Original Images:
The first image I chose to engage with is the radicular and commissural cells of the thoracic cord in a fetal cat (Fig. 126 from Texture of the Nervous System of Man and the Vertebrates by Cajal). This image comes from Cajal’s article using the Golgi method to depict the neural anatomy of different organisms. These diagrams target the broader academic community to demonstrate the state of knowledge in the field of neuroscience. The original image depicts the study of motor neurons and other cells in the fetal cat’s thoracic cord. The Golgi method was used to stain a newborn, or a few days old, cat using silver chromate which has great permeability in the motor neurons in the image above. It does not stain the axons well, as they are myelinated and “do not retain the silver chromate” (Cajal 311). Golgi’s staining process was revolutionary for the time as black silver chromate salts were able to strikingly depict the shape of the neuron in detail (Dalton and Galison 115). The mechanistic debates of both Golgi and Cajal show the different perspectives and interpretations to images, even though they both used the same “Golgi” method. These images are used as a record through concrete visual practices that produce a baseline to improve scientific ethos (Daston and Galison 124). I was fascinated by the tremendous detail obtained through silver dichromate staining and subsequent microscope analysis to develop images such as Figure 126. Specifically, I was interested in how motor neurons were depicted using this method. In my lab at McGovern Medical School, I perform research on pathological tau spreading patterns in the Drosophila larval brain. Tau protein originates from motor neurons in the brain, so I was curious to see how motor neuron structures were portrayed in Cajal’s images. Furthermore, I was intrigued by our MacLehose Reading which covered mechanical objectivity and the balance between subjective representations of the world through simplistic or reductive forms and truly objective representations. I believe that there will always be inherent subjectivity, in varying degrees, for any representation of the world. However, sometimes, simplistic representations can have a role in improving our understanding of difficult concepts. I kept this in mind when recreating this image. The materials needed to make the original image include Potassium Chromate, Silver Nitrate, Neuron cultures, microscope, some writing utensil, and sketchpad/paper. Sketching drawings can last a long time but are susceptible to the fragility of paper itself and the smearing caused by graphite. The actual staining by silver nitrate is permanent unless treated with another chemical solution that can clear the stain.
The second image I chose to engage with was the Cicada Plebeia in Plate 21 from The Naturalist’s Library, Entomology, Vol.1 (Sir William Jardin). The drawings in this series gave the general public an idea of the tremendous biodiversity in nature. It serves as an encyclopedia for the general public to learn more about different organisms. The original image depicts both Cicada Plebeia (bottom) and a Magicicada Septendicim (top). An etching graver and a copper plate are used to create stable constructions of the original image. You can use other metal forms as a base or plate. Many types of gravers, alternative hard metal tools can be used to etch onto “softer” metals. Zinc, titanium, aluminum, and nickel are all other suitable alternative metals to be used for an etching plate. Etching gravers are usually made of steel, but you can find alternatives such as Iridium and Tungsten gravers. I chose this image because I was captivated by the anatomy of insects through the study of drosophila anatomical structures in my lab at McGovern. Similarly, I was curious about the intersection between mechanical objectivity and our subjective representations of the world. How much more simplistic was Jardin’s catalog of insect sketches compared to the actual insects? At what point is a representation complex enough (leaving room for simplicity)?
I sketched both images using the same technique. Evidently, I was not able to have access to silver nitrate and potassium dichromate to recreate Cajal’s stains. I chose to trace the images using sketching paper and directly sketching with my mechanical pencil, colored pencils, and an eraser. For the Cicada Plebeia sketch, I used the same technique as described below with a bit of freehanding to sketch the complex exoskeleton of the Cicada. I did not have the tools to perform etching on a copper plate for the Cicada Plebeia image. I believe the following procedure provides the best way to replicate the effects of inaccessible tools.
I used my laptop to illuminate my selected image and placed my sketch paper over the screen. I laid my screen on the desk and kept the keyboard at a 90-degree angle from the screen, using the desk to support the full normal force of the keyboard at the hinge. After using Rastorbator to magnify my images to the appropriate size, I was ready to start tracing. I started by using a regular number 2 pencil and moved on to using my uni-alpha gel with 0.5 lead, as it provided a cleaner sketch. After a few rounds of sketching, I borrowed some colored pencils from my friend and finished my recreation. Using a laptop for sketching my drawings was extremely helpful, but sometimes difficult as I had to constantly align the images to perfect the sketch. The sketch paper provided a sturdy ground for my artistic endeavors and maintained my recreations very well besides the light speaking from the lead of my pencil. The four materials that were needed for this recreation were a laptop, pencil, sketch paper, and colored pencils. If I did not have a laptop to work with I would have printed a copy of my images and used tracing paper instead. An alternative could have been to freehand the sketches entirely, but I did not want to stray away from the magnificent design of the authors of both images. Clearly, a procedure such as silver chromate staining (along with microscope use) would have provided a more true and realistic representation of motor neutrons of a fetal cat. Additionally, using a copper plate could have provided a more stable reconstruction of the image. Nevertheless, given the resources at hand, tracing from the source image using sketch paper was the next best option.
FIELD NOTE 1 OF 3
Date: 2/9/22
People Involved: Myself
Location: Fondren Library 3rd floor
Reconstruction conditions:
There was a gas leak at the construction site near Duncan so I had to evacuate my room. I decided to head over to Fondren library to work on my reconstruction project. I sat in the “presidents room” where all paintings of all the past presidents of Rice were looking down on me. There was a dim light from the windows that illuminated the room. I could hear some chatter from across the hallway, but it was relatively quiet. Around halfway through the reconstruction session, I moved to a private desk on the side of the room.
Time and duration of reconstruction:
3 hours 4:00-7:00
Equipment and tools used:
Number 2 pencil, mechanical pencil, sketch paper, laptop to display image, iPad for Time Lapse, Eraser (gifted by Raul Montes)
Subjective factors, e.g., how things smelled/looked/felt:
The air on the third floor of Fondy felt dry and cold. I could smell the scent of old books that I usually smell whenever entering a library. The smell seemed a bit manufactured, but I feel that it helps keep me in the zone when working on different assignments at Fondren. I took out my materials in the dimly lit room of the presidents and turned on Time Lapse on my iPad.When I started drawing I felt a sense of nervousness. I have not drawn anything since high school and was doubting my ability to produce a quality reconstruction. I noticed that I do not have the steadiest of hands and my handwriting is not the neatest. When I picked up my pencil to start tracing, I was surprised that my ability to “stay within the lines” of the image was good. As I continued tracing my hands started to fatigue and I had to take a few breaks to relax before sketching again. As I traced over the sketch paper on top of my laptop, my hands would shift the paper slightly and disrupt the perfect alignment of the image to my current sketch. I was getting frustrated as I had to constantly adjust and readjust my sketch to the image on my laptop, in order to maintain an accurate reconstruction. Moreover, moving my hands around the sketching paper had caused some smearing of the pencil lead.
Prior knowledge that you have:
My current premedical coursework and research on neurodegenerative diseases in my lab at McGovern Medical School have given me a solid foundation to understand the anatomy of a neuron and its connection with itself and other cells. As mentioned in my introduction, I am working on analyzing the brains of Drosophila larvae. We are looking into the spreading patterns of pathological tau that originate in motor neurons. It was awesome to see how imaging techniques such as the Golgi method are able to provide such an intricate display of neuronal anatomy. In my lab, I use the confocal microscope to image larval brains and neural cultures. It is fascinating how images from techniques so long ago can sometimes provide images similar to the ones we create today.
Reflection on your practice:
About one-fourth of the way through my reconstruction, I switched from a number 2 pencil, which was starting to become dull, to a mechanical pencil (uni alpha-gel). Although it was frustrating to keep adjusting my paper so it would not slide, I did not have tape or know any better way to achieve improved results. I realized this was a small price to pay for using my laptop to sketch the image. I did not have any colored pencils on me to draw in red lines, so I decided to draw them with my pencil and trace over them with colored pencils at the end. The image I chose was more time-consuming than I originally anticipated. Some dimly drawn lines on the original image were hard to spot so I had to freehand sketch them after tracing most of the image. For the base near A and B labels, I used repetitive dashed lines/dots to fill that section rather than try to trace every single one.
Photos/video documenting process:
https://drive.google.com/file/d/11dr3scwBDI8zsnrDiIv3TnWcSv7GH4uK/view?usp=sharing
https://drive.google.com/file/d/1KPw-iF0C3yTp8cDHVLicHgZT5I1p6_-i/view?usp=sharing
https://drive.google.com/file/d/1975SPgyIjaTVRIhZYoSC-aoJ7brO-b3g/view?usp=sharing
Questions that arise:
- How can I align my paper better to avoid readjusting the sketch paper every few seconds?
- How can I better emphasize the differences between axons and dendrites in my sketch?
- Is the use of freehand tracing a method of simplification that can pose a threat to mechanical objectivity?
- Can we say that both Golgi and Cajal bring value to the understanding of neurons, rather than pinpoint errors in each theory?
FIELD NOTE 2 OF 3
Date: 2/10/22
People Involved: Myself, Friends
Location: Fondren 2nd floor and Brochstein Pavilion
Reconstruction conditions:
In my opinion, the second floor is eerily quiet and even a creek of a chair can be heard down the hallway. Once I got most of my sketch done at Fondren second floor, I joined some of my friends at Brockstein and completed my tracing.
Time and duration of reconstruction:
Approximately 2 hours from (2:30-4:30 pm)
Equipment and tools used:
Mechanical pencil, sketch paper, laptop to display image, iPad for Time Lapse, Eraser
Subjective factors, e.g., how things smelled/looked/felt:
I came into Fondren second floor with a new sense of passion for sketching as I felt my experience from tracing the first image would help for the second. As I was tracing, I noticed that Fondren was busier than usual. I could hear footsteps coming into the hallway every minute or so. As I traced across the sketch paper, I noticed the smoothness of my mechanical pencil. The classic smell of old textbooks filled the hallway as I focused on outlining the cicada image. Although I could hear movement across the hall, I felt isolated in my work. Tracing the cicada brought memories of dissecting Drosophila larval brains in my lab. I compared the precision needed for dissection and surgery to that of an artist sketching an intricate pattern. As my fingers began to tire I decided to finish most of the tracing then go work with some company. I took my materials in my backpack and headed to Brochstein. I sat at a table closer to Herring Hall with some of my friends (who also are taking History of Sensation). There was a cool breeze that felt nice. I used my folder as a placeholder so that my sketch paper would not fly away. The sun was bright, but not blinding, and illuminated my sketch paper to aid my tracing. I freehanded the complex exoskeleton pattern of the cicada with my mechanical pencil for the next 40 minutes and called it a day.
Prior knowledge that you have:
As mentioned previously, I work in a lab at McGovern that deals with Drosophila. After seeing many images of different crosses of Drosophila with modified characteristics such as wing size and body shape, it was fascinating to be able to draw a Cicada. As I drew parallels between the two organisms, I became more appreciative of the research I do at McGovern. I learned from my previous encounter tracing that using a mechanical pencil can yield sharper results.
Reflection on your practice:
I noticed that it was easier for me to trace the cicada compared to the fetal cat motor neurons. Perhaps this was due to my increased confidence in sketching or the difficulty level of each image.
Photos/video documenting process:
https://drive.google.com/file/d/1nn_8tSLOZGqLfpHwchwMLtnFjM5aAmts/view?usp=sharing
https://drive.google.com/file/d/1RvR6f5ZDku4XAo78WT6tH_P3Oik_q7fK/view?usp=sharing
Questions that arise:
- Since the sketch of the original image had to freehand the drawing of the Cicada, can we say that this is an objective representation of nature?
- Would taping sketch paper to my computer improve the accuracy of my drawing and make it easier for me to reconstruct images?
FIELD NOTE 3 OF 3
Date: 2/11/22
People Involved: Myself and Saksham (who I borrowed the colored pencils from)
Location: My room at Duncan 5D
Reconstruction conditions:
Zelda music was playing from TV in the lounge area of my suite. The sound seeped into my room as I was putting the finishing touches on my two reconstructions. It was pitch black outside the window as it was almost midnight.
Time and duration of reconstruction:
1 hour (10pm-11pm)
Equipment and tools used:
Colored Pencils, Mechanical pencil, sketch paper, laptop to display image, iPad for Time Lapse, Eraser
Subjective factors, e.g., how things smelled/looked/felt:
The scent of Indian food permeated the room as I opened a borrowed set of colored pencils the orange and yellow glow of my light weakly illuminated the room. The rest of my room was messy but my desk had been cleared of any clutter before I started my final touches. My heartbeat started to pick up once I realized it would be hard to erase colored pencils. I tried to focus so I wouldn’t make any crucial mistakes in my reconstruction. The red-colored pencil in the set had a lead piece that felt flimsy, making it difficult to draw the axons on the first image (motor neurons of fetal cat). The colored pencils provided light coloring of the sketch paper. I had to color certain sections a few times until they were “bright” or “saturated” enough to match the image displayed on my laptop.
Prior knowledge that you have:
I knew that combining different colors could enhance or diminish the “strength” of a certain color. I combined yellow and brown to get an intermediate color that better fits the ones shown in the middle of the cicada exoskeleton. My experience tracing with my laptop showed me that I have to pay attention to the subtle details in the image to obtain an accurate picture.
Reflection on your practice:
Although the sketching took longer than I anticipated, I was pleased with the outcome of my recreations. I enjoyed the process of creating these images and tackling small problems like adjusting the paper on my laptop every few seconds, even though it was initially frustrating. The process of recreating images made me feel as if I was Golgi, looking at stains of silver nitrate through a microscope and recreating the image that I see. Dabbling in the process of freehanding for both image recreations allowed me to explore a new skillset and contemplate the role of mechanical objectivity in representations. Although some of the materials that Cajal, Duncan, and Lizars had access to were not in my possession, the use of sketching provided a powerful yet effective way to represent a cluster of neurons and other cells, as well a cicada. The Golgi Method was the first staining method to uncover the anatomy of a neuron and the extending axons and dendrites that come out of it to allow connections with other cells and other neurons. This makes me wonder how scientists of that time reacted to these new discoveries about the nervous system.
Photos/video documenting process:
Final Reconstructions: 
https://drive.google.com/file/d/15OQk3sELYHFoQV_41YhgeDOljC38FjGP/view?usp=sharing
Questions that arise:
- How does the social construction of color and meanings of different color impact the meaning of both image reconstructions?
- How do human mistakes and imperfections affect our view of how nature should be represented?
- Is it fair for Cajal to critique Golgi for his epistemic ideals seen through his representations of nature?
- Will we ever truly reach mechanical objectivity? If not, what is the magnitude of importance for mechanical objectivity in representations?
- How do we balance the consequences and advantages of trying to idealize objective representation?