2008
DOI: 10.1177/0306312707082969
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Molecular Embodiments and the Body-work of Modeling in Protein Crystallography

Abstract: Protein molecules, those objects of increasing interest and investment in post-genomics research, are complex, three-dimensional structures made up of thousands of atoms. Protein crystallographers build atomic-resolution models of proteins using the techniques of X-ray diffraction. This ethnographic study of protein crystallography shows that becoming an expert crystallographer, and so making sense of such intricate objects, requires researchers to draw on their bodies as a resource to learn about, work with, … Show more

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Cited by 196 publications
(119 citation statements)
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References 38 publications
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“…While this narrative approach might have led to neglect of similarity and weak sense and feeling for the materiality of its object(s), the student-illustrator used original researchproductions to construct the picture and the fine graphic details of their drawing was evocative of research-made 'things' and their dynamic processes. Moreover the somewhat novel move of telling the story from the cell's perspective corresponds to the ways in which researchers sometimes try to place themselves as if they are their objects of inquiry (Damasio, 1994;Hay et al, 2013) where affective dispositions matter in the image (Flowers, 2015) and in relation to the making of the experiment where the contours of the object remain contentions (see Myers, 2008Myers, , 2015, for example).…”
Section: Other Drawing Choicesmentioning
confidence: 99%
“…While this narrative approach might have led to neglect of similarity and weak sense and feeling for the materiality of its object(s), the student-illustrator used original researchproductions to construct the picture and the fine graphic details of their drawing was evocative of research-made 'things' and their dynamic processes. Moreover the somewhat novel move of telling the story from the cell's perspective corresponds to the ways in which researchers sometimes try to place themselves as if they are their objects of inquiry (Damasio, 1994;Hay et al, 2013) where affective dispositions matter in the image (Flowers, 2015) and in relation to the making of the experiment where the contours of the object remain contentions (see Myers, 2008Myers, , 2015, for example).…”
Section: Other Drawing Choicesmentioning
confidence: 99%
“…Admittedly this may be more an indication of the era in which the film was made, but still we see that a very particular rhythm is composed for this performance that feels peculiarly inhuman. The interface and the curated interactions necessitate a 'body-work' that entwines user and machine, configuring how one is in and thus reasons about the world (Myers, 2008). To imagine the human and machine as separate, mediated only by discrete interactions, belies how tightly interwoven things are here.…”
Section: After Interactionmentioning
confidence: 99%
“…I meccanismi di sincronizzazione sono condizioni necessarie in ciò che viene definita embodied cognition (Clarke, 2004;Gibbs, 2006;Myers, 2008). Altri esempi sono stati studiati nelle scienze (Knorr-Cetina, 1999;Mondada, 2008) e nelle arti (Clarke, 2004).…”
Section: Quadro Teorico La Comunicazione Al Lavorounclassified