In this article, from the characterization of technoscience of the English historian J. Pickstone and the recognition of the importance of models and modelling in research and teaching of chemistry, the term technochemistry is introduced as a way of chemical knowledge. With the above new possibilities, rethinking the chemistry curriculum is opened.

While symbolic colour use has always played a conspicuous role in science research and education, the use of colour in historic diagrams remains a lacuna in the history of science. Investigating the colour use in diagrams often means uncovering a whole cosmology that is not otherwise explicit in the diagram itself. The periodic table is a salient and iconic example of non-mimetic colour use in science. Andreas von Antropoff's (1924) rectangular table of recurrent rainbow colours is famous, as are Alcindo (...) Flores Cabral's (1949) application of colour in his round snail form, using the RGB scheme, and Mazurs's (1967) pine tree system, consisting of warm and cold colours that he attributed to specific groups of elements—an attribution that we can relate back to humoralism and alchemy. From the first periodic tables in the 19th century, individual researchers have used different colour regimes. While standardization may play an obvious role in chemistry and its diagrams, all the more impressive is the anarchistic use of colour in the various diagrams which continue to be created. This article focuses on periodic tables in chemical journals and text books, and explores and compares the development of colour codes found in the few existing polychrome diagrams from the 1920s to the 1970s. (shrink)

As soon as the SARS‐Cov2 disease was recognized by experts to potentially cause a serious pandemic, a three dimensional diagrammatic image of the virus, colored in strong red, conquered public media globally.This study confronts this iconic virus image with a historic image analysis of 33,000 biomedical articles on coronaviruses published between 1968–2020 and interviews with some of their authors.Only a small fraction of scientific virus publications entail images of the complete virus. Red as an alarm color is not used at (...) all by scientists who don't aim for a non‐scientific public.Circulation in this case concerns the movement of iconic images from a scientific context into a general public. On the basis of hps‐studies on scientific diagrams and especially on color use in scientific diagrams to convey specific messages in public, the paper discusses the role of the claim of public corona‐virus diagram as “scientific.”It points at relevant differences between most frequent scientific corona‐virus images and the diagrammatic image used in public. Both author‐ and readerships (in science and public) follow contrasting aims and values. Thus, the images meet non‐expert readers for whom the images entail very different – and potentially unintended – meanings then to virus experts. (shrink)

During the 19th century atomism was a controversial issue in chemistry. It is an oversimplification to dismiss the critics' arguments as all falling under the general positivist view that what can't be seen can't be. The more interesting lines of argument either questioned whether any coherent notion of an atom had ever been formulated or questioned whether atoms were ever really given any explanatory role. At what point, and for what reasons, did atomistic hypotheses begin to explain anything in chemistry? (...) It is argued that 19th-century atomic accounts of constant proportions and isomerism had little to offer, whereas a non-atomic explanation of chemical combination was developed. Not until the turn of the century did atomism begin to do serious explanatory work in chemistry. (shrink)