By Martin Willis
This publication considers medical performances throughout centuries, from the early 19th century to the current day. Performances comprise demonstrations of applied sciences, experiments that seem like theatre, theatre that appears like technological know-how, vacationer representations and usual background film-making. Its key target is to open debate on how clinical task, either ancient and modern, could be understood within the context of functionality reports and the imaginitive acts required to degree attractive performances.
Scientific performances became more and more of curiosity to historians of technological know-how, literature and technological know-how students, and within the box of technology experiences. As but, even though, no paintings has sought to envision various medical performances with the purpose of interrogating and illuminating the categories of serious and theoretical practices that would be hired to interact with them. With medical functionality more likely to turn into ever extra relevant to scholarly learn within the following few years this quantity provide a well timed, and early, intervention within the current debates, and goals, too, to be a touchstone for destiny work.
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Extra resources for Staging Science: Scientific Performance on Street, Stage and Screen
155. 23. Quoted in Richard D. 149. 24. 81. 25. 104). 26. 186. 27. p. 28. This is particularly interesting in the light of Shepherd-Barr’s later chapter in this volume, which argues that contemporary science plays are, similarly, focussed as much on science as they are on dramaturgy (see Chap. 5). 29. 336–370. 30. Morus, Frankenstein’s Children. 31. Morus, ‘Magic’. 32. Morus, Frankenstein’s Children. 33. 403). 34. Thomas Martin, ed Faraday’s Diary 7 vols (London: G. Bell & Sons, 1932), vol.
98. 13. 99. 14. 99. 15. John Heilbron, Electricity in the 17th and 18th Centuries: A Study in Early Modern Physics (Berkeley and Los Angeles: University of California Press, 1979). R. MORUS 16. Purrington, Physics in the Nineteenth Century (New Brunswick: Rutgers University Press, 1997); Peter Harman, Energy, Force and Matter: The Conceptual Development of Nineteenth-century Physics (Cambridge: Cambridge University Press, 1982). 17. 84. 18. 8. 19. 178. 20. 154. 21. 181. 22. 155. 23. Quoted in Richard D.
The raw materials that constituted the cascade had to be mined and harvested, they had to be carried around, they had to be shaped and finished before they could become elements in an induction coil, an air-pump, or even a wine glass. The practical skills that underpinned the cascade’s performances also fed back into the networks that sustained it. They were entangled with the skills that underpinned a range of industrial performances. When performers at the Royal Polytechnic Institution or elsewhere mounted a demonstration of Gassiot’s cascade they were participating not just in the mid-Victorian culture of scientific spectacle, but in industrial and imperial culture too.