The aim of this article is to make a case for the pertinence of a biographical approach to the history of scientific objects. I first lay out the rationale of that approach by revisiting and extending my earlier work on the topic. I consider the characteristics of scientific objects that motivate the biographical metaphor, and I indicate its virtues and limitations by bringing out the positive and negative analogies between biographies of scientific objects and ordinary biographies. I then point out various ways in which scientific objects may pass away and argue that their demise should be conceptualized as a process. Finally, I sketch the history of the concept of “ether” in nineteenth and early twentieth century physics and suggest that it lends itself particularly well to a biographical treatment. To that effect, I discuss the identity, heuristic character, and recalcitrance of the ether and examine the reasons that may have led to its passing.

In this paper I follow the demise of the ether in the first half of the twentieth century to show how the first obituaries of the ether were instrumental in creating an object with specific and largely simplified properties related to, but different from, nineteenth-century ethers. I suggest that writing the history of dead objects (or objects an author wants to be dead) is not epistemologically neutral but, on the contrary, it involves a reformulation of the object itself. I show that this was indeed the case with the ether: those arguing for its demise in the early twentieth century tended to overlook as irrelevant one of the ether’s most important properties, namely being the seat for the transmission of electromagnetic waves. Instead, they emphasized the contradictions between other properties of previous ether(s), so as to advocate for its disappearance.

Much of the long controversy concerning the workings of electric batteries revolved around the concept of the contact potential (especially between different types of metals), originated by Alessandro Volta in the late eighteenth century. Although Volta’s original theory of batteries has been thoroughly rejected and most discussions in today’s electrochemistry hardly ever mention the contact potential, the concept has made repeated comebacks through the years, and has by no means completely disappeared. In this paper, I describe four salient foci of its revivals: dry piles, thermocouples, quadrant electrometers, and vacuum phenomena. I also show how the contact potential has maintained its presence in some cogent modern scientific literature. Why has the death of the Voltaic contact potential been such an untidy affair? I suggest that this is because the concept has displayed significant meaning and utility in various experimental and theoretical contexts, but has never been successfully given a simple, unified account. Considering that situation, I also suggest that it would make sense to preserve and develop it as a multifarious concept.

The Greenwich Prime Meridian is one of the iconic features of the Royal Museums Greenwich. Visitors to the Museum even queue up to pose with one leg on either side of the Line. Yet, the Airy Transit Circle, the instrument that defined the meridian, is almost always excluded from these photographs. This paper examines how the instrument has become hidden in plain sight within the stories of Greenwich Time and Greenwich Meridian, as well as within the public imagination, by providing an analysis of the instrument’s transformation from a working astronomical instrument to a museum object. The paper highlights the gradual decoupling of the instrument from narratives of Time and Longitude, which resulted in the Line’s popularity overshadowing the instrument that defined it. By doing so, the paper aims at showing the symbiotic relationship between the materiality of the instrument and the meridian line that it defined. Approaching the instrument through the lenses of object biographies, the paper raises the question of whether the life of the instrument came to an end once operations with it were terminated. The analysis of the Transit Circle’s life reveals that it reached its end multiple times, which shifts the emphasis away from a single and ultimate end of scientific objects to a process of gradual downfall, during which they can “end” several times. In addition, through the object biography approach, the Transit Circle no longer appears as a dead object reaching an afterlife within a museum setting. Instead, the approach demonstrates that, though the instrument can still be restored to an operational order, doubts about its accuracy, and its relevancy to today’s astronomical methods, have led the instrument to be considered obsolete, transforming it into a museum object on display.

This text is a reflection on the fate of a special kind of scientific object - anatomy collections - and their place in contemporary times. Though the phenomenon of keeping and displaying such collections is generally dying out, those specimens which survive continue to puzzle and fascinate us. To understand the current status of such collections, and the nostalgia evoked by the specimens within them, I argue, we should approach them as modern ruins. This allows us to think of them as places of absence, pointing to unfinished lives and unfinished scientific projects. The paper begins with the story of a preserved human face from the Francis I. Rainer anatomical-anthropological collection (Bucharest), and continues by discussing the fate of that collection, and of anatomy collections more widely. Ultimately, the paper asks, what is it that we want to preserve: specimens, practices, or research philosophies?

During the eighteenth century, chemists in the Kingdom of Naples (the South of Italy) were very busy analyzing the chemical composition of ash from Mount Vesuvius. Undoubtedly, after a huge eruption this dusty phenomenon was the most important scientific object of debate. In fact, it was crucial to determine if there were dangerous elements in the ash so that the population could be warned about the potential hazards, such as polluted drinking water. This was not at all a simple issue, as on the other hand there were scholars who realized that ash could be beneficial as a fertilizer, even as clouds of ash had obscured the sun. As chemical inquiries became more precise and the toxic concentration of many elements became known, this double life of Vesuvian ash as a scientific object gradually died.

Between the 1870s and the 1920s, the dye industry was at the center of claims about the productivity of organic chemistry. Dyestuffs were widely represented as the most complex molecules to find commercial application, and positioned at the center of nationalist projects to establish chemical industry, especially in Britain and the United States. By the later twentieth century, the complex of scientific hopes which surrounded dyestuffs had largely disappeared. In Hans-Jörg Rheinberger’s terms, they had changed from “epistemic things” to, at best, “technical objects,” and lost their future-bearing status as the lynchpin of organic chemistry. Although developments in dyeing continue, dyestuffs have vacated the scientifically and culturally dynamic position that they once occupied; any restoration of this status would require a radical change in economic and material conditions. This paper considers the senses in which this change of status should be considered as the death of dyestuffs as a scientific object.