TheEpistemicFunc/onsofVisioninScienceOctober2018,10th–12th

UniversitàdegliStudidiBergamoMaxPlanckInsCtutefortheHistoryofScience,Berlin

OrganizedbyGiuliaGiannini&MaJeoValleriani

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TableofContents

........................................................................................................................................................Ra/onale 2

...........................................................................................................................Organiza/onandDirec/ons 3

.......................................................................................................................................ListofContribu/ons 4

........................................................................................................................................................Abstracts 6

...................................................................................................................................................Par/cipants 18

.......................................................................................................................................GeJngtoBergamo 20

........................................................................................................................................................Program 23

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Ra/onale

TheEpistemicFunctionsofVisioninScience

Wewant to exploreconCnuityandrupturesin thehistorical useof images inscience,whilealsoconsidering

morerecentdevelopmentswhichaJestforanunprecedentedimportanceofvisualizaConsinscience,bethese

videorecordings,animaCons,simulaCons,graphs,orenhancedreality.

The funcCon of visual material is defined according to three major epistemic categories: exploraCon,

transformaCon,andtransmissionofknowledge.

As ameans of exploraCon, the process of visualizing has been used in the context of scienCfic discovery.

VisualizaCons allow to developnewresearch perspecCvesand ideas,especiallyin the frameworkofmodern

science,asthisischaracterizedbyastrongmathemaCcalapproach.

VisualizaCon,moreover,hasalsobeenameanstotransformandre-shapeknowledge.ItallowstheadapConof

knowledge to our methodological, insCtuConal, and, generally, cultural expectaCons, and enables the

integraConofpracCcalandtacitknowledge.

Finally,visualmaterial isthepreferredmeans for the transmission of knowledge due to itshighlysyntheCc

characterandtheapparenteasewithwhichknowledgeisperceivedandre-workedbyitsrecipients. TheVisual

codificaConofknowledgecanthereforebeseen asahistoricalphenomenon thatemerged in consequenceof

anincreaseinknowledgeresources,ofprocessesofknowledgeaccumulaCon,andofthedemandfor scienCfic

knowledge.Theuseof visualmaterial in sciencealwayshadtheeffect of loweringthethresholdtoward the

accesstoknowledgeandthereforebecameapreferredmeansforeducaCon.

Such epistemic funcCons of visual scienCfic material, moreover, are analyzed in their cultural, social and

technologicalcontext.Thehistoricalactors’ opinionsandjudgementsconcerningtheuseofvisualmaterialand

technological innovaCons in the media of knowledge transmission–be these clay, paper, or processors–

influencedandwereinfluencedbytheprocessofvisualcodificaConofscienCficknowledge.Byconsideringthe

epistemic funcCons and their interplaywith thematerial aspects,case studies are collected that show the

funcConsofsuchvisualmaterialinthescienceofthepast,ideallyfromanCquityunClnowandrangingthrough

allpossiblecultures.

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Organiza/onandDirec/ons

Venue

UniversityofBergamoSant’AgosCno-Aula1WalterFornasaPiazzaleS.AgosCno,2Bergamo

Hotel

HotelExcelsiorS.MarcoPiazzaleRepubblica,624122Bergamo

hJps://www.hotelsanmarco.com/en/

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ListofContribu/ons

OpeningLecture:TheMediatoryRoleofImagesJürgenRenn

1. TheorizingTechnology:Theōria,Diagram,andAr/factinHeroofAlexandriaCourtneyAnnRoby

2. VisiononVision:EarlyModernScien/ficImagesonCosmologyExploredbyMeansofSecondOrderImagesMaJeoValleriani,FlorianKräutli

3. TheIllustratedPrintedPageasaToolforThinkingandTransmiJngKnowledge.TheCaseofRenaissanceAstronomicalBooksIsabellePanCn

4. Nopuedenlapinturademiplumaypalabrasdartanpar/cularrazón[...]sinelpincelodebujo,yaunconestoseríanmenesterloscolores.ImagesandAr/factsintheInven/onoftheAmericasElenaPaulinoMontero

5. Ar/s/c“Libido“andScien/ficTruthin16thCenturyWoodcutIllustra/onsMagdalenaBushart

6. VisualCultureofUniversityKnowledge:TheLectureNotebooksfromLouvainandDouai(17th-18thcenturies)GwendolinedeMûelenaere

7. Represen/ngExperienceintheEarlyRoyalSociety.TheCaseofRobertHooke’sMicrographia(1665)SalvatoreRicciardo

8. Capturing,Modeling,OverviewingandMakingCredible:TheFunc/onsofVisualattheAccademiadelCimentoGiuliaGiannini

9. MarcelloMalpighiandHisObserva/onsoftheChickintheEggSietskeFransen

10. TheTransforma/onsofPhysico-Mathema/calVisualThinking:FromDescartestoQuantumPhysicsEnricoGianneJo

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11. ArguingfromAppearance:TheNumericalReconstruc/onofGalac/cTailsandBridgesMaJhiasSchemmel

12. VisualisingBiodataintheLaboratory.Image-makers,Prac/cesandReinven/oninMagne/cResonanceTechnologySilviaCasini

13. NuclearVisions:ImagesandEpistemologiesofthePlanetaryCrisisGiuliaRispoli

14. EthnosciencesandtheRepresenta/onsofSpaceintheTimeofClimateChangeElenaBougleux

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Abstracts

OpeningLecture:TheMediatoryRoleofImagesJürgenRenn

The talk discusses the role of images as mediatory instances in the knowledgeeconomyof asociety.Both

knowledge and insCtuCons involve external representaCons which are criCcal for their reproducCon and

development,butalso forframingthemselvesandothercommuniCes.ThesocietalproducCon,reproducCon,

and appropriaCon of knowledge in an ensemble of insCtuCons consCtutes the “knowledgeeconomy” of a

society. Attheinterfacesofdifferentknowledgeeconomies,representaConsinevitablybecomeambiguousor

mayassumenewmediatoryorconflicCngmeanings.Imagesplayanimportantmediatoryrolebetweenscience

and its cultural context.The studyof imagesmakes it evident that scienCficknowledgehas a deeper, more

complexstructurethanisapparentifoneonlyfocusesontexts. Theymediatenotonlybetweenscienceandits

culturalcontext,butalsobetweenpracCcalknowledgeanditstheoreCcalreflecConinscienCfictheories.

ThismediatoryrolecannotbecapturedbythetradiConalaporiasoftheconceptofrepresentaCon,suggesCng

that it is either the exerCon of power or the faithful imaging of reality. By deconstrucCng the act of

representaCon as an act of theunescapableexecuCon of power,post-structuralist writers pretend to undo

colonial violence,but theyactuallyrisktoerasethesymptomswhich theunresolvedconflictsofthepastmay

havelejus.Thetalkarguesinstead for theneedofanon-reducCvetheoreCcallanguagetodojusCceto the

roleofimagesinknowledgegeneraCon,stabilizaCon,andcirculaCon.

1. TheorizingTechnology:Theōria,Diagram,andAr/factinHeroofAlexandriaCourtneyAnnRoby

Thispaperwillexaminethe interplayinHeroofAlexandria’sDioptra,Automata,Belopoeica,andPneuma3ca

between “diagrammaCc” and “theoreCcal” ways of subjecCng technological arCfacts to forms of visual

discipline.TheōriaanditscognatesappearthroughoutHeroofAlexandria’sworkstoreflectasetofdisciplined

observaConal acCviCes that interrogatethe linksbetween text and arCfact, theboundaries between nature

andthearCficialstructures(includingtexts)thatmediateourexperienceofit, andthelimitsofour abiliCesto

observe and describe theworld around us. The objects observed include natural phenomenaand arCficial

devices,aswell asthediagramsin Hero’sown texts and the logical structuresthat underlie the systemaCc

frameworksofhisworks.

For Hero, theōria may indicate an act of observaCon in the world, ojen disciplined with a specialized

instrument; a way of seeing through diagrams and instruments to physical phenomena that are normally

invisible;oraconceptualstructuresuchasunderliesEuclid’sElements.HesomeCmesusesthetermtheōrēma

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tomean a“spectacle”of thekindaffordedbyhispneumaCcwondersand automatontheaters;someCmesit

indicatesadiagramwhereanarCfactorprocesscanbeexperienced visuallyinthe text itself;someCmesit is

ratherthedesignor formunderlyingthearCfact’sstructure;andsomeCmesitsuggestsinsteadtheconceptual

structuresthathelpthereaderlearnfromhistexts.

Hero’sabilitytomakethismulCform“theorizing”workinhistextsdependsverystronglyonhisextensiveuse

of diagrams including depicCons of arCfacts in construcCon, completed structures, and processes for

observaCons with the surveying instrument known as the dioptra. Certain aJributes of the arCfacts he

describes,likethematerialsofwhichitiscomposed,thenamesandsizesofitscomponents,claimsandproofs

about how its components funcCon, are typically expressed verbally rather than visually. Others, like the

combinaConofmulCplecomponentsintoacomplexstructureorageometricalanalogueforaprecisely-shaped

component,seemforHerotodemandvisualrepresentaCon.

The diagram provides a site where those aJributes can be experienced with the immediacy of a visual

encounter, which can reinforce, supplement, or even challenge the verbal text. Diagrams also mediate

betweentheabstract geometricalobjects thatallowHerotoperformthemeasurementsand proofshis texts

requireand thematerialworldwherethosemeasurementsandproofscometo fruiCon.Indeed,theyserveas

akindofmodelspacewheretherulesofgeometrycanbetransferredtoaspacewheretheycannotusuallybe

assumedtooperate. Likewise,thoughHero’stheōriacertainlyembracesawiderangeofwaysofseeing,they

clustersemanCcallyaroundtheirabilitytolinkdomains–theabstractandtheconcrete,themathemaCcaland

thematerial,objectsintheworldanddiagramsinthetext–whilepreservingthetruthvalueofobservaConsas

theymovebetweendomains.

2. VisiononVision:EarlyModernScien/ficImagesonCosmologyExploredbyMeansof Second

OrderImages

MaJeoValleriani,FlorianKräutli

ThepaperapproachesthesubjectofvisualizaConinsciencefromtwoperspecCves:ononehanditdescribesa

specific historical tradiCon for the use of scienCfic images in cosmologyteaching (Transmission) during the

early modernperiod,both in itsgeneraldevelopment andbyconsideringspecificcases;ontheotherhand it

showshowspecific contemporarytechniquesof visualizaCon,developed in the frame of digital humaniCes,

allowtoinvesCgatelargehistoricalcorpora(ExploraCon)bothonthemacroandmicrolevel.

Thehistoricalimagesunder scruCnyaremostlyscienCficdiagramsthatwereprintedintreaCsesoncosmology

which followedthetradiConofthe13th centuryDe sphaera byJohannes deSacrobosco.The treaCseswere

qualitaCve introducCons to geocentric cosmology and were used as mandatory textbooks in quadrivial

teaching at FaculCes of Liberal Arts.The paper will focus in parCcular on thefirst 100 yearsof this ediCon

historyand consider 209 different ediCons printed all over Europe from 1472 to 1571, resulCng in a total

amountofroughly7000images.

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ThedeterminaConofgeneraltrendsinthedevelopmentofvisualmaterial in earlymodern science,aswell as

theclarificaConofexactscienCficcontentthroughatext-imageanalysisonselectedcasesarethefinalresults

ofthishistoricalresearch.

MethodsofdigitalvisualizaConareemployedtoconducta"distantreading"oftheenCrecollecConof images.

A precondiCon is the idenCficaCon of idenCcal or similar images across the corpus. This idenCficaCon is

achievedthroughacombinaConofautomaCcimagerecogniConandmanualerrorcorrecCon.Thesubsequent

analysisisperformedbyvisualizingtheresulCngclassificaCon inrelaCon torelevantdimensionsderived from

themetadataof thetextbooks:datesofpublicaCon,placementwithinabook,printersandpublishersofthe

books, etc. This approach requires the underlying mechanisms of the image recogniCon algorithm to be

understood, and the manual adjustments – which may be based on deducCon, interpretaCon, or prior

knowledge– tobemadeexplicit.Thepaperwilllookat thepossiblefindingsthismethodenables, whilealso

scruCnizingthemethoditself.

3. TheIllustratedPrintedPageasaToolfor ThinkingandTransmiJngKnowledge.TheCaseof

RenaissanceAstronomicalBooks

IsabellePanCn

During the earlymodern period, astronomyunderwent aprofound transformaCon, not onlyin itsmethods,

aims,andtheoreCcaldevelopmentsandprospects,butalsointhewayitwastaught,andevenpopularized:the

responseofanenlargedreadership totheworksofastronomersgainedmoreandmoreimportance.Allthese

changesweremirrored(andsomeCmesaccelerated)bytheevoluConofthebooks’lay-out,notablyconcerning

theiruseofimagesandgeometricaldiagrams.

Ishall examine and comparedifferent kinds of astronomical books (from elementarymanualstobooks for

specialists)with regard tothisevoluCon,inorder todiscover towhat extent thereadingfieldconsCtutedby

theprintedpage (or rather the doublepage of the open book)wasused asan instrument for learningand

understanding. Among the examined features are the emergence and improvement of the leJering and

legends ofdiagrams, thewaytherelaConship between theimagesand the surroundingtextwasconceived,

andtheuseofimagesasconcretemetaphorsofabstractconcepts.

ThehypothesisIshallputtothetestisthatsuchinnovaConswereojenfirst introduced inbooksintendedfor

students—eithermerebeginnersor thosewhoweremoderatelyadvanced (like the readersoftheTheoricae

planetarum)—andwereajerwardseitherprogressivelytransmiJed toother categoriesofbooks, or used for

higher intellectual goals:so,for instance,in theEpitomeastronomiaecopernicanae,where Kepler illustrated

hisnewtheoryofthephysicalcausesofplanetarymoConswithimagesofakindnormallyfoundinelementary

textbooks.

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4. No pueden lapinturade mi plumay palabras dar tan par8cular razón [...] sin el pincel o

debujo,yaunconestoseríanmenesterloscolores.ImagesandAr/factsintheInven/onofthe

Americas

ElenaPaulinoMontero

When in thefirst decadesoftheXVIcenturyFernándezdeOviedowasdescribingthe fruitofthepineapple

that hehad saw (andtasted)in theCaribbean for thefirstCme,heovertlyexpressedhisfrustraConover his

inabilitytocaptureand transmitthewholecomplexityofthenewplants,animals,landscapesandpeoplesof

the New World. He declared the insufficiency of both words and images, either by themselves or in

combinaCon, and in his Historia Natural de las Indias he explored the limits of the verbal and visual

representaConinhispracCceaschroniclerandhistorian.Almostonecenturylater,thetravelerandmissionary

Jean de Lery,who lived for several months among the Tupinamba in Brazil, encountered similar problems,

staCngthat their gestures andexpressionswere sodifferent thatwasalmost impossible to represent them

eitherwithwordsorimages.

AlthoughduringtheXVIcenturyarCstsandscienCstswereincreasinglycomfortablewiththeideathatabstract

conceptsand theacCvityof themind could be represented byimagesand emblems, the discoveryof new

territories, people and landscapes brought new problems of representaCon, associated with accuracy,

understandabilityand(un)translatability.

InthispaperIwillexploretheroleoftheimagesintheEuropean inven3o(asboth“discovery”and“creaCon”)

oftheAmericasinthefirstdecadesajerthearrivalofColumbustotheislandofLaHispaniola. Iwillarguethat

thetransmissionofnewknowledgeatthebeginningoftheXVIcenturyfollowedmanydifferentstrategiesand

explored different media, although this mulCmediality has tradiConally been fragmented by disciplinary

boundaries,and the relaCon between literaryand visual tradiConsand genre convenCons sCll needs to be

analyzedindepth.IllustraConsfornewtextswereperceivedasacrucialneedsincethepublicaConofthe1493

leJer of Columbus,but also the objects themselves, coming from the Americas and collected in themain

European courts, played a keyrole in the visualizaCon and recreaCon of a new realitythatwasdifficult to

represent and understand. In a third group,maps were not only necessary to transmit geographical and

cartographical informaConbutwerealsoused intheconstrucConofanimageoftheNewWorld increasingly

associatedwithconsumpConandcommodificaConofnatural resourcesandpeoplethatwouldbecompleted

andrefinedduringthenextcenturies.

5. Ar/s/c“Libido“andScien/ficTruthin16thCenturyWoodcutIllustra/ons

MagdalenaBushart

Inhis introducConto the„HistoriaSCrpium“ (1542),thebotanist LeonhartFuchsclaimed that the imagesof

thisherbaldidnot followthewhimsoftheart,but solely picturethetruth:“Deindustriaveroetdataopera

cavimus ne umbris, alijsque minus necessarjs, quibus interdum arCs gloriam affectant pictores, naCva

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herbarumformaobliteraretur;neque passi sumusut sic libidini suaeindulgerent arCfices,ut minussubinde

veritaCpicturarespondet.”What,accordingtotheauthor,seemedavictoryofscienceoverart, musthavefelt

adefeat to thearCstswhohad createdthebook´swoodcuts.Ajerall, beingspecialists intheproducConof

printstheydefinedtheir standardsover ahighlyrefined arCsCcvocabulary,a complex visualnetwork,anda

flourishing market of printed images. In my paper I will deal with the quesCon of visual codificaCons of

knowledge with regards to the arCsCc codes inscribed in thevisual culture of that Cme, focusing on three

famousbooks:OJoBrunfels´„Contrafayt Kreüterbuch“ (1537),„DesMenschenBeschreibungoderAnatomie“

byWalther Hermann Ryff (1541) and „HistoriaSCrpium“ byFuchs:How is the intersecCon of aistheCs and

epistemebeingdefinedinherbalsandinanatomybooksfromthefirsthalfofthe16th century?Whatspecific

qualiCesarenecessaryinorder toconveyknowledge?Howdo scienCficpicturescompareto theconvenCons

ofrepresentaConoftheCme?Whatkind ofcompromisesdo arCstslikeHansBaldungGrien,HansWechtlich,

Hans Weiditz, Heinrich Füllmaurer have to make illustraCng scienCfic books? How do theydeal with the

condiCons ofa publishingsector thatasksfor variaConsofsuccessfullyestablished paJerns,rather than for

new pictures?Where do differences between the argumentaCon of the text and the informaCon of the

illustraConsarise,whereisafailureofthetransferofknowledgeunavoidable?

6. Visual Culture of University Knowledge: The Lecture Notebooks from Louvain and Douai

(17th-18thcenturies)

GwendolinedeMûelenaere

In theuniversiCesof theearlymodern SouthernNetherlands(Louvainand Douai),imageswereabundantly

usedfordidacCc,butalsosocio-poliCcalandsymbolicpurposes.ThesurvivinghandwriJenlecturenotesrange

from1601 totheend ofthe18th century.TheyresultfromtheeducaConprovidedbytheFacultyofArts,in

which studentswere taught logic,physics,metaphysics,and ethics. Thesefields couldbecompletedbythe

study of mathemaCcal disciplines such as geometry, arithmeCc, astronomy, opCcs, staCcs,music, military

architecture,etc.

Inthosenotebooks,thetextisojenaccompaniedbyCtlepages, drawingsandengravings.Twokindsofimages

coexistinasinglespace:ascienCficimagerymadeofabstractformsandaimingatfosteringtheunderstanding

ofthesubject(geometricalpaJerns,diagrams,treestructures,legends), andaniconographyinspiredbynon-

scienCficfiguraCve languages,ofallegorical, emblemaCc,descripCve,religious,historical,mythological,moral

orsaCricalnature.ErudiConisnotonlydepicted,butalsostagedandcelebrated.ThiscelebraConofknowledge

throughtheembellishmentoflecturenotebooksdenotessymbolicstakes.

ThepaperIproposewillfocusontheroleoftheimageinthetransmissionofknowledgewithintheframework

of higher educaCon insCtuCons in the Southern Low Countries. This study of a selecCon of illustrated

notebookswillbearCculatedaroundtwomainissues.Firstly,whataretherhetoricalandvisualstrategiesused

in such representaCons to conveynew scienCfic ideas,or on the contrary,oldwaysof thinking?Howwere

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WesterntradiConsofallegory,emblemaCcsandsymbolicsemployed,adaptedto theacademicmessage,and,

possibly,combinedwithamathemaCcalvocabulary, emergingattheCme?Inthisregard,comparisonswillbe

madewith thesis prints produced in the same academic environment.And secondly,what canwediscover

aboutthelearningmechanismsusedbythestudents(for instancethemnemonicfuncCon oftheillustraCons

whichvisuallystructuredthenotebook)?

7. Represen/ngExperienceintheEarlyRoyalSociety.TheCaseofRobertHooke’sMicrographia

(1665)

SalvatoreRicciardo

MycontribuCon focuseson thegraphicprojectRobertHooke (1635-1703)developedfor theRoyal Societyin

the mid-1660s, which resulted in his celebrated Micrographia, the illustrated volume of his microscopic

invesCgaConspublishedatLondon in1665.Asacorporatebody,theearlyRoyal SocietyaimedatpromoCng

experimentalknowledgeasthemosteffecCvemeansofaJainingthe reformofnaturalphilosophyenvisaged

byFrancisBaconintheearlydecadesofthecentury.SuchanenterpriseinvolvedtesCngpreviousasserConson

the natural world; integraCng new technologies and collaboraCve efforts to produce new knowledge; the

transmission ofnewfindingsbylaunchingpublishinginiCaCves.Hooke’sMicrographiastandsout asthemost

notable example of the early Royal Society’s reformist project, notably for the role played by visual

demonstraConindivulgingthenewworldunveiledbythemicroscope.Theprintedimagesofmagnifiedobjects

and insectswereaimed at filling thegapbetween thenakedsenses andwhat the eye cansee through the

microscopic lenses.Therefore,theyplayedacrucialroleinmakingvisiblewhatHookecalledthe‘trueform’of

naturalbodies.

Iwill argue thatMicrographia provides us with new insights into the exploraCveand didacCc funcCons of

printedimagesintheearlymodernperiod.First,Iwilldealwiththeculturalandhistoricalcontextsurrounding

theorigins of thebookin earlyRestoraCon London,highlighCng the role playedbyinstrumentsmakersand

FellowswhoprovidedacollecCvecheckontheaccuracyofHooke’srepresentaConsandconclusions.Hooke’s

longprefaceandhisdescripConsannexedtotheplates,especiallytherepresentaConofadronefly’sheadand

eyes,will form the subject of the second part. Itwill bemycontenCon that such visualand textualmaterial

teachesus how imageswere theoutcomeof a complex process that involved scruCnizing and synthesizing

percepCon.I willdwellupontechnicalandobservaConalissuesinvolved inHooke’smicroscopicinvesCgaCon,

comparinghisconclusionsabout thedronefly’seyewith thedescripCon ofthesame insect delivered bythe

Halifax physician Henry Power in his Experimental Philosophy (London, 1664), the other substanCal

contribuContoEnglishmicroscopyofthisperiod. DrawingasthefinalstageoftheobservaConalprocesswillbe

thesubject ofthethird andlastpartofmycontribuCon.Hooke’sclear demarcaConbetweenobservaConand

graphictransposiConimpliesthatprintedimagesembodiedaseriesofdiachronicvisualacts,thenprojectedin

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drawingsbymeansof inferencesfromsensorypercepCons.Asaresult,illustraConsmightnotbe,inallcases,

faithfulrepresentaConsoftheobjectseenundermicroscope,asHookehimselfrecognized.

8. Capturing, Modeling, Overviewing and Making Credible: The Func/ons of Visual at the

AccademiadelCimento

GiuliaGiannini

The Accademia del Cimento in Florence is thefirst European societyto put experimentaCon at thecore of

scienCfic acCvity and to be supported bya public power.During the ten years of its acCvity, the Cimento

carriedouthundredsofexperiments.Aminorpartofthemiscollectedin theonlyprintedworkproducedby

theAccademia, theSaggi di Naturali Esperienze(1667).Almost onehundred illustraConsaccompanythe12

groupsof experiments presented in theSaggi. These aremainlydrawings of instrumentsand experimental

apparatus.In spiteofthesumptuousnessofthe ediCon,thesedrawings arenot deeplyrealisCcrenderingof

theexperimentslikeinthefamousBoyle’sair-pumpengraving.TheyojenaresimplifiedabstracConsshowing

theapparatusinternalworking.

Tables,diagramsandillustraConsalsopunctuatediaries,handwriJennotesandcorrespondence.Thepresence

of visual material in these ‘unofficial’ reports cannot be merely aJribute to the desire of making the

experimentsmorecredible.Indeed,astudyoftheunpublisheddocumentsshowstheroleofvisual imagesin

experimentaldesignandallowstoexplorethewiderproblemoftherelaConshipbetweenthoughtandvision.

InthiscontribuCon, Iwill analysetheepistemic funcConofvisual in theCimento’sexperimentsand debates

aroundtheissueofnaturalfreezingandtheproperCesofheatandcold.

TheacademiciansperformedamulCtudeofexperimentson thenatureofheatand cold,ontheexistenceof

“frigorific” atoms and they advanced different hypotheses to explain the process of natural freezing. The

expansionofvolumethattakesplacewhenwater turnsinto icequesConedthePlatonictheory(supportedby

Galileoandstronglyopposedbyallatomists, fromDemocritustoGassendi)accordingtowhichcoldisthemere

absence of heat. In order to jusCfy this phenomenon and salvage the idea of cold as deprivaCon,many

experimentsandhypothesiswereput forward.PrinceLeopoldowasveryinvolved inthisdebate:notonlydid

heurgehisfellowacademiciansto workon thisproblem,but hehimselfput forward experiments,including

someingeniousones.Forexample,hechilledanemptycarafewithalong,fragileneckbypu|ngit inice,and

thenheturneditupsidedownintoabowlfilledwithwater.Ajerbreakingtheneckofthecarafeheobserved

that thewaterentered thecarafewithoutencounteringanyopposiCons.On theother hand,byheaCngupa

similarcarafeandrepeaCngthesameexperiment,notonlydidthewaternotenter thecarafe, but onecould

visibly observe something resembling a waj coming out from the mouth of the carafe. This experiment

seemed to visuallydemonstrate the corporeity of heat and the privaCve natureof cold.Discussions on the

topic include geometrical demonstraCons andmathemaCcal representaCons, punctuallyexcluded from the

Saggibutoccasionallyresumedbyindividualmembersinlaterworks.

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9. MarcelloMalpighiandHisObserva/onsoftheChickintheEgg

SietskeFransen

SinceAristotlethedevelopmentofachickinaneggwasusedtoobservethegeneraConofanimals.Intheearly

modern period this experiment is repeated regularlywhile comparedwith the newphysiological discoveries

suchasthecirculaConofblood.AlsotheItaliannaturalphilosopherMarcelloMalpighi(1628-1694)repeatsthe

experiment. However, in contrast to his predecessors he reports on his experiments not only in minute

descripCons,butalsoinaseriesofdrawings,visualizingallstagesofthechick’sdevelopment.Andalthoughhis

verbaldescripConsdonot alwayscorrespondwiththeobserved(seeBertoloniMeli2016,230)it istheseries

of imagesthatcontain the transformaCveaspect ofMalpighi’scommunicaCon.Withhisdrawingsthe reader

canseethechickgrow,andthecomparaCvediscussionscanbedealtwithonthebasisoftheimages.In the

1670sMalpighi sent two sets of his drawingsof the Chickin theEggexperiment to the Royal Society.The

secondserieswasprintedbytheRoyalSocietyas“Appendix”toMalpighi’sAnatomesplantarum(1675).

Inthispaper, Iwillcomparethetwo setsof drawingscurrentlyextant in thearchivesoftheRoyalSocietyin

London. Iwill discusshowthosedrawings transformed further research into thegeneraCon of animals,and

chicksinparCcular,fromaverbaltoavisualendeavour.

10.TheTransforma/ons of Physico-Mathema/calVisualThinking:FromDescartes toQuantum

Physics

EnricoGianneJo

Ajer the Copernican revoluCon, it was clear that the experience of vision, due to the opCcal relaCvity of

moCon, could no longer be considered a reliable source of knowledge. Furtherly,new opCcal instruments

(telescope, microscope) anyway pointed out the epistemological problem of the limits of human vision.

However, thespaCal-visualrepresentaConofphysicalphenomenaoperatedbygeometryremainedarigorous

scienCficpracCce,the sourceof certainconclusions. TherelaCvizaCon of the geometricfiguresmadebythe

projecCvegeometryofDesarguesandPascalwasrelevantbuthadnoacceptedconsequences.

As is known, however, the algebrizaCon of geometryoperated byDescartes's analyCc geometrybroke the

correspondencebetweenarithmeCc or algebraanditsgeometricintuiCvemeaning.Thefirstalgebraicpower

of anyvariablewas no longer bound to a line, the second to asurfaceand the third to a volume,but the

relaConshipbetweenalgebraicpowersandgeometricfigureshasbecomearbitrary.InmathemaCcalsemioCcs,

wepassedfromiconicsymbolstoarbitrarysigns.

ThegeometricfiguraConwaslinkedtoavisualmathemaCcalthoughtandthegeometricrepresentaConof

physicalphenomenauptoGalileoandNewtonwasbasedonthisvisualmathemaCcalthought.Thechange

14

introducedbyDescartesledtoareducConofgeometrytoalgebraiccalculusfortheresoluConofequaCons

andtheabandonmentofvisualgeometricthought.

However,theanalyCcalgeometryofDescartes,ontheotherhand,involvedanewgraphicalrepresentaCon

withrespecttooriginallystraight-lineaxes(notnecessarilyorthogonal)andthusanewgeometricvisualizaCon

ofphysico-mathemaCcalfuncCons.

Thebirthofnon-Euclidean geometriesled toadeeper relaCvizaConnot onlyofgeometrical representaCons,

butmoreprofoundlyofallthevisualspaCalrepresentaConofphysicalphenomena.

WiththespecialandgeneralrelaCvitytheoryandthefour-dimensionalrepresentaConofspace-Cmetherewas

a further problemaCzaCon of visual mathemaCcal thinkingwith a new abstract chrono-geometric graphic

representaCon,linkedtotheexternalizaConoftheinternaldimensionofCme.

With quantum physics and quanCzaCon of space-Cme, visual mathemaCcal thinking fragments itself and

requiresacompletelynewmathemaCcalcreaCveimaginaContounderstandNature.

11.ArguingfromAppearance:TheNumericalReconstruc/onofGalac/cTailsandBridges

MaJhiasSchemmel

Astronomical objects such asgalaxies are known to us fromthevarious kindsof radiaConwe receive from

them.Alargepart ofourinformaConaboutthemiscontained inthe spaCalstructurestheydisplayinopCcal

and other frequency ranges, such as radio and gamma-ray, informaCon that we first receive in a two-

dimensionalprojecCon.OneoftheobviousconsCtuCvetasksofastrophysicsistofindphysicalexplanaConsfor

theshapesandspaCalfeaturesofthesetwo-dimensionalimages.

From themid-twenCethcentury,new approaches tofindingsuch explanaConsbecamepossiblethrough the

advancement of computer technology. In parCcular, computer-simulaCons of mulC-parCcle objects such as

galaxies can be used to construct arCficial images of astronomical objects whose features can then be

comparedtoobservedobjects.Inthisway,plausiblephysicalexplanaConsofhowtheyoccurinnaturecanbe

found.

InmycontribuCon,Iwill presenthistoricalexamplesof thenumericalreconstrucCon ofencountersbetween

galaxies.Featuresofthenumericallygeneratedimageswereusedtoargueaboutthephysical explanaConsof

featuresdisplayed in theobserved images.Theimages(obtained byobservaConand numericallygenerated)

thusplayapivotal rolein thephysicalargument.Theyfacilitatecertain argumentsormakethempossiblein

thefirstplace.TheyprovidealinkbetweenempiricalappearanceandtheoreCcalconstrucCon.

Iwill show on thebasisof an analysisof thediscussionsin respecCvehistoricalpublicaConsthat the images

workasstrongargumentaCvelinksonlybecausetheyarepartofanoverallargument, whichgoesfar beyond

what is visible.Such overallarguments are typicallybased in abroad astronomical andphysical knowledge,

which itself is the result of a long historical process of interacCon between astronomical observaCon and

15

physical explanaCon. This knowledge base is not only employed to render the described use of images

convincinginthefirstplace,butalsotoassessthelimitsoftheirexplanatorypower.

TheepistemicfuncConsoftheimagesinmycasestudyaremostlyinthecategory“exploraCon”.

12.VisualisingBiodata in theLaboratory.Image-makers,Prac/cesandReinven/oninMagne/c

ResonanceTechnology

SilviaCasini

How are images generated from hardware and data and signal/noise?What is and how is that scienCsts

visualise? What do they see? My contribuCon to the workshop focuses on the process of visualising as

exploraCon in the context of scienCfic discovery in the field of biomedical imaging and neuroscience.

VisualisaConisnot simplyanaidtoscience,but it ishowsciencecreatesitsobjects,conductsitsinquiriesand

advancesitsarguments.ScienCficpracCcehasalwaysbeen aboutcreaCngnewworldsandobjectsorabout

throwingnew light ontofamiliar thingsso that thewaywe lookat themchanges.Well-knownexamplesare

LeonardodaVinci’s’anatomical drawings,neuralfuncConslightedupincolourfulbrainscans,GalileoGalilei’s

sketchesofthemoonsurfacemadeajer hisobservaConswith thetelescope,RamonyCajal’sdrawingsofthe

neurons and further on. All these visualisaCons enable us to interrogate rather than simply represent the

object made visible.VisualisaCon,therefore,works as“a quesCon-generaCngmachine” (Rheinberger, 1997,

32).

Througharchive-basedresearch,interviewsand laboratoryethnographyin thebiomedicalphysicslaboratory

attheUniversityofAberdeen,mypaper exploreswhat andhowscienCstsvisualisewhenatechnologyissCll

under development and its image output and data-visualisaCon pipeline are not yet standardised. In this

laboratorythetechnologyofMagneCcResonanceImaging(MRI) was reinvented in two different periods in

history.Thefirst,whichoccurredbetweenthelate1960sandtheearly1980s, istheperiodoftheconstrucCon

of theworld’sfirstwhole-bodyMRIscanner for clinicalpurposesandtheinvenConofthe spin-warpmethod

for transformingdatainto images.Thesecondperiodisnow,in thesamebiomedicalphysicslaboratory,with

theongoingdevelopmentofFastfield-cycling, MRI(FFC-MRI)anewnon-invasive,low-costbiomedical imaging

technique that enables thevisualisaCon of biochemical informaCon at amolecular level not detectableby

convenConalMRI.

First, I show how biomedical data-visualisaCon is bound to highlyspecific contexts and processes that are

fragmentedandrecursive.Second,IdiscussvisualisaConnotjustasapracCcetomakevisiblethatwhichisnot

in sight,butmuchmoreasavital processcapableofproducingnewrelaConsamongthings,data,spacesand

people(Halpern, 2014:21).Third,Iarguethat thereis nothingnaturaland predeterminedwhen itcomesto

data visualisaCon in the field of biomedicine and neuroscience, parCcularly in the case of an emerging

technology,thatisbeforetheimage-generaCngprocedureandtherelatedvisualoutputbecomestandardised.

16

13.NuclearVisions:ImagesandEpistemologiesofthePlanetaryCrisis

GiuliaRispoli

This contribuCon aims to show how visual materials associated to the earth’s funcConing, in parCcular,

simulaCons of global change and ecological processes,helped produce and systemaCse knowledge on the

planetarycrisisandtheenvironmentalpredicamentsgeneratedbyhumanintervenConinthebiosphere.

This paper will focus on a specific case known as the Nuclear Winter theory, popularised bytheAmerican

astronomer Carl Sagan in the 1980s (Sagan, Turco: 1990). The hypothesis of an imminent nuclear winter

developedwiththeaimofshowingtotheworldoftheintellectual,poliCcal,militaryandscienCficelites,thata

thermonuclearwarbetweentheUSandtheUSSR,wouldcooldowntheEarth’stemperaturetosuchanextent

to alter thebiological processesaswellasthegeologicalcomponentsof theplanet,steeringit towardanew

stage. This theory based on models that were the result of a collaboraCve effort of climatologists and

mathemaCcians mainly from Europe, the Soviet Union and the United States, allowed many further

achievements, layingthegroundfor theemergenceofthecontroversialAnthropocenetheory(Crutzen,Birks:

1982;Crutzen,Stoermer:2000).

This paperdisplaysthe epistemicfuncConsofmodelsand simulaCons in fosteringthe riseofnewdisciplines

suchasbiospherestudiesandglobalecologyofwhichthenuclearwinterhypothesisisaparCcularlyimportant

outcome.Todoso, itwillmainlyconsidercategoriesofexploraConaswelltransmissionofknowledge,toframe

the discussion on how buildingmodels turned into an occasion of knowledge sharing, leading to the co-

producConofscienCficevidenceontheendangeredplanet.

14.EthnosciencesandtheRepresenta/onsofSpaceintheTimeofClimateChange

ElenaBougleux

Strategies of adaptaCon and resilience to climate changes challenge the sedimented disCncCon between

naturalandcultural.Naturalandculturalenvironmentsarecoupledconcepts(Bateson1972,Ingold1993),and

theybecome fullyinterdependent in situaCons of environmental change,when the tradiConal environment

representaConsbecomeunsuitabletodescribethetransformedspaces.NewrepresentaConsofspaceemerge,

developedatlocallevel,whichincludeformerimaginariessuperposedwithnewsetsofinformaCon.

TheentanglementbetweenthenaturalandtheculturalrepresentaConsofspaceemergesmoreclearlyduring

eventsconnectedtoclimatechange,especiallywhentheseunfoldasacceleratedenvironmentalcrisis, caused

bybothpredictableandunpredictablehuman-drivenfactors.

ThepaperdiscussesafewcasesofchangingspaCal representaConsdevelopedbycommuniCeswhich livein

strictcouplingwiththeirnaturalenvironment.Thepaperfocusesonthecasestudyofanaboriginalcommunity

in theTerritoryofNorthernAustralia,who facesacondiCon ofenduringcoexistencewith lowCdesand land

degradaCon.Astheir interrelaConwith landandwater ismodifiedbytheintroducConofGIStechnologies,a

techno/visual language isbeing developed, able to represent their spaceand themselvesat the same Cme

17

throughvisualnegoCaConsand technicalcompromises.Thecasestudyispresentedwiththesupportofvideo

samplesproducedbytheKarrabingFilmCollecCve(2014-2016),anditisdiscussedinthecontextofthecurrent

literatureinanthropologyoftheenvironment(Dove2015). AcomparisonwillbemadebetweentheAustralian

case study and more examples of parCcipatory environmental mapping developed in situaCons of

environmental stressand consequentnecessaryadaptaCon processes,comprisingvisualizaCons at the cross

secConbetweentechnologiesandtradiConalknowledge.

18

Par/cipants

Bougleux,Elena UniversityofBergamo,ItalyUniversityofBergamo,Italy

elena.bougleux@unibg.itelena.bougleux@unibg.it

hJps://www.unibg.it/pers/?elena.bougleuxhJps://www.unibg.it/pers/?elena.bougleux

Bushart,MagdalenaBushart,Magdalena TechnischeUniversitätBerlin,Germany

magdalena.bushart@tu-berlin.de

hJp://www.kulturen-des-wahnsinns.de/forschergruppe/beteiligte/magdalena-bushart/

Casini,Silvia TheUniversityofAberdeen,ScotlandTheUniversityofAberdeen,Scotland

silvia.casini@abdn.ac.uksilvia.casini@abdn.ac.uk

hJp://aberdeen.academia.edu/SilviaCasinihJp://aberdeen.academia.edu/SilviaCasini

Fransen,Sietske UniversityofCambridge,GreatBritainUniversityofCambridge,GreatBritain

sf547@cam.ac.uksf547@cam.ac.uk

hJp://www.crassh.cam.ac.uk/people/profile/sietske-fransenhJp://www.crassh.cam.ac.uk/people/profile/sietske-fransen

Giannejo,Enrico UniversityofBergamo,ItalyUniversityofBergamo,Italy

enrico.gianneJo@unibg.itenrico.gianneJo@unibg.it

hJps://www.unibg.it/pers/?enrico.gianneJohJps://www.unibg.it/pers/?enrico.gianneJo

Giannini,Giulia UniversityofBergamo,ItalyUniversityofBergamo,Italy

giulia.giannini@unibg.itgiulia.giannini@unibg.it

hJps://www.unibg.it/pers/?giulia.gianninihJps://www.unibg.it/pers/?giulia.giannini

Kräutli,Florian MaxPlanckInsCtutefortheHistoryofScience,GermanyMaxPlanckInsCtutefortheHistoryofScience,Germany

�raeutli@mpiwg-berlin.mpg.de�raeutli@mpiwg-berlin.mpg.de

hJps://www.mpiwg-berlin.mpg.de/users/�raeutlihJps://www.mpiwg-berlin.mpg.de/users/�raeutli

Mûelenaere,Gwendolinede UniversityofLouvain,BelgiumUniversityofLouvain,Belgium

gwendoline.demuelenaere@uclouvain.begwendoline.demuelenaere@uclouvain.be

hJp://gemca.fltr.ucl.ac.be/docs/cv/CV_DeMuelenaereGwendoline.pdfhJp://gemca.fltr.ucl.ac.be/docs/cv/CV_DeMuelenaereGwendoline.pdf

Pan/n,Isabelle ÉcoleNormaleSupérieuredeParis,FranceÉcoleNormaleSupérieuredeParis,France

isabelle.panCn@ens.frisabelle.panCn@ens.fr

hJp://www.ihmc.ens.fr/-PANTIN-Isabelle-.html?lang=frhJp://www.ihmc.ens.fr/-PANTIN-Isabelle-.html?lang=fr

PaulinoMontero,Elena UNED(UniversidadNacionaldeEducaciónaDistancia)UNED(UniversidadNacionaldeEducaciónaDistancia)

elena.paulino@gmail.comelena.paulino@gmail.com

hJps://khiflorenz.academia.edu/ElenaPaulinoMonterohJps://khiflorenz.academia.edu/ElenaPaulinoMontero

Renn,Juergen MaxPlanckInsCtutefortheHistoryofScience,GermanyMaxPlanckInsCtutefortheHistoryofScience,Germany

rennoffice@mpiwg-berlin.mpg.derenn@mpiwg-berlin.mpg.derennoffice@mpiwg-berlin.mpg.derenn@mpiwg-berlin.mpg.de

hJps://www.mpiwg-berlin.mpg.de/users/rennhJps://www.mpiwg-berlin.mpg.de/users/renn

19

Ricciardo,Salvatore UniversityofBergamo,ItalyUniversityofBergamo,Italy

salvatore.ricciardo@unibg.itsalvatore.ricciardo@unibg.it

Rispoli,Giulia MaxPlanckInsCtutefortheHistoryofScience,GermanyMaxPlanckInsCtutefortheHistoryofScience,Germany

grispoli@mpiwg-berlin.mpg.degrispoli@mpiwg-berlin.mpg.de

hJps://www.mpiwg-berlin.mpg.de/de/users/grispolihJps://www.mpiwg-berlin.mpg.de/de/users/grispoli

Roby,CourtneyAnn Prof.ofClassics,CornellUniversity,USAProf.ofClassics,CornellUniversity,USA

croby@cornell.educroby@cornell.edu

hJp://classics.cornell.edu/courtney-ann-robyhJp://classics.cornell.edu/courtney-ann-roby

Schemmel,Majhias MaxPlanckInsCtutefortheHistoryofScience,GermanyMaxPlanckInsCtutefortheHistoryofScience,Germany

schemmel@mpiwg-berlin.mpg.deschemmel@mpiwg-berlin.mpg.de

hJps://www.mpiwg-berlin.mpg.de/users/schemmelhJps://www.topoi.org/person/schemmel-maJhias/hJps://www.mpiwg-berlin.mpg.de/users/schemmelhJps://www.topoi.org/person/schemmel-maJhias/

Valleriani,Majeo MaxPlanckInsCtutefortheHistoryofScience,GermanyTechnischeUniversitätBerlin,GermanyMaxPlanckInsCtutefortheHistoryofScience,GermanyTechnischeUniversitätBerlin,Germany

valleriani@mpiwg-berlin.mpg.devalleriani@mpiwg-berlin.mpg.de

hJps://www.mpiwg-berlin.mpg.de/de/users/vallerianihJps://www.mpiwg-berlin.mpg.de/de/users/valleriani

20

GeJngtoBergamo

ByPlane

landinginBergamo:

Severallow-costcarrierslandinBergamo(OrioalSerioairport,hJp://www.sacbo.it/Airpor/portalProcess.jsp?

languageID=2-someCmesadverCsedasMilan-OrioalSerio,orMilan-BGY);fromthereyoucantaketheairport

bustothecitycentre(itstopsjustinfrontofyourhotel,6stops,ca.20minutes),orashorttaxiride(ca.€

15-20).

landinginMilan(inwhichcaseyouwillthenneedtotakeatrainfromMilanoCentralestaCon):

1. FromMilanoMalpensatoMilanoCentralestaCon:

a. bus:MalpensaExpressorMalpensaShuJleAirPullman(Terminal1;thesamebusesalsocallat

Terminal2):buyCcketsfromthedriverstandingbythedoorofthenextbustoleave;busesleaveevery

20minsfrom6tomidnighteverydayforMilanStazioneCentrale(takes50mins;checkthatitgoesto

CentralenottoCadornastaCon).Cost:ca.€5.

b. taxi:quiteexpensiveastheairportissomewayout:around€50/60.

2. FromMilanoLinateairporttoMilanoCentralestaCon:busortaxitoStazioneCentrale(takes20mins)

ByTrain

TrainsruneveryhourfromMilanoCentraletoBergamofrom6.05to23.40;formoredetailedinformaCon,see

theCmetableoftheItalianRailwayCompany,hJp://www.trenitalia.it/-whichhaswebsitesinEnglish.Cost:€

5,5.

21

HowtogetfromBergamotrainsta8ontotheHotel

Thehotelis900mfromBergamorailwaystaConandcanbeeasilyreachedonfoot.TakeViaPapaGiovanni

XXIII(infrontofthestaCon),andajer900myouwillseethehotelontheright.

AlternaCvely,youcantakethebus(#1,direcCon:CiJàAlta)infrontoftherailwaystaCon:itstopsjustinfront

ofyourhotel(4stops,ca.5minutes).

22

HowtogetfromtheHoteltotheVenue

Thevenueis1.2kmfromtheHotel.Youcanreachitbyfootortakethebus(#1,direcCon:CiJàAlta,2stops,

ca.5minutes+4minutesbyfoot)

23

Program

October,10th

UniversityofBergamo–S.Agos3no–Aula1‘WalterFornasa’October,10th

UniversityofBergamo–S.Agos3no–Aula1‘WalterFornasa’

09.30-10.00 WelcomeandIntroducCon–InauguralspeechoftheRectoroftheUniversityofBergamo

10.00-10.45 OpeningLecture:TheMediatoryRoleofImagesJürgenRenn(MaxPlanckInsCtutefortheHistoryofScience,Germany)

10.45-11.15 Coffeebreak

Transmission–Chair:NiccolòGuicciardini(UniversityofBergamo)

11.15-12.15 Vision on Vision:EarlyModern Scien3fic Images onCosmology Explored byMeansof SecondOrderImagesMaJeo Valleriani (Max Planck InsCtute for the History of Science, Germany - TechnischeUniversitätBerlin,Germany)FlorianKräutli(MaxPlanckInsCtutefortheHistoryofScience,Germany)

12.15-13.00 The Illustrated Printed Page asa Tool for Thinking and TransmiXng Knowledge. TheCaseofRenaissanceAstronomicalBooksIsabellePanCn(ÉcoleNormaleSupérieuredeParis,France)

13.00-14.30 Lunch

14.30-15.15 Ar3s3c“Libido“andScien3ficTruthin16thCenturyWoodcutIllustra3onsMagdalenaBushart(TechnischeUniversitätBerlin,Germany)

15.15-15.45 Coffeebreak

15.45-16.30 Capturing, Modelling, Overviewing and Making Credible: The Func3ons of Visual at theAccademiadelCimentoGiuliaGiannini(UniversityofBergamo,Italy)

19.30 Dinner

October,11th

UniversityofBergamo–S.Agos3no–Aula1‘WalterFornasa’October,11th

UniversityofBergamo–S.Agos3no–Aula1‘WalterFornasa’

Transmission–Chair:FrancoGiudice(UniversityofBergamo)

09.30-10.15 Visual Culture of University Knowledge: The Lecture Notebooks from Louvain and Douai(17th-18thcenturies)GwendolinedeMûelenaere(UniversityofLouvain,Belgium)

10.15-11.00 NuclearVisions:ImagesandEpistemologiesofthePlanetaryCrisisGiuliaRispoli(MaxPlanckInsCtutefortheHistoryofScience,Germany)

11.00-11.30 Coffeebreak

24

Transforma/on–Chair:FrancoGiudice(UniversityofBergamo)

11.30-12.15 Nopuedenlapinturademiplumaypalabrasdartanpar3cularrazón[...]sinelpincelodebujo,y aun con esto serían menester los colores. Images and Ar3facts in the Inven3on of theAmericasElenaPaulinoMontero(UNED-UniversidadNacionaldeEducaciónaDistancia)

12.15-13.00 MarcelloMalpighiandHisObserva3onsoftheChickintheEggSietskeFransen(UniversityofCambridge,GreatBritain)

13.00-14.30 Lunch

14.30-15.15 The Transforma3ons of Physico-Mathema3cal Visual Thinking: From Descartes to QuantumPhysicsEnricoGianneJo(UniversityofBergamo,Italy)

15.15-16.00 EthnosciencesandtheRepresenta3onsofSpaceintheTimeofClimateChangeElenaBougleux(UniversityofBergamo,Italy)

17.30-18.30 WalkingtouroftheUpperTownofBergamo(withEnglish-speakingguide)

October,12thUniversityofBergamo–S.AgosCno–Aula1‘WalterFornasa

October,12thUniversityofBergamo–S.AgosCno–Aula1‘WalterFornasa

Explora/on–Chair:ElioNenci(UniversityofMilan,Italy)

9.30-10.15 TheorizingTechnology:Theōria,Diagram,andAr3factinHeroofAlexandriaCourtneyAnnRoby(CornellUniversity,USA)

10.15-11.00 Visualising Biodata in the Laboratory. Image-makers,Prac3cesand Reinven3on in Magne3cResonanceTechnologySilviaCasini(TheUniversityofAberdeen,Scotland)

11.00-11.30 Coffeebreak

11.30-12.15 Represen3ng Experiencein theEarly Royal Society.TheCaseofRobert Hooke’sMicrographia(1665)SalvatoreRicciardo(UniversityofBergamo,Italy)

12.15-13.00 ArguingfromAppearance:TheNumericalReconstruc3onofGalac3cTailsandBridgesMaJhiasSchemmel(MaxPlanckInsCtutefortheHistoryofScience,Germany)

13.00-14.30 Lunch

15.00-16.30 VisittothePinacoteca“AccademiaCarrara”

Image Title Page: Brothers Limbourg: Les Très riches Heures, Monatsbild Juni, 1415, ChanClly, Musée Condé, ms.65, f. 6v.WikimediaCommon.Photo:@R.M.N./R.-G.Ojéda