75 research outputs found
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A Science of Signals: Einstein, Inertia, and the Postal System
History of Scienc
The Media of Relativity
How are fundamental constants, such as c for the speed of light, related to particular technological environments? Our understanding of the constant c and Einstein’s relativistic cosmology depended on key experiences and lessons learned in connection to new forms of telecommunications, first used by the military and later adapted for commercial purposes. Many of Einstein’s contemporaries understood his theory of relativity by reference to telecommunications, some referring to it as “signal-theory” and “message theory.” Prominent physicists who contributed to it (Hans Reichenbach, Max Born, Paul Langevin, Louis de Broglie, and Léon Brillouin, among others) worked in radio units during WWI. At the time of its development, the old Newtonian mechanics was retrospectively rebranded as based on the belief in a means of “instantaneous signaling at a distance.” Even our thinking about lengths and solid bodies, argued Einstein and his interlocutors, needed to be overhauled in light of a new understanding of signaling possibilities. Pulling a rod from one side will not make the other end move at once, since relativity had shown that “this would be a signal that moves with infinite speed.” Einstein’s universe, where time and space dilated, where the shortest path between two points was often curved and which broke the laws of Euclidean geometry, functioned according to the rules of electromagnetic signal transmission. For some critics, the new understanding of the speed of light as an unsurpassable velocity—a fundamental tenet of Einstein’s theory—was a mere technological effect related to current limitations in communication technologie
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Exit the Frog, Enter the Human: Physiology and Experimental Psychology in Nineteenth-Century Astronomy
This paper deals with one of the first attempts to measure simple reactions in humans. The Swiss astronomer Adolph Hirsch investigated personal differences in the speed of sensory transmission in order to achieve accuracy in astronomy. His controversial results, however, started an intense debate among both physiologists and astronomers who disagreed on the nature of these differences. Were they due to different eyes or brains, or to differences in skill and education? Furthermore, they debated how to eliminate them. Some, for example, wanted to eliminate the observer, and prescribed the use of new technologies like the electro-chronograph or photography, while others believed in discipline and education. By debating the nature of these differences, astronomers and physiologists sketched both different conceptions of 'man' and different paths to objectivity. These diverse conceptions, moreover, were tied to current nineteenth-century debates, such as the benefits or disadvantages of railroads, telegraphy and the standardization of time and longitudes. By focusing on the debates surrounding the speed of sensory transmission, this paper reevaluates the history of astronomy, physiology and experimental psychology. Furthermore, in investigating astronomy's relation to the human sciences, it uncovers profound connections in the traditionally separate histories of objectivity and the body.History of Scienc
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The Single Eye: Re-evaluating Ancien Regime Science
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Desired Machines: Cinema and the World in Its Own Image
In 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research.History of Scienc
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Review of Chris Otter, The Victorian Eye: A Political History of Light and Vision in Britain, 1800–1910.
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Flash Force: A Visual History of Might, Right and Light
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Einstein, Bergson, and the Experiment that Failed: Intellectual Cooperation at the League of Nations
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Photogenic Venus: The "Cinematographic Turn" and Its Alternatives in Nineteenth-Century France
During the late nineteenth century, scientists around the world disagreed as to the types of instruments and methods that should be used for determining the most important constant of celestial mechanics: the solar parallax. Venus's 1874 transit across the sun was seen as the best opportunity for ending decades of debate. However, a mysterious "black drop" that appeared between Venus and the sun and individual differences in observations of the phenomenon brought traditional methods into disrepute. To combat these difficulties, the astronomer Jules Janssen devised a controversial new instrument, the "photographic revolver," that photographed Venus at regular intervals. Another solution came from physicists, who rivaled the astronomers' dominance in precision measurements by deducing the solar parallax from physical measurements of the speed of light. Yet other astronomers relied on drawings and well-trained observers. The new space emerging from this debate was characterized by a decline in faith in (nonstandardized, nonreproducible) photography and in (pure) geometry and by the growing realization of the importance of alternative elements needed for establishing scientific truths: power and authority, skill and discipline, standardization, mechanical reproducibility, and theatricality. By examining the "cinematographic turn" in science and its alternatives, this essay brings to light unexplored multi-disciplinary connections that contribute to the histories of psychology, philosophy, physics, and film studies.History of Scienc
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Movement Before Cinematography: The High-Speed Qualities of Sentiment
Cinematography, and the philosophical critiques it inspired, has come to represent modernity. The 19th century ended with reduced photographic time exposures. The 20th century began by marking itself on a new cinematographic strip. Yet by examining more carefully these narratives of modernity it becomes clear that much falls between cinematographic frames, into its framelines. In particular, non-cinematographic philosophies of time and movement are erased from view. This article inquires into these philosophies and traces their influence on later critiques of cinematography launched by Henri Bergson and later transformed by Gilles Deleuze. It focuses on debates between the philosopher Félix Ravaisson and the revolutionary art critic Eugène Guillaume with the purpose of rethinking the relationship between philosophy and technologies of movement.History of Scienc
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