Kaleidoscopism: The Circulation of a Mid-Century Metaphor and Motif

Abstract

This essay traces the mid-century revival of interest in a particular nineteenth-century optical technology – David Brewster’s kaleidoscope – following P. B. Shelley’s coining of the term ‘kalleidoscopism’ to describe the broad popular appeal and enthusiastic uptake of the device in the late 1810s. Through an examination of mid-nineteenth-century fiction, journalism, and scientific writing, this essay explores what it meant to be ‘kaleidoscopic’ in this period and demonstrates how the mechanical structure and physical manipulation of the device informed this meaning. Controlled by the hand of the user, its display offered regulated surprise: a visual environment that did not overwhelm but rather enthralled viewers through its creation of abstracted, symmetrical forms and harmonious colour palettes led by individual taste. Contemporary reference to the kaleidoscope’s display and operation reveals it was increasingly aligned with notions of a stable, controlled, and unified visual environment in which mobility was valued but digression was mechanically impossible; it signalled the mastery of sensory data and the creation of meaning from fractured forms. My discussion uncovers new contexts for its popularity c. 1840–1865 in Victorian fiction, journalism, physiological science, and the fine arts, and discusses two under-studied examples of the kaleidoscopic in the visual art of the Pre-Raphaelites. The essay concludes by exploring Brewster’s speculative application of the kaleidoscope as an early form of cinematic media, contending that this simple optical device provokes a reconsideration of the categorization of Victorian pre-cinematic technologies.     

Showing and telling science – the integrated use of literature and images in the works of Erasmus Darwin and Alexander von Humboldt

ABSTRACT

In recent years, both the fields of literature and science and visual culture of science have addressed the importance of different visual and literary elements and their roles in establishing meaning and communication in science. In this article, I explore how visual and textual elements work to establish a narrative of plants in Erasmus Darwin’s The Botanic Garden (1791) and in Alexander von Humboldt’s Essai sur la géographie des plantes (1804). These two scientists employed literary and visual elements in order to construct their visions of the nature of plants in a time when the ideals of Enlightenment science gave way to a more holistic view of integrating the sciences and the arts. I, therefore, also discuss the analytical approach of integrated readings between the literary and visual elements of science.     

A Holiday Journal of 1774

Abstract

Early illustrations of Ledsham church do not show carvings around the Anglo-Saxon doorway into the tower, and examination of the physical condition of the stonework suggests that it is unlikely that the carvings could have survived from the Anglo-Saxon period. The peculiar features of the doorway and its carvings are best explained by the work being a nineteenth-century replacement by the Victorian architect, Henry Curzon.     

Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

Second Laws,Two Cultures,and the Emergence of an Ecosystem Aesthetics

Abstract

The appropriation of scientific concepts by the humanities and the visual arts exemplifies what many feel are both the pitfalls and possibilities of interdisciplinary engagement. The principle of entropy, which C. P. Snow claimed could serve as a litmus test of the ‘two cultures’ divide, provides an excellent starting point for exploring how artists have employed scientific concepts far beyond their original contexts. As a case study in interdisciplinarity, the use of entropy in the visual arts is also a lens to consider the evolution of an artistic proposal from the 1960s known as ‘system aesthetics’. As an early challenge to the clean demarcation of art and science, system aesthetics was a precedent for what might be described as the emergence of an ecosystem aesthetics within contemporary art and design today.     

Syriac Sources for Seventh-Century History

Abstract

In view of the paucity of other sources for this century, so momentous in the history of the Near East, the Syriac materials take on a particular importance for both Byzantine and Islamic historians. While some of these sources, such as Michael's Chronicle, are well known to all, others lie as yet unexploited and ignored. The purpose of the present article is to collect together in convenient form details of all the main Syriac sources available for the seventh century, listing standard editions, translations and the more important discussions. Fuller information on authors and secondary literature can readily be found by reference to the following works: A. Baumstark, Geschichte der syrischen Literatur (Bonn, 1922); I. Ortiz de Urbina, Patrologia Syriaca, 2nd ed. (Rome, 1965); C. Moss, Catalogue of Syriac Printed Books and Related Literature in the British Museum (London, 1962); S. P. Brock, ‘Syriac Studies 1960–1970: a classified bibliography’, Parole de l'Orient, IV (1973), 393–465. For the topographical history ot the area now covered by Iraq, J. M. Fiey's Assyrie chrétienne, 3 vols. (Beirut, 1965–8), is an invaluable compendium.     

‘The Stupidest Tea-Party in All My Life’: Lewis Carroll and Victorian Psychiatric Practice

An analysis of the numerous connections of Lewis Carroll to the Victorian psychiatric profession reveals their influence on the portrayal of insanity in Carroll’s fiction. Through examining his relationship with his uncle Robert Wilfred Skeffington Lutwidge, a Commissioner in Lunacy, and collating Carroll’s personal recollections from diaries and letters with correspondences of the Lunacy Commission, this article offers a comprehensive picture of Carroll’s intellectual engagement with Victorian psychiatry. Combining these insights with his literary writings illuminates the psychiatric origins of the ‘Mad Tea-Party’ and characters such as the Hatter in Alice’s Adventures in Wonderland in the organization and methods of mid-Victorian pauper lunatic asylums and their treatment of impoverished workers. Likewise, the illustrations of Carroll’s works stood in dialogue with popular imagery of insanity as well as ideas of physiognomy and their diagnostic application in asylum photography by Hugh Welch Diamond. This piece will argue that the framework of Victorian psychiatry provided Carroll with imagery he utilizes to satirize aspects of Victorian moral values. It thus aims to highlight the benefits of re-framing the works of Lewis Carroll beyond the genre children’s literature, and considering them as part of the wider Victorian discourse of the sciences of the mind.     

Deep hanging out in the arts: an anthropological approach to capturing cultural value

This article presents the findings of an Arts and Humanities Research Council (AHRC) funded project carried out from September 2013 to March 2014 by five researchers at the University of Leeds (UK), who paired off with five audience-participants and engaged in a process of ‘deep hanging out’ at events curated as part of Leeds’ annual LoveArts festival. As part of AHRC’s Cultural Value project, the overarching aim of the research was to produce a rich, polyvocal, evocative and complex account of cultural value by co-investigating arts engagement with audience–participants. Findings suggested that both the methods and purpose of knowing about cultural value impact significantly on any exploration of cultural experience. Fieldwork culminated in the apparent paradox that we know, and yet still don’t seem to know, the value and impact of the arts. Protracted discussions with the participants suggested that this paradox stemmed from a misplaced focus on knowledge; that instead of striving to understand and rationalize the value of the arts, we should instead aim to feel and experience it. During a process of deep hanging out, our participants revealed the limitations of language in capturing the value of the arts, yet confirmed perceptions of the arts as a vehicle for developing self-identity and -expression and for living a better life. These findings suggest that the Cultural Value debate needs to be reframed from what is currently an interminable epistemological obsession (that seeks to prove and evidence the value of culture) into a more complex phenomenological question, which asks how people experience the arts and culture and why people want to understand its value. This in turn implies a re-conceptualization of the relationships between artists or arts organisations and their publics, based on a more relational form of engagement and on a more anthropological approach to capturing and co-creating cultural value.     

The Concept of Community

G. Reichel‐Dolmatoff. Beyond the Milky Way: Hallucinatory Imagery of the Tukano Indians. Los Angeles: University of California Press, 1978. x + 159 pp. Index, illustrations. $25.00, cloth.

Richard Evans Schultes and Albert Hofmann. Plants of the Gods: Origins of Hallucinogenic Use. New York: McGraw‐Hill, 1979.192 pp. Index, illustrations. $34.95, cloth.

R. Gordon Wasson. The Wondrous Mushroom: Mycolatry in Mesoamerica. New York: McGraw‐Hill, 1980. xxvi + 248 pp. Index, illustrations. $12.95, paper.     

Book reviews

James E. McClellen III and Harold Dorn. Science and Technology in World History: An Introduction. Baltimore and London: Johns Hopkins Press, 1999.404 pages + illustrations + maps + graphs + bibliography + index. $55.00 (hardcover), $18.95 (paperback).

Arnold Pacey. Meaning in Technology (Cambridge, Mass and London, England: MIT Press, 1999), pp. viii+264.     

The Preacher’s Agenda: A Dominican versus the Italian Renaissance

Abstract

This article reviews the cultural agenda of the celebrated Dominican preacher Giovanni Dominici (1356–1419) in fifteenth-century Florence. Central issues discussed include Dominici’s educational programme, his cultural propaganda, his interest in the visual arts and his opposition to the study of the classics, as expressed in his public popular preaching. The close examination of his cultural agenda discloses Dominici as the most extreme opponent of humanist studies.     

Current status of environmental physiology research in anthropology

Albert Damon, ed. Physiological Anthropology. New York: Oxford University Press, 1975. xiii + 367 pp. Figures, tables, illustrations, and references. $15.00 (cloth), $6.95 (paper).     

Ecological idealism and the peasant village

Alan R. Beals. Village Life in South India: Cultural Design and Environmental Variation. Chicago: Aldine Publishing Co., 1974. 189 pp. Figures, illustrations, suggested reading, and index. $7.50 (cloth), $2.95 (paper).     

THEMATIC REVIEW

M. Jeanne Peterson, Family, Love, and Work in the Lives of Victorian Gentlewomen Norma Clarke, Ambitious Heights: Writing, Friendship, Love - The Jewsbury Sisters, Felicia Hemans, and Jane Welsh Carlyle Mary Lyndon Shanley, Feminism, Marriage, and the Law in Victorian England, 1850–1895 Carol Dyhouse, Feminism and the Family in England, 1880–1939     

‘The Epitheatrical Cartoonist’: Matthew Somerville Morgan and the World of Theatre,Art and Journalism in Victorian London

This article examines the vibrant cultural milieu inhabited by one of Victorian Britain's most famous cartoonists, Matthew Somerville Morgan. Morgan is well-known as the cartoonist who attacked Queen Victoria's withdrawal from public life (and her associations with John Brown), and the lifestyle of Albert, Prince of Wales, in the short-lived rival to Punch: the Tomahawk. Likewise, his post-1870 career in New York as cartoonist of the ‘Caricature War’ over the 1872 Presidential elections, and involvement with ‘Buffalo’ Bill Cody have been well-studied. However, his involvement with the world of the 1860s Victorian stage – and the social circles in which he moved – have not been given close attention. This broader social, cultural, and economic context is essential to understanding Morgan's role as a cartoonist-critic of politics, class, gender and art in Victorian Britain. Special attention is given to the ways in which Morgan's work as a theatrical scene-painter informed his other pursuits, including his political cartoons for Fun, the Comic News and the Tomahawk. So central was the theatre to Morgan's life story that he may be appropriately described as an ‘epitheatrical’ figure. Indeed he is one of the most spectacular exemplars of the interconnected worlds of journalism, high art and theatre in Victorian London. The theatre provided him with the artistic and journalistic connections needed to raise himself above his lower-class origins; to move in ‘clubland’ and fashionable bohemian society; and to win an influential place in the key political and cultural debates of his age.     

Book reviews

Frontiers

Poststructualist geographies: the diabolical art of spatial science. Marcus Doel. Pp. ix + 229. Edinburgh: Edinburgh University Press, 1999. Price: £45.00 (hbk), £14.95 (pbk). ISBN 0 226 48720 2 (hbk), ISBN 0 226 48721 0 (pbk).

Sleight‐of‐hand

New works in geography

Geography and enlightenment. Edited by David N. Livingstone & Charles W.J. Withers. Pp.viii + 455. Chicago & London: University of Chicago Press, 1999. Price £17.50 (pbk), £36.50 (hbk). ISBN 0 226 48721 0 (pbk), ISBN 0 226 48721 2 (hbk).

Secure from rash assault. Sustaining the Victorian environment. James Winter. Pp. xi + 342. Berkeley: University of California Press, 1999. Price: £ 24.95 (hbk). ISBN 0 520 21609 1.

Perspectives on British rural planning policy, 1994–97. Andrew W. Gilg. Pp. viii + 154. Aldershot: Ashgate, 1999. Price £35.00 (hbk). ISBN 1 85972 641 0 (hbk).

Exploring contemporary migration. Paul Boyle, Keith Halfacree & Vaughan Robinson. Pp. 272. London: Longman, 1998. Price £18.99 (pbk). ISBN 0 58225 161 3.

Focus on Scotland

Urban highlanders: Highland‐lowland migration and urban Gaelic culture, 1700–1900. Charles W.J. Withers. Pp. 271. East Linton: Tuckwell Press, 1998. Price £20.00 (pbk). ISBN 1 86232 040 5.

Girls in trouble: sexuality and social control in rural Scotland, 1660–1780. Rosalind Mitchison & Leah Leneman. Pp. viii + 144. Edinburgh: Scottish Cultural Press, 1998. £10.95 (pbk). ISBN 1 898218 89 7 (pbk).

Girls in trouble: sexuality and social control in urban Scotland, 1660–1780. Rosalind Mitchison & Leah Leneman. Pp. viii + 164. Edinburgh: Scottish Cultural Press, 1998. £12.95 (pbk). ISBN 1 898218 90 0 (pbk).     

Die Fotografie – ein neues Bildmedium im Wissenschaftspanorama des 19. Jahrhunderts. Einführung in das Symposium

Photography – a novel medium of scientific representation in the XIXth century array of arts and sciences. To delve into various nineteenth century academic disciplines under the heading ‘photography in the arts and sciences’ as did last year's annual conference of the History of Science Society – the interest in such a topic only partly stems from the ‘iconic turn’ that has generally enlarged the scope of the social sciences in recent years. A more poignant feature in any such present day study will probably be a basic scepticism facing the fact that in public use photographs have been manipulated in many respects. Yet, while shying away from any simple success story, a historically minded approach to changing ‘visual paradigms’ (Historische Bildwissenschaft) has begun to emerge. In this context, it has proved of considerable heuristic value to reconsider the role of early photography in an array of science, arts and technology: Since the reliance on the traditional ways of sketching reality persisted, in many an instance where photography was introduced, the thoughts the pioneer photographers had about their new, seemingly automated business, call for close attention. Thus scholarship sets up a parallel ‘discussion room’; the lively debate on the benefit of academic drawings as opposed to photographic portraits is a case in point. Some fairly specialised reports on photographically based analyses, such as electron microscopy, point to a borderline where the very idea of representation as a correspondence of reality and imagination gets blurred. Even though any ‘visual culture’ will have to shoulder the ‘burden of representation’, it is equally likely that it will offer a deeper sensibility for the intricacies entailed in the variegated ways of illustrating or mapping chosen subjects of scientific interest. Scholarship may thus somewhat control the disillusionment that by now has become the epitome of writing on photographic history. Provided with a renewed methodological awareness for the perception process and its photographic transition, historians may strike a better balance between the ever present tendencies of a realistic and an aesthetic way of picturing the world we live in.