By David Speiser
This selection of essays on relationships among technology, historical past of technology, heritage of artwork and philosophy is a multi-faceted sequel to the 1st quantity, studying the rules of Mechanics 1600-1800, released in 2008. in the course of his occupation, David Speiser was once at the beginning a theoretical physicist with first-hand wisdom of ways primary study is conducted, yet he used to be additionally a historian of technology and editor of ancient writings in addition to a willing observer of artworks and structure. In those essays he compares and contrasts creative creations with clinical discoveries, the paintings of the artist and that of the scientist, and strategy of research of the artwork historian to that of the historian of technological know-how. what's published is how the boundaries of person disciplines will be driven and occasionally thoroughly triumph over because the results of enter from and interactions with different fields, and the way growth will also be very unlikely with out such interactions. The reflections elucidated the following refute the belief, so engrained in our pondering this present day, of the ‘two cultures’, and underline the cohesion instead of the range inherent in inventive inspiration either medical and inventive. Contained listed here are ten papers, all newly edited with up-to-date references, 4 of that have been translated into English for the 1st time, and accomplished with an index of names. meant for the professional and non-specialist alike, those essays set sooner than us a dinner party of rules.
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Additional resources for Crossroads: History of Science, History of Art: Essays by David Speiser, Volume 2
Why, at infinity! And who has his seat at the infinitely distant? Of course: HE, God! Looking towards the vanishing point, you look towards infinity: you look towards God. Fig. 8. Perugino, The Marriage of the Virgin, Musée des Beaux-Arts. Musée des Beaux-Arts de Caen, Martine Seyve photographe. Reproduced by permission 5 Friedrich Freiherr Hiller von Gaertringen, “Raphaels Lernerfahrungen in der Werkstatt Peruginos,” Kunstwiss. Studien Bd. 76 (Deutscher Kunstverlag, 1999), pp. 56–66. David Speiser, Crossroads: History of Science, History of Art 39 It is worthwhile to pause here.
I am often surprised to see how much mathematicians and their historians underrate the stimulation their science received from other branches. Likewise, historical accounts of physics often overlook the fact that, after Dalton, the real champions of atomism were the chemists: think of Kékulé and those who created stereometric organic chemistry, at a time when only a minority of physicists believed in atoms; some physicists even opposed atomism violently as late as the beginning of the last century.
One example are the pyramids built during the old Egyptian empire. They testify to the powerful technology of their builders, but also to a geometric ideal shared by the sculptors of the same period. This must be seen together with how the statues express a new appreciation of three-dimensional space and of plasticity as an aesthetic value in itself. We may even see the spherical wigs that the ladies of that time wore as a compliment to that artistic ideal. 2 He pointed out that all tetragonal space groups had been found by the Egyptians, including one denoted C(4v)II, which is a highly nontrivial one, a fact that testifies to a systematic occupation with these geometric questions.
Crossroads: History of Science, History of Art: Essays by David Speiser, Volume 2 by David Speiser