Imaging Of Materials Research Articles

Gasworks

The material imagination of the nineteenth century had to deal increasingly with what had previously been thought to be immaterial, or as good as, and with largely imaginary forms of material. The century was one in which the material and the immaterial entered into new and surprising alliances and exchanges, exchange becoming in the process the principal mode in which the material world was made apprehensible. Increasingly, the material world was immaterialised, with the growing dependence on invisible gases, vapours and substances, from steam (or, more strictly, water-vapour), to coal-gas, to the ether of space that provided such an indisputable and indispensable ground for nineteenth-century physics. This essay considers the ways in which gas, and in particular gaslighting, was imagined, especially in Victorian fiction. I conclude that gas became a mediate material, which connected up the global and the local, the economic and the physiological, the immediate and the mediate. As such, it provides a kind of correlative to the imaginary plasma of the novel itself, which equally arises from a curiosity about the complexity of conjunctures, with the intimate traffic of proximity and distance.

Slowing things down: Lessons from the GM controversy

This paper stages an encounter between one strand of the controversy around genetically modified food crops and some conceptual resources from the field of science and technology studies, with the aim of illuminating the relationship between science and politics. Contrary to some suggestions, it is argued that the spatial, temporal and material imagination encapsulated in the figure of Progress remains central to their contemporary articulation. Best described as an ‘anti-political’ strategy, Progress does not leave room for anything else but one story of the world. Through following the attempts of both scientists in the field and protestors on the streets to make public some of the trajectories which this story leaves out, what emerges is the possibility of an alternative to Progress that is not based simply on its rejection. Instead, such efforts offer resources for inventing another way of collectively going forward which chime with some more theoretical attempts to elaborate how things might be productively ‘slowed down’. An example of how government was forced to construct a way of dealing with things that is more adequate and appropriate to life in a full world is compared with Bruno Latour’s model of due process for nonhumans, before some conclusions are drawn about whether we should be depressed or hopeful about our ability to move on in the lights of such attempts.

Teater som materiell imaginasjon

In her exploration of the poetics and aesthetics of the Norwegian performance collective Verdensteatret, Anita Hammer draws on the concept of »material imagination « as formulated by French philosopher Gaston Bachelard.

Apolo-Prometeu e Dioniso: dois perfis mitológicos do "homem das 24 horas" de Gaston Bachelard

Gaston Bachelard (1884-1962), um filósofo como ele se auto-denomina de "dupla natureza", pensador de campos do conhecimento tão díspares como a epistemologia da ciência e a metafísica da imaginação poética, reclama uma leitura da dualidade e da complexidade da sua vida e obra. Desse modo, o objetivo deste artigo é investigar a relação dialógica entre a epistemologia da ciência e a metafísica da imaginação poética, dois delineamentos opostos, concorrentes e complementares da filosofia de Bachelard, freqüentemente expressos pelos epítetos "diurno" e "noturno". Para estudarmos a relação entre essas duas vertentes do pensamento de Bachelard, partimos da análise da ambivalência dos seguintes pares de conceitos: obstáculo epistemológico & imaginação material e psicanálise do conhecimento & método fenomenológico, que estruturam, teoricamente no primeiro par e, metodologicamente no segundo, sua epistemologia da ciência e sua metafísica da imaginação poética. Os dados obtidos permitem concluir que a sutura entre a epistemologia científica e a metafísica poética de Bachelard está representada em seu conceito de "homem das 24 horas". Esse homem complexo, andrógino, leitor e pensador das idéias científicas e da gênese poética, parece ser uma imagem conciliadora das antinomias expressas nas faces diurna e noturna da filosofia bachelardiana. Ampliando a análise imagética do "homem das 24 horas", por meio de uma hermenêutica mitanalítica, encontramos as duas faces da filosofia de Bachelard configuradas, respectivamente, pelos mitos de Apolo-Prometeu e Dioniso.

Towards a Poetics of Consumerism

The influence of Gaston Bachelard's studies of the ‘poetic’ or ‘material imagination’ on the ‘nouvelle critique’ has long been acknowledged. Similarly, the importance of Bachelard's work in the history of science to social theorists such as Louis Althusser, Michel Foucault and Pierre Bourdieu has received considerable critical attention. What has been largely unexplored, however, is the impact of Bachelard's studies of the ‘material imagination’ on social theorists such as Henri Lefebvre, Jean Baudrillard, and Roland Barthes, in their analyses of the advent of mass consumerism in post-war France. This article examines the use made by these theorists of Bachelard's concept of the ‘material imagination’ as an index of everything authentic that risked being lost in France's embrace of mass consumerism. It also shows how Bachelard's ‘material imagination’ could serve as a powerful tool for explaining the affective appeal that the new spaces and mass-produced commodities of post-war France possessed for French consumers.

A Matter of Transformation

Gaston Bachelard contends that two types of imagination inform the creative process: a formal imagination and a material imagination. Formal causes stem from intuitive and associative image production, and lead to a process of conceptualization that provides the analytical tools to create an object. Material imagination is provoked solely and directly from our immediate confrontation and manipulation of matter. These images may be assigned category by the eye but only the hand truly reveals them.

Poetic motivation of material elements: new categories of analysis in the social-poetic approach

Gauthier and Santos (1996) describes the socio-poetics as na approach of knowledge of human-being and society, a way for the production of knowledge by means of a variety of research practices and education that poetically transforms knowledge for better understanding. The creators of socio-poetics utilize as analysing categories the geo-mitic places, thus stimulating those who work with this approach to create new technics and life experiences in order to improve data production in the research group. Playing attention to this challenge and inspired in the concepts of Material Imagination Gaston Bachelard, C.G. Jung Active Imagination Technic and in the growth experiments of John Stevens's gestalt-therapy, we created the Technic of Material Elements, based in the images provoked by the 4 elements (water, earth fire and air). We concluded that this new technic favored the expression of unconscious or silenced contents that interfere in nurse care, thus allowing nurses to explore themselves creativity and to improved their professional practicing.

The Journey As Cosmic Reverie: A Reading of Maurice Sendak's In the Night Kitchen

The Journey As Cosmic Reverie: A Reading of Maurice Sendak's In the Night Kitchen by William F. Touponce It indicates something of the latent puritanism of our expressivity as critics that we have not yet developed an adequate vocabulary to talk about the aesthetic pleasures of reading children's literature, especially picturebooks. This kind of vocabulary is sorely needed in discussing an author such as Maurice Sendak, who intends to convey, in the case of In the Night Kitchen at least, an intense sort of aesthetic pleasure involving the whole body (Cott 52). Not being a critic himself, Sendak only provides us with a few general indications about how his texts should be read. He particularly objects to critics who have complained about the lack of plot in his picturebooks. Barbara Bader's reading of In the Night Kitchen could serve as an example here. She concludes by finding it inadequate as an aesthetic experience because its story of a journey, "Mickey's pleasant dream," as she calls it, lacks tension. There is no struggle or dramatic series of events developing a narrative interest (Bader 524). She compares the book unfavorably to the comic strip Little Nemo in Slumberland, to which it alludes, because the hero of these stories always has exciting, frightening adventures. It seems to me that Bader, and other critics like her (with the exception of Jill May, who discusses the actual responses of children to this text), are missing something essential about this picturebook, namely, that its sources of aesthetic pleasure lie elsewhere than in the plot. What I hope to show is that the book is above all a cosmic reverie of well-being and pleasure of the sort described by Gaston Bachelard. I want first to outline some pertinent features of Bachelard' s critique of reading which is founded on pleasure and not on cognition as are most reader-oriented theories. Then I will go on to produce an oneiric reading of Sendak's In the Night Kitchen. To begin with, Bachelard's critique of reading is not a psychoanalytic one, narrowly speaking. Rather it is linked both phenomenologically to the cultural enjoyment of identity, and to the archetypes of the collective unconscious as investigated by Jung. It is the presence of an archetype in a story which assures for Bachelard the possibility of an author's communicating his/her reverie, for we communicate with the writer because we already possess these primordial images in the depth of ourselves. In his Poetics of Reverie, Bachelard speaks often of a permanent core of childhood which sustains reverie in each of us throughout life. Furthermore, the subject engaged in reverie is free of unconscious repression. Unlike the situation in the nocturnal dream, the subject of reverie is capable of piloting his/her own journey. Above all, reverie can be spoken. It communicates by means of poetic word-images that transcend whatever torment the author went through in producing them. Bachelard does not seek the meaning of reverie in the author's badly lived past, for the literary work in his poetics dominates the artist's life, has made a complete break with it. Therefore we should not seek the meaning of reverie in that past, but "above" it, in the jouissance des images by which the work came into being (8-10). No doubt this is a mode of subjective criticism, but Bachelard does not give us, besides the archetypes of reverie, some general coordinates by which to orient ourselves. Appropriate to his imagistic method of reading while dreaming in the state of reverie (lire-rever), they are coordinates of the imagination. In searching for words and images which stimulate reverie in the reader, Bachelard is led to distinguish broadly between those produced by the formal imagination and those produced along the axis of the material imagination (the implied foundations of which are the archetypes of earth, air, fire and water and their mixtures). It is only images produced from the latter axis which truly sustain us and commit us to a journey. The formal imagination invariably leads to fixity and conceptual definition. What is more, in reverie based on the material imagination, we can...

Science in medicine.

Previous articleNext article No AccessClassic ThemesScience in MedicineJohn Harley WarnerJohn Harley Warner Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Osiris Volume 1, Number 11985Historical Writing on American Science Published for the History of Science Society Article DOIhttps://doi.org/10.1086/368637 Views: 24Total views on this site Citations: 20Citations are reported from Crossref Copyright 1985 The History of Science Society, Inc.PDF download Crossref reports the following articles citing this article:Mary E. Kollmer Horton The orphan child: humanities in modern medical education, Philosophy, Ethics, and Humanities in Medicine 14, no.11 (Jan 2019).https://doi.org/10.1186/s13010-018-0067-yAnita Guerrini Philosophical bodies in early modern Europe, Studies in History and Philosophy of Science Part A 61 (Feb 2017): 61–65.https://doi.org/10.1016/j.shpsa.2016.11.001Scott Phelps Brain Ways: Meynert, Bachelard and the Material Imagination of the Inner Life, Medical History 60, no.33 (Jun 2016): 388–406.https://doi.org/10.1017/mdh.2016.29Michael O. S. Afolabi, John I. Anetor, Ademola Azeez Laboratory Science Ethics, (Jan 2022): 1713–1721.https://doi.org/10.1007/978-3-319-09483-0_461Nicholas Whitfield Surgical Skills Beyond Scientific Management, Medical History 59, no.33 (Jun 2015): 421–442.https://doi.org/10.1017/mdh.2015.28Michael O. S. Afolabi, John I. Anetor, Ademola Azeez Laboratory Science Ethics, (Dec 2015): 1–9.https://doi.org/10.1007/978-3-319-05544-2_461-1 By Ilana Löwy Historiography of Biomedicine: “Bio,” “Medicine,” and In Between Ilana Löwy, Isis 102, no.11 (Jul 2015): 116–122.https://doi.org/10.1086/658661Flavio Coelho Edler, Pesquisa clínica e experimental no Brasil oitocentista: circulação e controle do conhecimento em helmintologia médica, História, Ciências, Saúde-Manguinhos 17, no.33 (Jan 2010): 739–755.https://doi.org/10.1590/S0104-59702010000300010Yvonne Villanueva-Russell Evidence-based medicine and its implications for the profession of chiropractic, Social Science & Medicine 60, no.33 (Feb 2005): 545–561.https://doi.org/10.1016/j.socscimed.2004.05.017Marc Berg, Paul Harterink Embodying the Patient: Records and Bodies in Early 20th-century US Medical Practice, Body & Society 10, no.2-32-3 (Jun 2016): 13–41.https://doi.org/10.1177/1357034X04042931A. Cambrosio, P. Keating Biomedical Sciences and Technology: History and Sociology, (Jan 2001): 1222–1226.https://doi.org/10.1016/B0-08-043076-7/03143-0Elaine Thomson Physiology, Hygiene and the Entry of Women to the Medical Profession in Edinburgh c. 1869–c. 1900, Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 32, no.11 (Jan 2001): 105–126.https://doi.org/10.1016/S1369-8486(00)00027-3Mary Ann Elston Introduction: the Sociology of Medical Science and Technology, Sociology of Health & Illness 19, no.19B19B (Jun 2008): 1–27.https://doi.org/10.1111/1467-9566.00084John V. Pickstone Ways of knowing: towards a historical sociology of science, technology and medicine, The British Journal for the History of Science 26, no.44 (Jan 2009): 433–458.https://doi.org/10.1017/S0007087400031459A I Tauber The Two Faces of Medical Education: Flexner and Osler Revisited, Journal of the Royal Society of Medicine 85, no.1010 (Aug 2022): 598–602.https://doi.org/10.1177/014107689208501004 John Harley Warner Ideals of Science and Their Discontents in Late Nineteenth-Century American Medicine, Isis 82, no.33 (Oct 2015): 454–478.https://doi.org/10.1086/355837Marsden S. Blois Medicine and the Nature of Vertical Reasoning, New England Journal of Medicine 318, no.1313 (Mar 1988): 847–851.https://doi.org/10.1056/NEJM198803313181309Peter W. G. Wright Babyhood: The Social Construction of Infant Care as a Medical Problem in England in the Years Around 1900, (Jan 1988): 299–329.https://doi.org/10.1007/978-94-009-2725-4_12Joel D. Howell Cardiac Physiology and Clinical Medicine? Two Case Studies, (Jan 1987): 279–292.https://doi.org/10.1007/978-1-4614-7528-6_13 Current Periodical Literature, Bulletin of Science, Technology & Society 5, no.44 (Jul 2016): 385–406.https://doi.org/10.1177/027046768500500408