Pictures, preparations, and living processes: the production of immediate visual perception (anschauung) in the...

This paper addresses the visual culture of the late-19th-century experimental physiology. Taking this case of Johann Nopomuk 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 specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled 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.