Thomas Beddoes (1760-1808) lived in 'decidedly interesting times' in which established orders in politics and science were challenged by revolutionary new ideas. Enthusiastically participating in the heady atmosphere of Enlightenment debate, Beddoes' career suffered from his radical views on politics and science. Denied a professorship at Oxford, he set up a medical practice in Bristol in 1793. Six years later - with support from a range of leading industrialists and scientists including the Wedgwoods, Erasmus Darwin, James Watt, James Keir and others associated with the Lunar Society - he established a Pneumatic Institution for investigating the therapeutic effects of breathing different kinds of 'air' on a wide spectrum of diseases. The treatment of the poor, gratis, was an important part of the Pneumatic Institution and Beddoes, who had long concerned himself with their moral and material well-being, published numerous pamphlets and small books about their education, wretched material circumstances, proper nutrition, and the importance of affordable medical facilities. Beddoes' democratic political concerns reinforced his belief that chemistry and medicine should co-operate to ameliorate the conditions of the poor. But those concerns also polarized the medical profession and the wider community of academic chemists and physicians, many of whom became mistrustful of Beddoes' projects due to his radical politics. Highlighting the breadth of Beddoes' concerns in politics, chemistry, medicine, geology, and education (including the use of toys and models), this book reveals how his reforming and radical zeal were exemplified in every aspect of his public and professional life, and made for a remarkably coherent program of change. He was frequently a contrarian, but not without cause, as becomes apparent once he is viewed in the round, as part of the response to the politics and social pressures of the late Enlightenment.

A multitude of devices and technological tools now exist to make, share, and store memories and moments with family, friends, and even strangers. Memory practices such as home movies, which originated as the privilege of a few, well-to-do families, have now emerged as ubiquitous and immediate cultures of sharing. Departing from the history of home movies, this volume offers a sophisticated understanding of technologically mediated, mostly ritualized memory practices, from early beginnings in the fin-de-siecle to today. Departing from a longue duree perspective on home movie practices, Materializing Memories moves beyond a strict historical study to grapple with highly theorized fields, such as media studies, memory studies, and science and technology studies (STS). The contributors to this volume reflect on these different intellectual backgrounds and perspectives, but all chapters share a common framework by addressing practices of use, user configurations, and relevant media landscapes. Grasping the cultural dynamics of such multi-faceted practices requires a multidimensional conceptual approach, here achieved by centering around three concepts as central analytical lenses: dispositifs, generations, and amateurs.

A multitude of devices and technological tools now exist to make, share, and store memories and moments with family, friends, and even strangers. Memory practices such as home movies, which originated as the privilege of a few, well-to-do families, have now emerged as ubiquitous and immediate cultures of sharing. Departing from the history of home movies, this volume offers a sophisticated understanding of technologically mediated, mostly ritualized memory practices, from early beginnings in the fin-de-siecle to today. Departing from a longue duree perspective on home movie practices, Materializing Memories moves beyond a strict historical study to grapple with highly theorized fields, such as media studies, memory studies, and science and technology studies (STS). The contributors to this volume reflect on these different intellectual backgrounds and perspectives, but all chapters share a common framework by addressing practices of use, user configurations, and relevant media landscapes. Grasping the cultural dynamics of such multi-faceted practices requires a multidimensional conceptual approach, here achieved by centering around three concepts as central analytical lenses: dispositifs, generations, and amateurs.