif Weatherby, co-organizer of the conference along with Stefanos Geroulanos, noted in his introductory remarks, the twentieth century was a cybernetic century, and the twenty-first must cope with its legacy. Even as the name has faded, Weatherby suggested, cybernetics remains everywhere in our material and intellectual worlds. And so for two days scholars came to cope, to probe that legacy, to trace its contours and question its ramifications, to reevaluate the legacy of cybernetics as a history of the present.

The range of presenters proved particularly well-suited to such a reevaluation, with some working directly on cybernetics itself, while others approached the subject more obliquely, finding, as it were, the cybernetic in their work even where it had not been named. Ronald R. Kline, author of the recent The Cybernetics Moment: Or Why We Call Our Age the Information Age, set the tone early in emphasizing the disunity of cybernetics. Despite the claims of some of its advocates and latter-day commentators, Kline contended, cybernetics never was one thing. On this point general consensus emerged the conference tended to eschew a search for definitions or classifications in favor of a wide-ranging exploration of the many faces of cybernetics’ legacy. And wide-ranging it indeed was as papers and discussion touched on topics from international relations theory and the restrainer of the Antichrist, to Soviet planning in Novosibirsk, the manufacture of telephones, brain implants and bullfights, Voodoo death, and starfish embryos.

A number of papers spoke to the pre-history (or rather pre-histories) of cybernetics. Mara Mills emphasized the importance of the manufacturing context for the emergence of ideas of quality control, as a crucial site for the development of cybernetic conceptions of feedback. Geroulanos addressed physiological theories of organismic integration, stemming from WWI studies of wound shock and concerns with the body on the verge of collapse, and leading to Walter B. Cannon’s concept of homeostasis, so pivotal for early cyberneticians. Other papers spoke to the varying trajectories of cybernetics in different national contexts. Diana West discussed the appeal of cybernetics in the Soviet Union in the 1970s and 1980s as offering promise of a more dynamic form of large-scale regional planning, a promise expressed in abstract theoretical modeling and premised on a computing power that never came. Isabel Gabel explored the intersections of biology, embryology and metaphysics in the work of French philosopher Raymond Ruyer. Jacob Krell gave an entertaining appraisal of the strange humanist engagement with cybernetics by the heterogeneous “Groupe des dix” in post-68 France, while Danielle Carr spoke to the anxious reaction against visions of human mind control in the Cold War United States, through the work of José Manuel Rodriguez Delgado. Other papers still, particularly those of Weatherby and Luciana Parisi, directly confronted a cybernetic metaphysics, and between them they raised questions concerning its novelty and significance with respect to the history of philosophy and contemporary media theory.

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Stefanos Geroulanos

Taken together, the papers compellingly demonstrated the ubiquity and diversity of the cybernetic across disciplines, decades, and geographical and political contexts. Taken together, however, they also raised a question that has long been posed to cybernetics itself. Here we might cite the words of Georges Boulanger, president of the International Association of Cybernetics, who asked, in 1969: “But after all what is cybernetics? Or rather what is it not, for paradoxically the more people talk about cybernetics the less they seem to agree on a definition” (quoted in Kline, The Cybernetics Moment, 7). Indeed, just as cybernetics itself declined as it expanded into everything, there is perhaps a risk that in finding cybernetics everywhere we lose hold of the object itself. To push the point further, we might echo the frustration of one of the interviewees cited by Diana West in her talk (and here I paraphrase): ‘They promised us cybernetics, but they never gave us cybernetics.’

Over two days, the conference answered this challenge through the productive discussion it generated. The more people talked about cybernetics, the more they seemed to find common ground for engagement.. Beyond the numerous schematics that served as the immediate graphic markers of the cybernetic imagination (see image), conversation coalesced around a loose conceptual vocabulary—of information, of feedback and system, of mechanism and organism, of governance, error and self-organization—that effectively bridged topics and disciplines, and that gave promise of discerning a certain conceptual coherence in the cybernetic age.

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A cybernetic schematic: “A Functional Diagram of Information Flow in Foreign Policy Decisions,” from Karl Deutch’s 1963 The Nerves of Government (courtesy of Stefanos Geroulanos)

This proved true even when (or perhaps especially when) understandings of the cybernetic seemed to point in very different directions. A panel of papers by David Bates and Nicolas Guilhot was particularly exemplary in this regard. Bates and Guilhot brought contrasting approaches to the question of the political in the cybernetic age. Bates presented his paper in the form of a question—on the face of it paradoxical, or simply unpromising—of whether we might think a concept of the political in the cybernetic age through the work of Carl Schmitt. Referring to Schmitt’s concept of the katechon (from his post-war work The Nomos of the Earth) as the Restrainer of the Anti-Christ, Bates proposed thinking the political as a deferral of chaos, a notion he linked to the idea of an open system that maintains itself through constant disequilibration, and to an organism that establishes its norms through states of exception. Recalling, through Schmitt, Hobbes’ conception of the Leviathan as an artificial man in which sovereignty is an artificial soul, Bates argued for a concept of the political that would enable us to think mechanism and organism together, that could recover the human without abandoning technology.

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Nicolas Guilhot, David Bates, and Alexander Arnold (courtesy of Stefanos Geroulanos)

Guilhot, by contrast, looked at the place of cybernetics in international relations theory and the work of political theorists in the 1960s and 1970s. Cybernetics, Guilhot suggested, here offered the promise of an image of the political that was not dependent on sovereign actors and judgment, one that could do away with decision making in favor of structure, system, and mechanistic process. Where Bates expressed concern that the technical had overrun the capacity of humans to participate in their own systems, for Guilhot’s theorists this was precisely the appeal: coming at a moment of a widely perceived crisis of democracy, cybernetics promised to replace politics with governance as such. For Guilhot here too, though, there was a critical intervention at stake: the image of the political as a system does not remove decision making, he contended, but rather obfuscates it. Prompted by the panel chair to respond to each other directly, Bates and Guilhot agreed that their papers were indeed complementary, with Bates speaking to an earlier moment of concern in the history of cybernetics that had subsequently been lost. The lively discussion that ensued served as proof of the productive engagement that can come from bringing it to the fore again.

Seen in this light, it was a fitting—if unwitting—coda to the conference as a whole that the menu at the post-conference lunch that Saturday afternoon rendered the title of the conference as “Cybernetics and the Human Services” (see image). One might take this as an occasion to think about the flow of information, about the place of error in systems of control and communication. But for present purposes, and for the present author, this fortuitous transposition of ‘human sciences’ into ‘human services’ serves rather to bring to the fore the question implicit in the conference’s agenda: how does the effort to reevaluate the legacy of cybernetics as a single history of the present change our possibilities for understanding and acting within it. What service, in short, can the human sciences render?

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(© Jamie Phillips)

In his paper that concluded the conference, Weatherby referred to an occasion at one of the Macy Conferences where the participants, considering the question of whether the brain was digital, confronted the further problem of defining the digital itself. Here, Weatherby suggested, they suffered from a lack of contribution from the humanities—no participant could themselves help the group to arrive upon a definition of cybernetics, what it does, how it works. Such is the work, it seems, that awaits the return to cybernetics. As the conference amply demonstrated, this will not and cannot be simply a matter of narrow definition: any attempt to come to terms with the cybernetic age and our continued place within it must pay heed to the pluralities, the disunities, the dispersed and intertwined trajectories that constitute that legacy; for all its own promise to unify the sciences, cybernetics was never one thing. At the same time, coming to terms with the cybernetic age will entail an effort to find a commonality in the plurality: if cybernetics indeed saturates the human and social sciences, how can we distill it; if it is everywhere without being named, what does it mean to name it, and what does it allow us to see. In this respect, one hopes, the menu will not be the last word, but will point rather to the urgency of continuing the ongoing reevaluation. An edited volume, I am told, is in the works.

Jamie Phillips is a Ph.D. candidate in modern European history at NYU. His dissertation examines the history of psychoneurology as a total science of the human in early twentieth century Russia, and its relation to the project of creating a ‘New Man.’ 

The Brain-for-Itself: Soviet Psychoneurologists Debate the Psychophysical Problem

by guest contributor Jamie Phillips

At a meeting of the Society of Psychoneurologists-Materialists in Moscow in 1930, the Chairman of the Society, Aron Zalkind, appraised the current the state of their field in the Soviet Union, and spoke in particular about the work of the Institute of Higher Nervous Activity at the Communist Academy: “here they not only work experimentally,” he said, “but also sometimes philosophize” (Arkhiv Rossiiskoi Akademii Nauk [ARAN], f. 351 op. 2 d. 25 l. 23ob).

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Workers at the Institute for the Study of Higher Nervous Activity, part of the Communist Academy, Moscow, 1931. It is not immediately clear from their behavior to what extent they are philosophizing. (Image Source: Arkhiv Rossiiskoi Akademii Nauk, f. 350 op. 1. d. 1077 l. 15)

Such a remark might evoke Monty Python-esque images of a workday never begun, of materials left untouched on tables, as white-robed scientist-philosophers pace about the lab in anticipation of the eureka moment. Coming from Zalkind, however, these were words of praise. Soviet psychoneurologists frequently bemoaned and disparaged what they saw as the naïve empiricism of their Western scientific counterparts, their lack of theory, their reluctance to philosophize. And nowhere was this truer than at the Communist Academy, and its Society of Psychoneurologists-Materialists, formed in 1928 with the express goal of bringing ideological direction to the scientific study of psyche, brain and behavior, and of uniting the work of these sciences into a materialist, dialectical theory of the human.

But what was a materialist—let alone dialectical—theory of the psyche? The Soviet Union in this period saw some rather spectacular attempts at reductive explanations of the psyche through correlations in the structures of the brain. Most famously (or notoriously), a group of researchers at the Moscow Brain Institute spent several years cutting Lenin’s brain into thirty thousand little slices in search of the material substrate of his genius, and claimed to find it, at least in part, in an exceptional development of the pyramidal cells of the third layer of the cerebral cortex. Around the same time, the psychoneurologist Vladimir Bekhterev issued a proposal for a “Pantheon of the USSR,” a Pantheon of Brains, in which the brains of outstanding dead Soviet individuals would be displayed in glass cases, alongside their biographies and list of works, with accompanying diagrams and explanations to demonstrate the correlation between them. Such a Pantheon, Bekhterev suggested, would serve both to advance scientific understanding of the brain and psyche and as “propaganda for the materialist view on the development of creative human activity.” (V. M. Bekhterev, “O sozdanii panteona SSSR,” Izvestiia, June 19, 1927).

For all the fanfare of such endeavors—and they seem to have been greeted enthusiastically by both government and public—doubts remained. Bekhterev’s own brain, removed from his skull mere months after its proposal for the Pantheon (and intended, ironically, to be its first occupant), proved in death to be rather unremarkable, in mute defiance, as it were, of the ideas of its living predecessor, as if to say, ‘What, after all, is there to see here?’

Человек и Природа, 1929-02, П???????????? ?  Проблема анатомийеской основы одаренности и мозг В. И p. 16 cropped.jpg

The material substrate of his genius: microphotographs of slices of the brain of Lenin (right) and an “ordinary person” (left). From N. I. Prozorovskii, “Problema anatomicheskoi osnovy odarennosti i mozg V. I. Lenina,” Chelovek i priroda No. 2, 1929, p. 16.

The claims made of Lenin’s brain provoked skepticism as well. A discussion in the Presidium of the Communist Academy briefly considered whether it might be possible to put the brain back together again to subject it to other methods of study. “They’ve shredded it to smithereens,” one lamented, “the conclusions are negligible, and the brain is lost” (ARAN f. 350 op. 1 d. 188 ll. 36-39). More than mere empirical questions, there were conceptual concerns about the overly “mechanistic” understandings of the psyche that such explanations offered. Where in these big or small cells, to paraphrase one objection, was class consciousness? (ARAN f. 350 op. 1 d. 269 l. 8). Such research might be useful, it was argued, but was in need of ideological direction, a push toward more “dialectics.” They didn’t philosophize enough, it would seem, or they philosophized badly.

It was in the context of such concerns that, in late 1928 and early 1929, philosophers, psychologists, physiologists and others came together at the Society of Psychoneurologists-Materialists for a discussion between mechanists and dialecticians on the psychophysical problem. The transcripts remain preserved in the archive of the Communist Academy in Moscow (ARAN f. 350 op. 2 d. 337, 393). They make for dense and at times inscrutable reading; a full exegesis would require volumes. But a brief consideration might provide some insight into what—if anything—came of this meeting of minds and brains.

Comrade V. N. Sarab’ianov, a mechanist philosopher, gives the principal paper. Are our thoughts, or ideas, our sensations, he asks, material or not? When Marx says that “being determines consciousness,” does he mean to oppose consciousness to being, in the sense that consciousness is not being, is not objective, spatial, material? Absolutely, as Sarab’ianov affirms: he opposes them. That which in itself is objective, a physical act in the body, Sarab’ianov continues, , is for me subjective, a psychical act. To the disappointment of the reader, he then launches into a long disquisition on primary and secondary qualities, from Locke and Galileo to Plekhanov and Lenin. (Sarab’ianov’s preferred example, fitting for the circumstances, was the quality of red-ness). But his point, in effect, comes to this: subjective phenomena are immaterial and cannot be objectively observed, and the only path to an objective materialist science of the psyche is through what is directly observable in the body and behavior. The dialecticians’ attempts to treat the psyche as “objective being,” Sarab’ianov contends, prove essentially wrong-headed.

The dialecticians, in turn, counter that

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What is there to see here? A cabinet full of brains in the Institute for the Study of Higher Nervous Activity, Moscow, 1931. (Image Source: Arkhiv Rossiiskoi Akademii Nauk, f. 350 op. 1. d. 1077 l. 18)

Sarab’ianov has confused the ontological problem with an epistemological one, and that the mechanists fail to understand, as one dialectician puts it, “the development of the world,” the emergence of new orders of lawfulness at different stages of development. The mechanists, they argue, conceive of the world only in terms of physical and mechanical forms of motion, and either attempt to reduce the psyche to primary elements, to the brain and physiology, or—what amounts to much the same—isolate consciousness from the world, and render it unintelligible. Either way, they are “unwitting idealists,” for they ignore the problem of the psyche as a distinct property of highly organized matter, as a distinct property of that specially organized piece of matter called the brain. The problem with the mechanists, the psychologist-dialectician Iu. V. Frankfurt asserts, is that they cannot imagine that matter can think. They fail to understand the brain as a thinking thing; they fail to understand the brain, he says, as a “thing in itself and for itself.”

Does any of this make any sense? Certainly, there is no eureka moment here—or in the discussion that follows—and indeed the prevailing sense is of an immense confusion. The psychophysical problem is not solved. Rather, what we begin to see is that they are in fact posing different questions. At the risk of stretching Frankfurt’s use of the term here (though not, I think, the stakes of a broader intervention), the problem of the brain ‘for-itself’ for the dialecticians was not, in the first instance, a question of matter and sensation, but of the possibility of conscious and purposeful action, of the active role of consciousness, as they liked to say, in human behavior. It was a problem of the place of the psyche in the world.

In this respect, we might begin to see how a push towards “dialectics” could point to a different approach to the brain, and to what a materialist explanation of the psyche would be. On one hand, it entailed a turn away from the physical and immediately observable as the privileged form of explaining the psyche: thinking the brain as a thinking thing, the demonstration of “substrates” and “correlates” in itself was of no explanation at all. On the other, it focused attention, above all, on the question of development, and the relation of the brain to the structure of consciousness. Posed in this way, the question to be answered was not one of how the brain produced ideas and sensations, but rather of why, of the role of thought and affect in conscious human activity. In this vein, a number of Soviet psychologists in these years would turn to evidence from the clinic, from child development, and even from socialist construction, to understand the development of specifically human higher psychological functions. As Alexander Luria would later say of the work done in this period by Lev Vygotsky (himself one of the participants in the psychophysical discussion), it was a question of how “history ties new functional knots in the cortex” (Luria, “L. S. Vygotsky and the Problem of Localization of Functions,” p. 391).

The fate of that research is a story for another time. The idea here is not that such attempts to rethink the brain came out of this one discussion, or even that they had much to do with dialectics as we might understand it. Rather, it is to consider how such attempts at “ideological direction” may have raised significant questions about what it is we can see, and what it is we explain, when we look at the brain—dead or alive. In this respect there is still perhaps some value in not only working experimentally, but also, sometimes, philosophizing. And, just maybe, in thinking historically as well.

Jamie Phillips is a Ph.D. candidate in modern European history at NYU. His dissertation examines the history of psychoneurology as a total science of the human in early twentieth century Russia, and its relation to the project of creating a ‘New Man.

Further reading:

For more on the dispute between the Mechanists and Dialecticians, see David Joravsky, Soviet Marxism and Natural Science, 1917-1932 (Routledge, 2009)

For lighter fare, join Joy Neumeyer as she takes A Visit to Moscow’s Brain Institute to explore what’s left of the Pantheon in a delightful article for Vice.

 

Prophetic Medicine in the Indian Yūnānī Tradition

by guest contributor Deborah Schlein

When Greek medical texts were transmitted and translated in the ʿAbbasid capital of Baghdad in the ninth and tenth centuries, they paved the way for original Arabic medical sources which built off Greek humoral theory (the four humors: blood, phlegm, yellow bile, and black bile; in Arabic: dam, balgham, ṣafrāʾ, and sawdāʾ). The most famous of these sources is Ibn Sīnā’s (d. 1037) Qānūn, Latinized to Avicenna’s Canon. The Qānūn is often cited as the foundation of what became known as Yūnānī Ṭibb, or Greek medicine, hearkening back to its use of Greek humoral theory as the basis of aetiology, diagnosis, and treatment. With the movement and transmission of texts such as the Qānūn, the study and practice of Yūnānī Ṭibb flourished and adapted to new surroundings.

While Yūnānī medicine has a long history in the Islamic world, popular medicine also drew enthusiastically on other traditions. Practices included the use of amulets, local knowledge of flora and their medicinal properties, prayer, and al-Ṭibb al-Nabawī, or Prophetic medicine. This last is characterized by the use of folk remedies, medical traditions cited in the Qur’an, and, most notably, the use of medical ḥadīth, or sayings of the Prophet Muḥammad, which were collected in book form.

Both al-Ṭibb al-Nabawī and Yūnānī Ṭibb had a large following in the Islamic world, and still do to this day. India is a perfect example of the staying power of these kinds of medicine. When Yūnānī arrived in South Asia, scholars and intellectuals fleeing the Mongol invasions of the thirteenth century brought with them medical knowledge based on Arabic sources, beginning a medical tradition which would adapt and thrive from the period of the Delhi Sultanate (1206-1516) into the modern day. Knowledge of al-Ṭibb al-Nabawī also accompanied these scholars to India. Today, Yūnānī colleges are supported by the Indian government, and medical practice in the region is a mixture of the traditions that flourished there, including Yūnānī, Ayurveda, al-Ṭibb al-Nabawī, and allopathy (often called Western medicine).

Yet, too often, the medical traditions are discussed separately, without mention of the ways in which they influenced one another, particularly in regard to Yūnānī‘s adoption of treatments from al-Ṭibb al-Nabawī. Even a cursory glance at the sources, however, can tell a reader how these medical traditions interacted and shaped each other over the centuries. A study of Yūnānī manuscripts and their reception gives a clearer picture of that mix of Yūnānī Ṭibb and al-Ṭibb al-Nabawī during such earlier periods as the Mughal empire, showing that the different bodies of knowledge in fact interacted.

One way to better understand the reception of these texts and the interactions of these medical traditions is to study the marginal notations in the premodern manuscripts. These notes are a window into the thoughts of the readers themselves: they refer to other medical sources, describe prescriptions the readers used and knew to be beneficial, and relate the realities of the medical traditions in practice. One single manuscript can have marginal notations with references to Galen, Ibn Sīnā, and the Prophet Muḥammad, all concerned, for example, with the best remedy for toothache. These notes, therefore, tell us a great deal about the usage and understanding of the text at hand.

The major medical encyclopedia of Najīb al-Dīn al-Samarqandī (d. 1222), al-Asbāb wa alʿ-ʿAlāmāt (The Causes and the Symptoms), and its attendant commentaries follow Yūnānī medical theory. Copies of both the commentaries and the original work number in the hundreds in the Indian manuscript collections, not far behind Ibn Sīnā’s Qānūn and its commentaries. Al-Samarqandī’s sources come from medical greats such as al-Rāzī (d. 925), al-Majūsī (d. 994), and, of course, Ibn Sīnā, but unlike the five-volume medical compendium that is the Qānūn, al-Samarqandī’s al-Asbāb wa al-ʿAlāmāt is a handbook of medical diagnoses and treatments that was meant for personal use, to be referred to and utilized in practice. Other medical scholars, such as Nafīs b. ʿIwad al-Kirmānī (flourished 1437) and Muḥammad Akbar Arzānī (flourished 1700) took up the text and wrote major commentaries on it, in Arabic and Persian respectively. I now turn to an Indian manuscript of al-Kirmānī’s Sharḥ [commentary of] al-Asbāb wa alʿ-ʿAlāmāt in an effort to shine light on the interactions of Yūnānī Ṭibb and al-Ṭibb al-Nabawī.

Al-Kirmānī dedicated this Sharḥ to his patron, the Timurid ruler Ulugh Beg, in whose royal court he was a physician. Copies of the Sharḥ can be found all over India, and are even more common in the region than al-Samarqandī’s original text, upon which the commentary is based. The Raza Library in Rampur, Uttar Pradesh holds six manuscripts of al-Kirmānī’s Sharḥ al-Asbāb wa alʿ-ʿAlāmāt, ranging in date from the seventeenth to the nineteenth centuries and covering the transition of power from the Mughals to the British Raj. One particular manuscript, No. 3999 (Raza Library, Acc. No. 4195 M), is an eighteenth-century copy of al-Kirmānī’s Sharḥ, and its margins are littered with explanations, prescriptions, and references to other medical sources, mostly in Arabic. While some notes offer quotes from Galen or Ibn Sīnā, others refer to the works of al-Samarqandī himself. What makes this manuscript important to the study of Yūnānī and Prophetic medicine’s interactions, however, are the many notations citing early Islamic and, in some cases, pre-Islamic medical advice.

The margins of fourteen folios exhibit references to the Prophet’s advice and actions in the realm of medical practice. These various ḥadīth are reported by a total of twelve different companions and members of the Prophet’s family, and they showcase Muḥammad’s own knowledge of the region’s flora and their medical benefits, as well as the traditional folk medicine of the Arabian peninsula. For example, the mid-point of al-Kirmānī’s Sharḥ advocates the use of medicaments to rid the body of excess fluid to relieve dhāt al-janb, or pleurisy, which is an inflammation of the tissue lining the lungs and the chest cavity. The marginal note on this page relates the report of Zayd b. Arqam, a companion of the Prophet, who says that Muḥammad named zayt (oil) and wars (memecylon tinctorium, a Yemenite dye-yielding plant) as treatment for pleurisy (MS. No. 3999, f. 166b). Similarly, while al-Kirmānī explains al-Samarqandī’s definition of kulf, or freckles, as localized changes of color in the face to shades of black or red, the ḥadīth states that Umm Salama, one of the wives of Muḥammad, related that the Prophet spoke of the use of wars (seemingly, a common medicament at the time) to coat the affected areas of the face in order to counteract these spots (MS. No. 3999, f. 336a). Here, these marginalia serve to underscore the accuracy of the lessons of the text’s author, but they also give more specificity to how the ailment should be treated.

One additional notation is worth noting because it predates Islam: it is attributed to Luqmān the Ḥakīm (literally, wise man), a pre-Islamic sage who is mentioned in the Qur’an. His treatments (Elaj-e-Lokmani, or “treatment of Lokman”) are still practiced today in an orally-transmitted medical tradition in Eastern India, particularly Bengal. Luqmān’s medical advice, like the ḥadīth of the Prophet, recalls the medicine practiced in Arabia at the time. The notation before the text begins prescribes a treatment using gharghara (a gargle) and julāb (julep, a fruit- or petal-infused drink) for problems originating in the stomach (f. 1a, MS 3999) and is written in Persian. The Arabic note following it describes the above treatment’s source, denoting Luqmān the Ḥakīm as its originator. This reference to a pre-Islamic sage’s medical advice brings to the fore the Arabian medicine upon which al-Ṭibb al-Nabawī is based. These references reveal the thoughts of the manuscript’s reader, and force the scholar to question the boxes to which these medical traditions have often been assigned.

It is clear that the early Arab medicine described by the Prophet, and practiced before and during his lifetime, was very much alive and influential throughout the time of Yūnānī medical manuscript production and study in India. The treatments explained in al-Kirmani’s Sharḥ must have reminded the reader of the Prophet’s own medical advice. He may have written these thoughts down as a memory aide, for future readers of the text, or to underscore the benefits of these remedies. Whatever the reasoning behind these notations, the margins of this particular Yūnānī manuscript show that there was an awareness of al-Ṭibb al-Nabawī in the study of Yūnānī Ṭibb, and the two were not at all mutually exclusive.

Deborah Schlein is a Ph.D. candidate in Near Eastern Studies at Princeton University. She is currently pursuing archival research in India with the support of a Fulbright-Nehru grant.

Malthus Redivivus/Malthus Revisited

by guest contributor E.G. Gallwey

In the history of ideas, the rate of population growth or decline has carried strong associations with the trajectories of societies and states. The eighteenth-century writer Thomas Robert Malthus’s principle of population has set the standard for discussion of the implications of demographic change, and placed the problem of scarcity at the center of human experience. For Malthus, scarcity of food (the limits to what could be produced from the earth’s resources), coupled with the continuous desire for sexual reproduction, was the abiding condition of human existence.

800px-Thomas_Robert_Malthus_Wellcome_L0069037_-crop.jpg

Thomas Robert Malthus (1766-1834) by John Linnell (1834)

Malthus was not the first to talk about the implications of scarcity on economic life. But since his work was first published, he has been associated with a profoundly unfeeling attitude towards the fate of the poor. Thomas Carlyle branded political economy the “dismal science” on account of Malthus’s contention that human beings would always have to live within the limits of natural law, and that human attempts to alter natural law by schemes of improvement would most likely have negative long-term effects. Such views were largely a consequence of Malthus’s position relative to the social reform schemes championed by advocates of human plenty and invention who had developed their ideas in the context of the French Revolution, the pinnacle of Enlightenment optimism.

Just as scholars of the eighteenth century have done much to rehabilitate the tired and outdated picture of Adam Smith, Malthus’s reputation has been deemed ripe for re-evaluation. Coinciding with the 250th anniversary of Malthus’s birth and the publication of Joyce Chaplin and Alison Bashford’s exciting new book, The New Worlds of Thomas Robert Malthus, a conference at Malthus’s alma mater, Jesus College, Cambridge on June 20-21 engaged in a substantial and timely reassessment of Malthus’ thought. Scholars from a range of disciplines, including history, political science, demography, and economics, gathered for the two-day meeting.

A series of panels on day one explored the historical origin, intention, reception, and propagation of Malthus’s thought from the eighteenth through to the twenty-first century. The opening session provided re-readings of Malthus’s principles in the context of the eighteenth century’s relationship to enlightenment and revolution and to European powers’ imperial expansion in the “new worlds” of the Americas and Pacific.

Joyce E. Chaplin’s paper on the reception history of Malthus’s thought demonstrated how the 1803 “Essay on Population” not only drew directly from new world societies in its evidence base, but also sought directly to engage in a debate about the future of colonial settler societies. Largely forgotten as a critic of imperial schemes of territorial conquest and settlement, Malthus cast serious doubt on the settler fantasy of a terra nullius in the ideology of settler imperialism. Instead, writing in the vein of Enlightenment universal histories, Malthus aimed to demonstrate how new world societies illustrated the limits of resources and the dangers of displacing indigenous populations from the land. Timing was fundamental, however, to the reception and circulation of Malthus’s work; and when the revolutions and subsequent independence of North and South American colonies, suggested the possibility of an escape from the dynamics and limits of the old world, the ensuing optimism resulted in a highly partial reading of Malthus.

Christopher Brooke’s paper reconstructed the possibility of Malthus’s unacknowledged debt to the ideas of Jean-Jacques Rousseau, a relation deriving at least in part from the influence of Malthus’s father, a devoted follower of Rousseau. Though both Rousseau and Malthus have long been recognized as expounding influential theories of property relations, the latter has often been depicted as a theologically-driven theorist, engaged in formulating a theodicy for lapsarian man. Brooke instead placed Malthus within a tradition of thought initiated by Montesquieu and carried forward by Rousseau, wherein the question of population was part of a broader debate on the role of climate, the size and scale of states, and their relationship to the moral sentiments of the poor as much as the wealthy. Such republican concerns engendered an interest in the form of economic development most conducive to the stability of political regimes and to the maintenance of constitutional liberties.

Such an alternate reading of Malthus, placing him outside the traditional stress on his combative engagement with the progressive reformist schemes of Condorcet and Godwin, was echoed by Niall O’Flaherty in his paper on Malthus’s approach to the amelioration of poverty. Situating his ideas within Enlightenment debates about the stadial progress and poverty of nations. O’Flaherty identified Malthus’ scientific arguments on the elements of European culture which had alleviated some of the worst population checks, suffered by earlier more primitive societies. Malthus was influenced by Adam Smith and William Paley in his utilitarian analysis of the conditions for the improvement of the poor, including his account of self-love and the role of decent and useful pride in encouraging prudence.

Alison Bashford provided a powerful explanation for Malthus’s curious non-engagement with the question of slavery, even as the multiple editions of the essay spanned the course of the debate on abolition. Citing archival evidence on the Malthus family’s involvement in a protracted legal dispute over the inheritance of a Jamaican plantation, Bashford helped contextualize the omission, which was particularly glaring given the economic significance of the Caribbean colonies in the British empire—a fact of which Malthus, as professor of political economy at the East India Company’s own college, could hardly have been unaware.

The afternoon session considered Malthus’s influence on the trajectory of economic thought and analysis in the nineteenth and twentieth centuries. Gareth Stedman Jones addressed the afterlife of Malthusian thought in the socialist circles of utopianism and early Marxism. Though Malthus’ thinking on the the poor evoked vituperative responses from radicals like William Godwin and the later Owenites, Stedman Jones pointed toward some important areas of synergy. These included the preponderance of mind over matter in Malthus and Godwin’s account of human nature and the contribution of Malthus’ theory to Marx’s own writing on the declining rate of profit.

This latter point formed a nice transition into Duncan Kelly’s assessment of John Maynard Keynes’s engagement with Malthusian thought. Keynes himself pursued a substantial reassessment of Malthus’s legacy, including an adumbration on the greater advantages to the development of nineteenth-century political economy if the science had followed Malthusian rather than Ricardian logic. Many of the key problems Keynes tackled in his formal economic work, as well as his polemical and political writing, drew on Malthus’s originality in thinking about deficiency in demand and economic cycles: the usefulness, in macro terms, of public-works projects in depression-hit economies. Kelly explained how the connection between social reform, eugenics, and human agency in Keynes’s mature thought intended to address intergenerational justice and the quality of states’ populations, over the traditional geopolitical concern to boost population numbers as an assurance of national strength.

Three final papers by Leigh Shaw-Taylor, Richard Smith, and Paul Warde tested Malthus’ claims against the evidence of centuries of economic and demographic change in England. There followed a public lecture, in which E.A. Wrigely provided a thorough recapitulation of the close link between Malthus’s observations on the laws guiding the behavior of land, labor, and capital and his theory of human nature. He concluded with an observation on the irony of Malthus’s theory governing the limits to growth of organic economies having been brought forth just as human societies began to discover new forms of energy which would revolutionize economic production.

The shifting perspectives of the past, present, and future on the question of scarcity and the morals and politics of human agency were frequently addressed on day two of the conference. The series of panels brought a more contemporary and global focus, though historical treatments of the role of Malthusian language and traditions of thought in the politics and economics of international development allowed for important critiques of the application of Malthusianism in non-western settings. Much of the discussion in the morning centered on how mid-twentieth-century anxieties over an impending food crisis drew on a neo-Malthusian revival. The role of states and of non-governmental institutions like the Rockefeller Foundation, and the revival of disciplines like demography, spurred a renewed interest in earth’s carrying capacity and the damage being done by the manipulation of new technologies in botany and human fertility.

The concluding panel offered a vivid sense of the way in which climate change has replaced food crisis as the dominating concern of the twenty-first century. Yet the origins of ecology and climate science, and even key concepts like the anthropocene, can be understood to have borrowed much from Malthusian thinking. Indeed, the application of temporal and geographic scale in understanding the direction of human and planetary history is by no means the only legacy Malthus imparted to his readers.

E.G. Gallwey is a PhD candidate in American History at Harvard University. Her dissertation research explores the intellectual history of political and economic thought in the long eighteenth century, with a focus on republican debates over public credit in the revolutionary Atlantic.

Félix de Azara: Drawn from Life

by guest contributor Anna Toledano

Decades before Darwin set out on his voyage on the H.M.S. Beagle, Félix de Azara (1742–1821) observed many of the same species of animals and plants that the famed Englishman would see during his journey. Charged by the Spanish army with the task of drawing maps of the Spanish and Portuguese territories in the Río de la Plata region of what is now Paraguay and Brazil, Azara arrived in South America on March 12, 1781 and remained in the region for twenty years. The expedition proved long and monotonous, providing the curious, assiduous Azara with much time to observe the wildlife and peoples near the Río de la Plata.

During his time in South America, Azara amassed a significant collection of natural history objects. In 1788, he sent an extensive set of birds for study to the Royal Cabinet of Natural Sciences—what is now the National Museum of Natural Sciences in Madrid—by way of José Moñino y Redondo, the Conde de Floridablanca (1728–1808), who was chief minister in charge of Spain’s foreign policy. Azara had preserved the birds using aguardiente, a strong grain alcohol. In a letter dated September 13 of the same year to Eugenio Izquierdo de Rivera y Lazaún, the director of the Royal Cabinet, Azara indicated that he hoped to “gather all of the species of birds, describe them and send them” to Spain (Museo Nacional de Ciencias Naturales and Calatayud Arinero 1984, 198). The box later arrived at the Cabinet with 107 specimens inside.

The personnel in Madrid did not view the specimens with as much enthusiasm as Azara did. The arduous journey—as well as the alcoholic aguardiente—had been unkind to the “avecillas.” Vice director of the Cabinet, José Clavijo Fajardo, sent his thanks to Azara via the Conde de Floridablanca, but only for drafts of Azara’s Remarks on the Natural History of the Birds of Paraguay and Rio de la Plata and not for the ill-preserved birds. The naturalists at the museum saw them as worthless for taxidermy and study. Tragically, the Cabinet could not accommodate the unidentified, aboriginally-named birds in Azara’s collection (Figueroa 2011). Since neither Buffon nor Linnaeus had referenced any of the species that Azara identified, Clavijo considered them uninteresting and disposed of them (Calatayud Arinero 2009, 90-91).[1]

While this anecdote serves as an example of the capriciousness of what survives the sands of time and what does not in terms of objects of natural history, it also illustrates the attitude at the Spanish institution—and among educated Spaniards themselves—toward Azara during his lifetime. The Cabinet rejected Azara’s specimens because it operated within a different knowledge paradigm that did not value the same objects and methods of science that Azara, separated by an ocean, had developed for himself. Azara was not Bernard Shaw’s itinerant British sailors in the South Pacific, for whom “the problem of observing and interpreting what they saw…was…a simpler matter…than for the exiles and missionaries who followed them” and began this new, foreign way of life. Azara was not enjoying merely “extended, if dangerous, holiday;” he had, in fact, a “deep emotional break…[from] a homeland never, perhaps, to be seen again” (Shaw 1950, 85).

Azara’s lack of professional training as a naturalist may have played a role: although he was well-versed in mathematics and the physical sciences, his practical biological knowledge was self-taught. Azara maintained that his observations of animals as they lived in the wild prevented him from drawing the same mistaken conclusions as European naturalists. In his introduction to his treatise on quadrupeds, Azara stressed that he

[put] all my care to tell the truth without exaggerating anything, and to know and express the characters of the animals whose descriptions I made in their presence. Because of this I have been less at risk to fall into the errors that those who have not been able to observe them alive have not been able to avoid; those who have beheld them emaciated, hairless and dirty in cages and chains; and those who have sought them in cabinets: where, in spite of care, the injury of time must have altered the colors heavily, changing the black into brown, etc.: and no skin, nor the best-prepared skeleton, gives the exact idea of the shapes and sizes (Azara 1802, i-ii).

He lambasted armchair scientists who made all of their discoveries not in the field but using stuffed skins and bones in the museum (Cowie 2011, 5).

Azara’s professional contemporaries at the Royal Cabinet did not refuse his work in its entirety. Azara enjoyed some success from his publications in his home country as well as other European nations. Yet his books were not as effective at describing the birds as were the birds themselves. Different forms of knowledge held value over others.

Through illustrations was one way that Azara could command an audience. As Lorraine Daston and Peter Galison argue in their work on objectivity, “Whatever the amount and avowed function of the text in an atlas, which varies from long and essential to nonexistent and despised, the illustrations command center stage” (Daston & Galison 1992, 85). Azara incorporated drawings of the bird and animal species he discussed in his numerous multi-volume tomes on the flora, fauna and ecology of the South American region where he lived. His best-known works include the aforementioned Remarks on the Natural History of the Birds of Paraguay and Rio de la Plata and Remarks on the Natural History of the Quadrupeds of Paraguay and Rio de la Plata, for which he tried his hand at illustration as well, despite his admitted lack of skill (Azara 1802, iv). For the French edition, Azara hired an illustrator, but he drew from the specimens in the Paris Museum rather than from life (Cowie 2011, 135). Azara could not have it all: he had to choose between his crude drawings from the field or professional depictions of dead museum specimens. Explore the pictures below to make your own assessment. What explanatory power do these images hold?

1 Anteater

The black anteater, one of the two varieties that Azara studied, as illustrated in the French edition of his Voyages. Azara commissioned these illustrations from specimens that he identified in the museum in Paris as correctly corresponding to those in his notes from South America (Azara 1850, 4). He corrected a falsely held notion in Europe that every anteater was female and that their proboscides substituted for something more phallic in the act (Azara 1802, 65).

2 Azara's rat

Azara was the first to identify a significant number of animal and plant species during his time near Río de la Plata, including this species of rat. Modern evolutionary biologists continue to examine his own taxonomic and naming practices as well, since he classified many mammals and birds using hybrid binomials that scientists still employ today, despite his ignorance of proper practice in Linnaean nomenclature. One set of researchers, hailing from institutions such as the American Museum of Natural History as well as the National Museum of Natural Sciences in Madrid, updated Azara’s taxonomic description of varieties of opossums in order to conform with present-day research. They state that Azara’s “descriptions are detailed enough to permit unambiguous identifications of many species” (Voss et al. 2009, 406-407).

3 Azara's bird

Forty pages of descriptions and notes accompanied the birds that Azara sent to the Royal Cabinet, which totaled 84 specimens of 61 different species. He listed the birds’ descriptive, hybrid indigenous-and-Spanish names such as the “Tugüay-machete” and the “Yby̆y̆aù sociable” (Museo Nacional de Ciencias Naturales and Calatayud Arinero 1984, 197). In a detailed four-columned list, he also included the sex and assessments of the condition of the individual specimens (Figueroa 2011).

4 Azara map 1809 English

Azara did adhere to his original mission, lest one forget what that was. He made some efforts to draw maps of the region, such as the snippet of this comprehensive one included in the beginning of the 1838 English edition of his treatise on quadrupeds. The act of surveying proved extremely difficult not just for him but also for the Spanish representatives sent to other South American regions. Historian of Latin America Tamar Herzog describes the hurdles that they encountered, such as

treaties [that] often mentioned rivers, settlements, and mountains that never existed or were not located where the parties had imagined. Others had a different name in Spanish and Portuguese. Because the territory was not only huge but also unknown, experts[’]…work degenerat[ed] into endless debates regarding where rivers flowed and where mountains were located.

Just as with the sixteenth-century treaty of Tordesillas, Herzog writes, “these experts thus failed to reach concord on how a theoretical, imaginary line described in a European document would become a concrete, material reality in the Americas” (Herzog 2015, 32).

5 Azara Goya

A work featuring Félix de Azara appears in yet another Spanish institution, but it is perhaps neither in the expected medium nor in the expected museum. In 1805, the Spanish artist Francisco Goya painted Azara’s portrait, which now hangs in the Goya Museum in Zaragoza, Spain. Azara wears his military regalia, replete with sword, cane and well-pressed uniform. Yet, his intellectual pursuits also figure into the symbolism of the scene. He holds in his right hand a paper, indicating he is a learned man. Most wonderfully, behind him is a veritable cabinet of curiosities. Taxidermied felines grace the lowest shelf while his beloved birds overflow on the others, tucked away for study when necessary.

Anna Toledano is pursuing a PhD in history of science at Stanford University. A museum professional by training, her research focuses on natural history collecting in early modern Spain. Follow her on Twitter at @annatoledano.

Thinking About Knowledge in Motion and Social Engagement at HSS

by guest contributor Patrick Anthony

Amidst the great diversity of ideas and perspectives circulating at this year’s History of Science Society (HSS) meeting in San Francisco, two themes continue to resonate in my mind: knowledge in motion and social engagement. Indeed, the annual HSS meeting is itself an example of the far-ranging mobility of ideas and the impulse of many scholars to engage with diverse and interdisciplinary audiences. It is fitting then that some of the most palpable themes at HSS concerned the transmission and translation of scientific knowledge on the one hand and the social and political engagement of scholars on the other.

With sessions and round-tables like “Knowledge in Motion,” “Translation as Process,” and “Translation as an Epistemic Tool,” I was reminded of the text of James A. Secord’s plenary lecture at a Halifax conference titled “Circulating Knowledge” in 2004. Under the title “Knowledge in Transit,” Secord expressed his concern that a focus on localized sites of knowledge creation had lead to a “loss of direction,” suggesting in stead that we begin to view “knowledge as communication” and shift our gaze toward “patterns of circulation.” “It means thinking about statements as vectors with a direction and a medium,” Secord argued — and this is precisely how many of his colleagues were thinking at this year’s HSS meeting.

The “Knowledge in Motion” session featured a host of scholars who had indeed found direction. In his analysis of letters to and from the twentieth-century physicist Paul Dirac, Aaron Wright, for instance, sought to identify the “Principles of Correspondence.” Wright suggested that correspondence contains a unique “form of knowledge” akin to Michael Polanyi’s “tacit” or “personal knowledge,” one that allows for a freer and more metaphysical exchange of ideas than we find in published works. Also in this session, Noah Moxham reconstructed the eighteenth-century distribution circuits of the scientific periodical, the Philosophical Transactions; Barbara Di Gennaro traced pathways of knowledge concerning the origin of the “true” balsam plant through a network of Muslim, Jewish, and Christian thinkers that spanned the Eastern Mediterranean in the sixteenth-century; and Sophie Brockmann’s “Geography of Knowledge in Central America” followed roads, trade routes and correspondence networks to elucidate the role of “local ‘lived’ and ‘imagined’ landscapes” in the creation of geographic knowledge.

With an eye toward both the visual and the textual, the public and the private, scholars are currently not only concerned with how knowledge travels, but also with the ways in which knowledge is reconfigured while in transit. Studies of translation figure centrally here. In “Translation as Process,” Martina Schlünder examined the 1979 English translation of Ludwik Fleck’s Genesis and Development of a Scientific Fact (first published in German in 1935) to further Fleck’s own argument. Fleck argued that scientific knowledge is conceived, situated, and, as Schlünder phrased it, “trapped in” but “blind to” socially conditioned “thought styles.” Can the same be said for translations? Schlünder said yes, suggesting that the English translation of Genesis and Development is itself an example of a text being appropriated by a different thought collective.

Historian Lynn K. Nyhart was thinking along similar lines. In her exciting new project, presented at HSS under the title “Reproducing Science: William B. Carpenter and the British Reception of German Ideas on Generation, 1839-1854,” Nyhart set herself the task of explaining how scientific knowledge changed while en route from Germany to Britain in the mid-nineteenth century. Thus far, Nyhart has found that ideas once rooted in Germany were, by the time they reached British students by way of French and then English translations, heavily “mediated,” and in some respects “decisively Anglophilic.” I was struck by the affinities between Nyhart’s project and Nick Hopwood’s new book Haeckel’s Embryos: Images, Evolution, and Fraud, which explores the social life of a set of controversial drawings by Ernst Haeckel to argue that images, like texts, are not just mindlessly recycled, but creatively reproduced. My sense is that the red thread here — in studies of translation and circulation as in the work of Nyhart and Hopwood — is an enthusiasm for studying the mobility of ideas as they evolve through time and space.

If “translation” and “motion” were on the minds of many in San Francisco, “engagement” and “justice” seemed to be rival buzzwords. While one session, facilitated by Janet D. Stemwedel, exchanged ideas on “How to Engage with Government and Beyond Using the History of Science,” another round-table, chaired and organized by Joanna Radin and Myrna Perez Sheldon, posed the bold and noble question, “How Should the History of Science Engage with Political Activism and Social Justice?” Of the sessions I was able to attend, the most dynamic and compelling was a roundtable titled “Historians of Science in the Public Sphere.”

Chaired by Joshua Howe of Reed College, the panel featured a set of scholars working at the intersection of academia and social justice: Erik M. Conway, co-author of Merchants of Doubt: How a Handful of Scientists Obscured the Truth on Issues from Tobacco Smoke to Global Warming; Jane Maienschein, director of the Embryo Project at Arizona State University; Alice Dreger, whose work on intersex research and identity politics has courageously fused scholarship and activism; and Robert Proctor, who in 1999 became the first historian to testify against the tobacco industry, and continued to do so in over one hundred cases.

“What happens,” Howe began, “when historians of science use their craft to make the world a better place?” In their profound and inspiring answers (and in spite of their differences) the panel revealed many commonalities. Most panelists had received hate mail, and some, death threats; all expressed a deep resentment of relativism, and alternatively, for “ultra-postmodernism”; and each expressed a commitment to truth and justice. While Proctor and Maienschein set their social/academic aims within a broad “Enlightenment” tradition, Dreger spoke of relativism as a position held by those who have not had to consider justice—that is, as a privilege. Only briefly mentioned then, but certainly worth recalling here, was the gendered nature of hate mail. As Conway related, Naomi Oreskes, his co-author of Merchants of Doubt, had received thousands of hate e-mails after the book’s publication — a striking quantity beside his few.

The panel agreed that much of the value in the study of history lies in its potential to humble us. “Humility,” Dreger said simply and sardonically, “might be a good way to approach things.” But the problem with being a historian in the public sphere, Dreger continued, is that people want simple, black and white, stories of good and evil. Proctor concurred: “Complexity can get in the way,” he said, especially in the courtroom. But it was Proctor’s stirring meditations on humankind that seemed to dominate the tenor of the session. Beginning with the premise that “to be human is to want to make the world a better place,” Proctor’s principal message was that one ought to be “a human first and a historian second,” and that we ought to be wary of the evils that follow from the reversion of this relationship. He concluded with a bit of levity and the words of a Rabbi: “Nonsense is nonsense, but the history of nonsense is scholarship!”

Patrick Anthony is a first year graduate student working on the history of science and exploration at Vanderbilt University. At the HSS meeting in San Francisco, Patrick presented a poster titled „Views of Justice in Views of Nature: Mapping Alexander von Humboldt’s Cosmic Law.“ Aside from his work on Humboldt’s Romantic conception of justice, Patrick is also developing a project on Americans’ views of revolutions in Saint-Domingue and Latin America during the early national period.