... ethnographic methods scientific representation rendering affects in science haptic and kinesthetic dexterities biopolitics ...

... a kind of haptic and kinesthetic mode of vision in their work of rendering and interpreting molecular structures. This chapter introduces the concept of “haptic creativity” to account for the embodied and improvisational skills model builders rely on in their work. three-dimensional models...

... molecular structures. It introduces the concept of the “kinesthetic imagination” to account for the ways that modelers can both “see” molecular structures in their mind’s eye, and “feel” through the forces between atoms in a molecule with their moving bodies. It argues that the kinesthetic intuitions...

... phenomenon. Indeed, modelers must hone their haptic, kinesthetic, and affective dexterities to be able to see, feel, and know the difference between good and bad molecular structures. The chapter describes innovations in ethnographic methods that bring renewed attention to the senses and modes of embodiment...

... manipulation of virtual, computer graphic models on-screen. This chapter argues that it is the tangibility and interactivity of these various media that have enabled modelers to cultivate a kind of haptic and kinesthetic mode of vision in their work of rendering and interpreting molecular structures...

... on a football field at Stanford, and the recent Dance Your PhD contests. In these contexts, practitioners become kinesthetic proxies for the molecular phenomena they model. They run “body experiments,” rather than just thought experiments, using the physicality of their bodies to test and assess possible...

... of corporeal improvisation, kinesthetic experimentation, and creative play, those who engage with Very Nervous System use their bodies to trigger sonic responses from the installation. This biofeedback loop between the improvising body and the interactive system allows those who interact with the work...

..., kinesthetic experimentation, and creative play, those who engage with Very Nervous System use their bodies to trigger sonic responses from the installation. This biofeedback loop between the improvising body and the interactive system allows those who interact with the work to enter into what psychologist...

... molecular movements in research, teaching, and wider cultural contexts, including a large-scale 1972 choreography on a football field at Stanford, and the recent Dance Your PhD contests. In these contexts, practitioners become kinesthetic proxies for the molecular phenomena they model. They run “body...