By Timothy Lenoir
Metaphors of inscription and writing determine prominently in all degrees of discourse in and approximately technology. the outline of nature as a booklet written within the language of arithmetic has been a standard trope for the reason that no less than the time of Galileo, a metaphor supplemented in our personal day by means of the characterization of DNA sequences because the code for the booklet of lifestyles, decipherable by way of protein semantic devices. an enormous contemporary path within the fields of technology and literature reports is to think about such descriptions as greater than metaphoric, as revelatory of the techniques of signification in technological know-how extra regularly. approximately in every single place we glance, the “semiotic turn” is upon us.
Recent technology and expertise reports were characterised via a wealthy variety of study instructions, manifesting a number of traits it appears counter to each other. at the one hand stands the wealthy culture of designated microstudies of experiments, tools, and medical perform; however are grouped reports grander in scope, geared toward studying technology in the framework of cultural construction. This quantity of 16 essays seeks universal flooring between those diversified methods through juxtaposing paintings from traditionally targeted technological know-how and literature stories with paintings encouraged by means of poststructuralist philosophy and semiotics.
The individuals are Gillian Beer, Lisa Bloom, Robert mind, Lorraine Daston, Richard M. Doyle, David Gugerli, Hans Ulrich Gumbrecht, Friedrich Kittler, Timothy Lenoir, Alex Pang, Philip Prodger, Hans-Jörg Rheinberger, Robin Rider, Brian Rotman, Simon Schaffer, and Bernhard Siegert.
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Extra resources for Inscribing Science: Scientific Texts and the Materiality of Communication (Writing Science)
Example text
The many, sharp-edged ele ments that made up such descriptions seldom converged into an impres sion of the whole phenomenon, unless supplemented by the occasional illustration. But even when they existed, the illustrations tended to sup plant rather than to coalesce the descriptions, for the black-and-white, regularized (and often geometricized) woodcut forms filtered out most of the salient verbal details. Strange facts were thus detached in their descrip tive elements both from natural philosophical theories on the one hand and from religious interpretations on the other.
2 . 1 ) . Although the broadside writer ventured no account of the monster's significance, that it was significant was unmistakable from the iconography. Certain strange phenomena were also so freighted with Figure 2. I . German broadside of monster born in Florence on St. Jacob's Day, I 506. " Reproduced by courtesy of the Bayrische Staatsbibliotek, Handschriften Abteilung (Einblatt VIII, I S) , Munich. : Princeton University Press, 1990), pp. 37-46. Language ofStrange Facts 29 meaning that they invited a portentous reading even when the reporter scrupulously withheld comment.
Within natural philosophy they supplemented the em piricism of examples used to confirm and instruct with a collection of counterexamples that were a standing reproach to all extant theories. 15 This is why the first scientific facts retailed in the proceedings of the Royal Society of London and the Paris Academy of Sciences were such strange ones, for natural philosophy required the shock of repeated contact with the bizarre, the heteroclite, and the singular in order to sunder the age-old link between "a datum of experience" and "the con clusions that may be based on it"; in other words, to sunder facts from evidence.