Urbanization, place of experiment and how the electric fish was caught by Emil du Bois-Reymond

Laboratories, along with the researchers, organisms, instruments, and experiments associated with these places of investigation, are not isolated from the world beyond their physical and institutional boundaries. Both laboratories and the cities in which they are embedded are subject to change, as was most dramatically apparent in their dynamic and far-reaching transformation during the industrial revolution of the nineteenth century. Using the example of Berlin and the institutionalization of experimental physiology by Emil du Bois-Reymond, in this paper I study experimental work on frogs and fish in order to demonstrate how a city and a laboratory cooperate in the production of knowledge. Emil du Bois-Reymond's research on electric fish illustrates how an exotic organism and a laboratory came together in a city and how the research was driven by innovation and development in urban and industrial technology. Ongoing changes in the urban landscape entered du Bois-Reymond's workplace and became part of the material culture of his experimental physiology and his attempts to demonstrate that the electric fish discharge is fundamentally similar to the excitation of nerve and muscle.     

Alexander von Humboldt: Galvanism,Animal Electricity,and Self-Experimentation Part 2: The Electric Eel,Animal Electricity,and Later Years

After extensive experimentation during the 1790s, Alexander von Humboldt remained skeptical about “animal electricity” (and metallic electricity), writing instead about an ill-defined galvanic force. With his worldview and wishing to learn more, he studied electric eels in South America just as the new century began, again using his body as a scientific instrument in many of his experiments. As had been the case in the past and for many of the same reasons, some of his findings with the electric eel (and soon after, Italian torpedoes) seemed to argue against biological electricity. But he no longer used galvanic terminology when describing his electric fish experiments. The fact that he now wrote about animal electricity rather than a different “galvanic” force owed much to Alessandro Volta, who had come forth with his “pile” (battery) for multipling the physical and perceptable effects of otherwise weak electricity in 1800, while Humboldt was deep in South America. Humboldt probably read about and saw voltaic batteries in the United States in 1804, but the time he spent with Volta in 1805 was probably more significant in his conversion from a galvanic to an electrical framework for understanding nerve and muscle physiology. Although he did not continue his animal electricity research program after this time, Humboldt retained his worldview of a unified nature and continued to believe in intrinsic animal electricity. He also served as a patron to some of the most important figures in the new field of electrophysiology (e.g., Hermann Helmholtz and Emil du Bois-Reymond), helping to take the research that he had participated in to the next level.     

Facts and Philosophy in Neurophysiology. The 200th Anniversary of Johannes Müller (1801–1858)

Johannes Müller was the founder of the first school of physiology in Germany. His anatomical, morphological and physiological research as well as his epistemological view of scientific medicine opened the way to a deeper understanding of the structure and the function of the organism. With important discoveries like the law of sense energy, the reflex movement and the definition of different organic stimuli, he enriched the knowledge of neuroanatomy, neurophysiology and sensory physiology and smoothed the way to an experimental physiology. All his famous students like Hermann von Helmholtz, Emil Du Bois-Reymond, Ernst Brücke, Jakob Henle, Robert Remak, Rudolf Virchow and Ernst Haeckel solved many crucial research problems, which Müller identified and pointed out to them as open questions, due to the insufficient methods of investigation. Müller's research method, epistemological view of biological sciences, and his open-minded personal style encouraged the development of new methods adapted to particular problems.     

Instrument Transfer as Knowledge Transfer in Neurophysiology: François Magendie's (1783–1855) Early Attempts to Measure Cerebrospinal Fluid Pressure

François Magendie's (1783–1855) experimental model for measuring blood pressure in animals, which he developed in 1838, had a major impact on French physiology in the nineteenth century, especially upon Etienne-Jules Marey (1830–1904) in Paris. In due course it was also adopted by other European investigators, such as the Leipzig physiologist Carl Ludwig (1816–1895), and by clinicians who developed it into a major measuring tool. Historians of science, however, have paid hardly any attention to Magendie's further laboratory investigations conducted with the assistance of Jean-Louis Marie Poiseuille's (1799–1869) sphygmomètre (blood pressure meter). After having used the apparatus to conduct his experiments on a variety of blood vessels, Magendie also applied the sphygmomètre in 1840 to the ventricular system of the brain in order to measure cerebrospinal fluid (CSF) pressure. But the scope of this new procedure had yet to be defined: the new measuring device invited many speculative interpretations about the meaning of CSF flow for the physiology of the ventricular system in healthy and diseased brain function. As such, Magendie's experiments produced phenomena in very heterogeneous knowledge areas, and CSF measurement was situated at the interface of quite disparate investigative spaces regarding the structure and function of the brain. In his textbook Leçons sur les Fonctions et les Maladies du Système Nerveux (Lectures on the Functions and Diseases of the Nervous System), Magendie described extending application of the measuring “apparatus of Poiseuille” from blood vessels to parts of the brain. The instrument thus became something of a liquidodynamomètre (liquor dynamometer), that paved the way for later applications, including (after 1896) diagnostic intracranial pressure (ICP) measurement by Theodor Kocher (1841–1917) and Harvey Cushing (1869–1939). The current paper focuses on the experimental contingencies that prompted the instrument transfer in Magendie's laboratory and opened up new epistemological perspectives for research in neurophysiology.     

The work that parks do: towards an urban environmentality

Cities today are typically framed as sites of capitalist development, while the urban park is theorized as an indirect response to the emerging hegemony of industrial production in the nineteenth century. Yet, this historical framing tells us little about the process through which our notions of ‘the city’ and of ‘nature’ are produced, or how this knowledge affects the formation of urban people's identities. The discursive formation of the capitalist city can be traced to specific historical moments, one of which is the construction of urban parks during the mid- to late-nineteenth century, which I argue was instrumental in producing a new knowledge of the capitalist city by creating a boundary between the social space of the city and the natural space of the park. Using Philadelphia's Fairmount Park as a case study, I draw on archival photographs and annual park commission reports to explore the formation of park subjects during this period and shed light on diverse economic practices that were once widespread in and around the city but whose erasure was ultimately a prerequisite for the successful formation of an urban discourse organized around the construction of the city/nature boundary.     

Screening Singapore: The Cinematic Landscape of Eric Khoo's Be With Me

This paper investigates the mutually constitutive relationship between the context of film production and the composition and content of images produced. Singapore film director Eric Khoo is central to our investigation, and his 2005 film Be With Me is a key example of how Singapore's ongoing urban redevelopment to become a world city reflexively shapes the style and appearance of the city‐state projected in the film. Singapore's history as a developmental state, its pervasive influence on the public and private spaces of its citizens, and recent state‐led initiatives to nurture the arts and media sectors all make it an ideal site to examine the relations between the cinema and space. Be With Me also lends itself to spatial analysis as its mise‐en‐scène is a geography of the life course: particular parts of the city are ‘cast’ as spaces of youth, middle, and old age. We elaborate how the landscapes deployed in the film are simultaneously constituted through state policies, mise‐en‐scène, and gender/age/class considerations. In so doing we show how Khoo's vision of the city‐state has altered since his emergence as a film director in the 1990s: from an oppressed site of hyper‐modernity to a more ambivalent ‘globalised’ built environment in which marginalised or liminal urban spaces for sensuous life and hope for human connection can be experienced.     

Current Literature Bibliography

The author describes a static city model consisting of six matrices: the city's industrial output, its distribution among city industries, population and out-shipments, and the inflow of goods to the city, with a breakdown by industrial consumers and the population. The model, as applied to three urban places of the Dnieper economic region, in used to determine a city's interindustry and interregional relationships and its rank in the hierarchy of urban places.     

Contesting the Divided City: Arts of Resistance in Skopje

This paper examines issues of power and resistance in “divided cities”. Basing my analysis on fieldwork I carried out in Skopje, Macedonia, I look at how urban space may be constructed and used by hegemonic groups as a means of asserting their power and how, in turn, the city may be a place of resistance where power is contested and public space reappropriated. Drawing on Lefebvre's perspective on the production of space, I compare the conceived city to the lived city and examine how urban inhabitants may resist the division of the city and challenge hegemonic representations. I also draw on Debord's psychogeography to define an artistic, active and participatory approach to urban space through which the inhabitants may re‐conquer their right to the œuvre and to the city. I argue that the city as a lived environment may offer narratives other than division and that there are alternatives to the divided city.     

INNER-CITY REVITALIZATION IN CANADA: A VANCOUVER CASE STUDY

The phenomenon of inner-city revitalization has recently stimulated attention in a number of advanced nations. The argument is extended to the Canadian city through a discussion of the housing market in Vancouver's inner neighbourhoods. The problem of the erosion of modestly priced accommodation in the inner city is emphasized, suggesting that present trends may reinstitute a zone of privilege adjacent to the downtown core, substantially modifying the residential morphology and land use models inherited from the industrial city. Le phénomène de la revivification de l' intérieur urbain, depuis peu, attire l'attention dans certains pays avancés. L'exposé en vient au case de la ville canadienne par une discussion du marché de l'habitation des quartiers centraux de Vancouver. Le problème de l'érosion du logement de prix abordable est mis en relief. Les tendances actuelles se mblent évoluer vers le rétablissement d'une zone privilégiée adjacente au centre ville, modifiant sensiblement la morphologie résidentielle et les modéles d'utilisation du sol hérités de la ville industrielle.     

Solomon Carter Fuller, M.D. (1872-1953): American pioneer in Alzheimer's disease research

The appointment of Alois Alzheimer to Emil Kraepelin's clinic and laboratory at the Royal Psychiatric Hospital, University of Munich in 1903 offered new opportunities for clinical and pathological studies of the brain. At the opening of the facility in 1904, Alzheimer selected five foreign visiting students as his graduate research assistants, among whom was an American, Dr. Solomon Carter Fuller. A glimpse of Fuller's background as an African-American (born in Liberia) at the turn of the century, his continuing research after leaving Germany in 1906, and his critical view of the Alzheimer dementia entity are recounted. He was held in high esteem as a practicing neuropsychiatrist and teacher in the Boston area.     

Principles of Lightweight Structures in the Sculptural Conceptions of Naum Gabo

Abstract

The Russian-born artist Naum Gabo (1890–1977) often employed new materials and techniques which demonstrate how his spatial conceptions developed towards a sculptural expression of lightness, balance and equilibrium. These principles reverberate with concepts of optimum structures, in which minimum-weight design is achieved through removal of redundant material. Not only formal aspects of his sculptures correspond to this concept, but also Gabo's shared aesthetic and structural concerns with twentieth-century architecture and engineering, in terms of transparency, spatial openness, efficiency and lightweight design are consistent with this idea. Similar notions surfaced in prevailing interests in nature's sense of order and perfection as the basis of biologically-inspired design, which Gabo encountered especially in the work of the biologist D'Arcy Thompson and the art critic Herbert Read. This paper investigates the aesthetic and structural affinities Gabo's sculptures bear with these notions, highlighting how these informed his sculptural conceptions. His oeuvre demonstrates how his constructive technique enabled Gabo to convey an aesthetic that would be appropriate for a modern, industrial society. The aim of this paper is to offer a new way of looking at Gabo's sculptural aesthetic by identifying analogies with theoretical formulations of minimum weight frame-structures, as encountered in the theory of the scientist engineer A.G.M. Michell (1904). Consistent with his historical context, this work demonstrates how Gabo's sculptures convey an aesthetic of balance, equilibrium, and lightness precisely because his sculptural language is rooted in principles of optimum structures to which he responded in visual as well as structural terms.     

Neurocinematography in Pre-World War II Netherlands: The Magnus-Rademaker Collection

Historical films made by neuroscientists have shown up in several countries during past years. Although originally supposed to have been lost, we recently found a collection of films produced between 1909 and 1940 by Rudolf Magnus (1873–1927), professor of pharmacology (Utrecht) and his student Gysbertus Rademaker (1887–1957), professor of physiology (1928, succeeding Willem Einthoven) and neurology (1945, both in Leiden). Both collections deal with the physiology of body posture by the equilibrium of reflex musculature contractions for which experimental studies were done with animals (labyrinthectomies, cerebellectomies, and brainstem sections) and observations on patients. The films demonstrate the results of these studies. Moreover, there are films with babies showing tonic neck reflexes and moving images capturing adults with cerebellar symptoms following cerebellectomies for tumors and several other conditions. Magnus’ studies resulted in his well-known Körperstellung (1924, “Body Posture”) and Rademaker’s research in his Das Stehen (1931, “Standing”). The films probably had an educative and scientific purpose. Magnus demonstrated his films at congresses, including the Eighth International Congress of Physiologists (Vienna, 1910) and Rademaker screened his moving images at meetings of the Amsterdam Neurologists Society (at several occasions as reflected in the Winkler-Monakow correspondence and the Nederlands Tijdschrift voor Geneeskunde). Next to these purposes, the films were used to analyze movement and a series of images from the films were published in articles and books. The films are important historical sources that provide a portrait of the pre-World War II era in neuroscience, partly answering questions on how physicians dealt with patients and researchers with their laboratory animals. Moreover, the films confirm that cinematography was an important scientific tool in neuroscience research.     

Bernstein's long path to membrane theory: radical change and conservation in nineteenth-century German electrophysiology

This article aims at illustrating the historical circumstances that led Julius Bernstein in 1902 to formulate a membrane theory on resting current in muscle and nerve fibers. It was a truly paradigm shift in research into bioelectrical phenomena, if qualified by the observation that, besides Bernstein, many other electrophysiologists between 1890 and 1902 borrowed ideas from the recent ionistic approach in the physical-chemistry domain. But Bernstein's subjective perception of that paradigm shift was that it constituted a mere reinterpretation of the so-called preexistence theory advanced by his teacher Emil du Bois-Reymond in the first half of the nineteenth century.     

Real Institutional Responses to Neoliberalism in Australia

The paper defines the state's apparatus as a site of power and contestation. This view enables contingency in the realm of government to be taken seriously. Accordingly, the paper takes a critical view of the idea of neoliberalism as a general global process. The paper reviews Paul du Gay's history of the state's apparatus, including his nostalgia for bureaucracy and his disdain for entrepreneurship. The paper contrasts du Gay's stylised take with a study of shifts in institutional structures and behaviours in Australia's state apparatus since the mid 1970s leading to the present period of Howard neoliberalism. The paper positions these shifts in the context of Coombs‐led institutional reform in Australia; it examines the potential for institutional resistances and responses; and draws implications for how we view institutions as having agency in the political processes of state apparatus reform.     

CHILDHOOD IN A NEOLIBERAL UTOPIA: PLANNING RHETORIC AND PARENTAL CONCEPTIONS IN CONTEMPORARY STOCKHOLM

This article addresses how neoliberalism as a utopian ideal of the urban affects the practices of planners and parents, drawing on Stockholm, Sweden, as an example and foregrounding how these adult conceptions of the city are manifested, both socially and physically, and shape children's geographies. Through an analysis of planning documents and interviews with planners and parents, this study shows how Stockholm's planning is clearly conditioned by neoliberal beliefs, but rather than being linked with political sympathies, neoliberalism is expressed as a contemporary urbanism. This specific urbanism is not compatible with children's independent mobility and easy access to nature and play spaces, but demands, as expressed by planners and parents, certain “sacrifices” in order to be achieved. The study shows that age is an organizing norm in terms of spatial justice in the city and that ideological beliefs about the urban development affect how this (in)justice is organized. The planning documents reflect utopian neoliberal ideas about a specific urban identity, and when private actors are given more influence over what is being built and which spaces are developed, there is a deliberate transition from welfare‐planning values and the belief that children and adults have equal rights to urban neighbourhoods. This is expressed as a necessary transformation to a more urban and globally competitive city but given the extent to which welfare values are taken for granted in Sweden it is unlikely that the effect this transition will have on social and spatial justice in the city is recognized.     

Nightscapes of Play: Enjoyment of Architecture and Urban Space through Bicycling

Anti‐automobile, anti‐capitalist, and pro‐environmental worldviews are known to shape bicyclists’ right to the city demands. This research uncovers another layer of their radical engagement with the city: playful enjoyment of architectural structures and urban space, using the case study of Midnight Mystery Ride, a community bicycle ride taking place in the middle of the night once a month in several cities around the world. Through theoretical lenses of play and rhythmanalysis, I argue that bicyclists at night take over spaces built with exchange vale in mind and introduce use value in the same spaces. Interviews with bicyclists demonstrate how their unconventional use of space questions separation from natural rhythms and nature. I demonstrate that their nighttime use of the city is also a critique of how urban space is organised largely for profit and discipline and of how the human and playful potential of urban space are not fully realised.     

The Right to the City and Critical Reflections on China's Property Rights Activism

Wholesale clearance and eviction that typify China's urban development have often resulted in discontents among urban residents, giving rise to what critics refer to as property rights activism. This paper is an attempt to critically revisit the existing debates on the property rights activism in China. The paper refers to the perspective of the “right to the city” to examine whose rights count in China's urban development contexts and proposes a cross‐class alliance that engages both migrants and local citizens. The alliance itself will have substantial political implications, overcoming the limited level of rights awareness that mainly rests on distributional justice in China. The discussions are supported by an analysis of empirical data from the author's field research in Guangzhou, which examines how local and non‐local (migrant) residents view nail‐households resisting demolition and forced eviction.     

Fear of the city 1882-1967: Edward Hopper and the discourse of anti-urbanism

This paper traces the extent to which some of the major cityscape representations of the American 'Realist' painter, Edward Hopper, have contributed to the production and articulation of the discourse of anti-urbanism in American culture. Following an introductory background to this discourse, the paper discusses the development of Realism in American art, and how the urban representations that emerged were a response to the rapidly changing, early twentieth-century American city. A brief biographical account of Edward Hopper is presented to explore the intertextual influences behind his anti-urban sentiments, and how these translated into the unique form of Realism for which Hopper is renowned. This sets the stage for a reading of four key Hopper works that are suggestive of the anti-urban discourse: Night Shadows, Nighthawks, Approaching a City and Sunday . The powers of representation and the artist's popularity have fed into the discourse of anti-urbanism - a discourse that has a material effect on urban life in America.