Let me begin with an anecdote: A few years ago, I was approached by a professor of chemistry from the Technical University of Darmstadt for support of a project that he and a friend, a ballet chore...

X-ray crystallography is the most common technique for the determination of three-dimensional crystalline structures at the atomic scale. Since the discovery of the diffraction of X-rays by crystals over one hundred years ago, the technique has developed into an indispensable tool for material scientists and structural biologists worldwide. In this review, several milestones in the development of X-ray crystallography are presented, along with many of the Nobel laureates that made significant contributions to the success of the method. We conclude with a look at the current challenges in the field and speculate on the ensuing major developments that could lead to the next Nobel Prize related to X-ray crystallography.

Writing and editing interfaces have profound implications for the subjectivity of human writers and editors, and hence the conditions of digital scholarly knowledge production. The extent to which the cultural inflections of such interfaces reflect the social, political, and technical contexts of their production emerges from a consideration of Author/Editor, the first software program dedicated to editing Standard Generalized Markup Language, and its provenance in Canadian literature, publishing, and cultural nationalism. The design of editing environments to negotiate tensions endemic to socialized and networked scholarship is increasingly crucial as reading and consumption merge with writing and production.

This paper discusses our work conducting reader studies with prototypical reading interfaces designed in the context of funded Digital Humanities (DH) research projects. We discuss our conceptual and methodological approaches and contemplate which methods have been most productive in advancing our understandings of reading practices and interfaces. To situate this discussion, we first contemplate ways in which reading and new reading interfaces have been conceptualized by audiences within and beyond academia through the period of the emergence of digital environments for reading, and consider the merits of nuanced approaches that acknowledge the diversity of readers and reading practices.

The management of biodiversity represents a research topic that needs to involve not only several (sub-) disciplines from the natural sciences but, in particular, also the social sciences and humanities. Furthermore, over the last couple of years, the need for the integration of other kinds of knowledge (experience based or indigenous knowledge) is increasingly acknowledged. For instance, the incorporation of such knowledge is indispensable for place-based approaches to sustainable land management, which require that the specific ecological and social context is addressed. However, desirable as it may be, such an engagement of the holders of tacit knowledge is not easy to achieve. It demands reconciling well-established scientific procedural standards with the implicit or explicit criteria of relevance that apply in civil society — a process that typically causes severe tensions and comes up against both habitual as well as institutional constraints. The difficulty of managing such tensions is amplified particularly in large integrated projects and represents a major challenge to project management. At the Helmholtz Centre for Environmental Research — UFZ, several integrated research projects have been conducted over the past years in which experience has been gained with these specific challenges. This paper presents some of the lessons learned from large integrated projects, with an emphasis on project design and management structure. At the centre of the present contribution are experiences gained in the coordination and management of LEGATO (LEGATO stands for Land-use intensity and Ecological EnGineering — Assessment Tools for risks and Opportunities in irrigated rice based production systems, see www.legato-project.net), an ongoing, large-scale, inter- and transdisciplinary research project dealing with the management of irrigated rice landscapes in Southeast Asia. In this project, local expertise on traditional production systems is absolutely crucial but needs to be integrated with natural and social science research to identify future-proof land management systems.

When Simon McBurney set out to create a play about the fabled relationship between Cambridge mathematician G. H. Hardy and the self-taught Indian genius Srinivasa Ramanujan, he was immediately confronted by the question of how to engage the mathematics authentically. Undaunted by his own uneasiness with the subject, McBurney incorporated a host of experts into the rehearsal process, calling on mathematical educators, expositors, and Fields medalists to come work with the company. While on the surface maths and drama make an incongruous pair, the result was a vibrant collaboration. The final product — the award-winning play A Disappearing Number — shines an interesting light on the surprising similarity between the creative process in mathematics and the creative process in theatre, especially as manifested by the company at Complicite.

The emergent reflexive process, by which researchers in a computational humanities project work towards a viable organizational modality for interdisciplinary collaboration, is analyzed. Using the metaphor of decomposition, successful collaboration between computer scientists and humanities scholars can be seen to require a reflexive scrutiny — a decomposition — of the disciplinary research processes that are involved, thus allowing crucial differences with respect to typical ways of posing research questions, the role of data, and the rhythm of the research process to be highlighted. It is argued that the currently popular expectation towards data as a self-identical organizational unit tends to downplay the role of decomposition as practice and process. A European cyberinfrastructure initiative that tries to respect the specificities of scholarly practice in the humanities is critically assessed, reflecting in particular on the inherent tension between ‘mutual shaping’ of digital tools and their users on the one hand, and the policy interest in efficient, functionalist design principles on the other.

The development and presentation of the ideas of n-dimensional geometry in the English language in the second half of the nineteenth century is explored. Reading arguments made by J. J. Sylvester, Herman von Helmholtz, W. K. Clifford, G. F. Rodwell and Karl Pearson, a series of examples of the dimensional analogy, the mode in which expansion beyond three dimensions was repeatedly explained to a general audience is examined in order to demonstrate the persistence of this rhetorical model and to study in detail its structure. The frequent recourse to examples of biological lifeforms presented as experiencing the world two-dimensionally, such as flatfish, worms and ‘tidal ascidians’ is highlighted, and how the perceptual experiences of such creatures were used to extrapolate a model of higher-dimensional perception is discussed. The resulting hybridization of the dimensional analogy with the structures of Darwinian argument is demonstrated along with the concomitant profligacy of the conclusions drawn from this bastardized rhetoric. Drawing closely on Gillian Beer’s reading of analogy with reference to Darwin, the argument is presented that this construction, which in its germinal, geometric form was so appropriate for the demonstration of dimensional expansion, becomes semantically catalytic as a rhetorical tool.

The limitations of the ‘science-in-theatre’ genre is explored and the concept of the intermedial science play is introduced as an alternative to conventional science plays. How the science-in-theatre play dampens the mediality of the stage in order to establish a specific contract with its audience in order to realize what Carl Djerassi calls ‘didactic realism’ is considered. By virtue of the dramatic form and the didacticism it establishes, the science-in-theatre play limits the means by which audiences may encounter and enjoy responding to science. In particular, when staging concepts from the postclassical sciences, the intermedial science play offers artists and spectators new approaches to the sciences of infinities, complexity and emergence whilst also establishing a new, interactive contract with the audience based on forms of pedagogy associated with the thinking of Jacques Rancière. Using the media theory of Peter Boenisch and others, intermediality is identified as more than the mere presence of multimedia, but in terms of the effects it produce on the sensorium of the spectator.

The postdramatic theatre is explored as an alternative ethics of re-presentation in 2401 Objects by Analogue in relation to its stance on medicine and the neurosciences and to theatrical representation. The dual characters Henry Molaison/Patient HM are deconstructed as objects and the presentation of memory is deconstructed as an embodied but intangible artifact of performance. How Analogue ‘frame’ HM’s doctors and their own performance through the metaphor of the cryomicrotome and the Project HM of the Brain Observatory as a performance in its own right is examined.