The Educated Eye: Visual Culture and Pedagogy in the Life Sciences (Interfaces: Studies in Visual Culture)
Michael R. Dietrich
The construction and processing of visible representations within the existence sciences is a serious yet frequently neglected element of medical pedagogy. The proficient Eye follows the nineteenth-century include of the obvious in new spectatoria, or demonstration halls, during the twentieth-century cinematic explorations of microscopic nation-states and simulations of surgical procedure in digital truth. With essays on document Edgerton’s stroboscopic thoughts that iced over time and Eames’s visualization of scale in Powers of Ten, between others, participants ask how we're taught to work out the unseen.
16. For an account of how visualization streamlines the disjunctive nature of the sciences, see John Law and John Whittaker, “On the Art of Representation: Notes on the Politics of Visualization,” in Picturing Power: Visual Depiction and Social Relations, ed. John Law and Gordon Fyfe (London: Routledge, 1988). 17. Marshall McLuhan and Eric McLuhan, Laws of Media: The New Science (Toronto: University of Toronto Press, 1988), 107.
Seen.” The film then pairs short clips, showing the same phenomenon, first as motion “too quick to be seen” by the slothful eye and then “what really happens” as seen by the high-speed eye in slow motion. An electric fan blade, a bird released into the air, a bursting soap bubble, and a light bulb smashed with a hammer—all very domestic scenes—appear, between shots showing in considerable self-reflexive detail the components of the camera and flash lamps as wielded by Edgerton and his assistant.
Differentiation,” in Keywords and Concepts in Evolutionary Developmental Biology, ed. Brian K. Hall and Wendy M. Olson (Cambridge, MA: Harvard University Press, 2003), 30–35. 14. Ludwig Gräper, “Beobachtung von Wachstumsvorgängen an Reihenaufnahmen lebender Hühnerembryonen nebst Bemerkungen über vitale Färbung,” Archiv für Entwicklungsmechanik der Organismen 33 (1912): 303–27. For his motion.
Hole. It is an eye, however, that shows the barest, if any, sign of life. The fur rising from the chest, a field of wiry lines, appears more animated. With wire surrounding its snout and the face proper nearly lost to dark shadow, we can recognize the animal’s succumbing to the facelessness of the tortured. Still, this rabbit’s face allows us to consider the possibility of a face-to-face encounter between student and animal in the actual classroom, and how it might be addressed.
And the production of scientific (particularly biological and astronomical) knowledge underlines film’s importance beyond the instrumental.28 The regime of vision in post-Enlightenment society is inflected by a rhetoric of objectivity defined by the theater. As Kaja Silverman argues, “The screen represents the site at which the gaze is defined for a particular society, and is consequently responsible both for the way in.