Pictures,Preparations, and Living Processes: The Production of Immediate Visual Perception (Anschauung) in late-19th-Century Physiology

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak (1828–1873) as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond (1818–1896) and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of immediate visual perception (unmittelbare Anschauung). However, the images they produced and presented for this purpose were strongly mediated. By means of specifically designed instruments, such as the cardioscope, the contraction telegraph, and the frog pistol, and of specifically constructed rooms, so-called spectatoriums, physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments.This paper was written in the context of ten project, The Experimentalizaiton of Life: Configurations of Life Sciences, Art, and Technology (1830–1930). The project is based at the Max Planck Institute for the History of Science (Dept. III: Hans-Jörg Rheinberger), Berlin, and receives funding from the Volkswagen Stiftung, Hannover. A first draft of this paper was presented, accompanied by Sven Dierig on the Virtual Laboratory, at the Institute of Theater Sciences, Free university Berlin, in December 2000. I would like to thank Sven Dierig and the other members of the project as well as Nick Hopwood, Skúli Sigurdsson and the anonymous referees and the editors of this journal for their helpful comments on an earlier version of this paper. Thanks also to Laurie McLaughlin and Nancy Anderson for helping me with the English version of the text.