In 1958, graphic designer Will Burtin’s (1908–1972) large-scale model of a basic cell, made of plastic and flashing lights, opened at the annual convention of the American Medical Association. It had been commissioned by Upjohn Pharmaceuticals, and was received with great enthusiasm. It subsequently traveled internationally, appearing widely in print and on television, and then settling for permanent exhibit at the Chicago Museum of Science and Industry. This interactive, multimedia exhibition was an example of a specific approach to scientific visualization that manifested new attitudes toward the power of visual material for American social progress. In the context of the Cold War, certain ways of employing “the visual” were deemed to be conducive to securing individual agency and human mental freedom. In the realm of mid-century corporate science and technology display, where designers and businessmen worked closely together, these new design techniques helped to make corporate activity appear coherent with these democratic ideals. An analysis of the sensory experience of the Upjohn cell model and its circulation demonstrates the key role that visual technology played in defining American citizenship as a practice of viewing visual media. Burtin’s design projects helped to affirm relationships between progress, democracy, and Western capitalism during the Cold War period.

中文翻译：

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美国冷战时期的科学、政治和视觉设计：Will Burtin 的“细胞”

1958 年，平面设计师 Will Burtin (1908–1972) 由塑料和闪光灯制成的基本细胞的大型模型在美国医学协会年会上开幕。它是由 Upjohn Pharmaceuticals 委托的，受到了极大的欢迎。随后它在国际上传播，广泛出现在印刷品和电视上，然后在芝加哥科学与工业博物馆进行永久性展览。这个交互式多媒体展览是科学可视化的特定方法的一个例子，它展示了对视觉材料对美国社会进步的力量的新态度。在冷战背景下，使用“视觉”的某些方式被认为有利于确保个人能动性和人类精神自由。在本世纪中叶的企业科技展示领域，设计师和商人密切合作，这些新的设计技术有助于使企业活动与这些民主理想保持一致。对 Upjohn 细胞模型及其循环的感官体验的分析表明，视觉技术在将美国公民身份定义为观看视觉媒体的实践方面发挥了关键作用。Burtin 的设计项目有助于确认冷战时期进步、民主和西方资本主义之间的关系。对 Upjohn 细胞模型及其循环的感官体验的分析表明，视觉技术在将美国公民身份定义为观看视觉媒体的实践方面发挥了关键作用。Burtin 的设计项目有助于确认冷战时期进步、民主和西方资本主义之间的关系。对 Upjohn 细胞模型及其循环的感官体验的分析表明，视觉技术在将美国公民身份定义为观看视觉媒体的实践方面发挥了关键作用。Burtin 的设计项目有助于确认冷战时期进步、民主和西方资本主义之间的关系。