The recent wave of visual material studies in modernist poetics warrants renewed consideration of the means by which Lowell engaged, resisted, and reflected on photographic practices. Lowell’s photographic modes vary with shifting styles and subjects. Early in his career, Lowell invokes photographs and snapshots as material artifacts in portrait and self-portrait genres. In this mode, the surface of the photograph collects descriptive details that rhetorically situate the “record of a life” as one that, Lowell insists, must be believed to be “true,” and “real,”although obviously manipulated. Photography also functions as a metaphor for putting the photographic looking “on stage” to examine different ways of seeing. In later work, epistemologies of photography become models for the action of poetic autobiography and for performances of writing. Connections between photography and poetic practice are considered in autobiographical prose and major poems in Life Studies, For the Union Dead, and Day by Day.

Chapter 4 introduces the molecular diffusion concept and Fick’s Law to explain the mixing phenomena at a small-scale CV in the distributed models rather than the large CV of the well-mixed model. For this purpose, it begins with describing diffusion phenomena, then formulating Fick’s law and developing the diffusion equation. Subsequently, examining the random velocity of Brownian particles and their pure random walk, we articulate the probabilistic nature of the molecular diffusion process and the reason why Fick’s Law is an ensemble mean law. Next, analytical solutions to the diffusion equation for various types of inputs are introduced. The advection-dispersion equation (ADE) formulation then follows, which couples the effect of fluid motion at fluid continuum scale and random motion of fluid molecules at the molecular scale to quantify solute migration. Likewise, we present analytical solutions to the ADE for several input forms and discuss snapshots and breakthroughs for different input forms.