Rudolph Koenig was one of the more prolific and colourful instrument makers in the renowned nineteenth-century precision instrument trade of Paris. Beginning his career as a violin maker, in 1858 the young Prussian immigrant shifted his talents towards the growing field of acoustics. Altered Sensations is a portrait of his vibrant atelier, a place of construction, commerce and experiment. For over forty years it was also a popular meeting place for scientists, artisans, musicians and teachers. Using archival and collection research from across North American and Europe, David Pantalony has traced the material and social influences of this space on the development of modern acoustics. In particular, he has detailed the manner in which Koenig modified, extended, spread and challenged Hermann von Helmholtz's Sensations of Tone. A large part of the research on Koenig comes from the actual products of his workshop which survive in museums and collections around the world. The second section of Altered Sensations provides a Catalogue Raisonné of Koenig’s entire line of instruments, including their history, details from specific examples, locations, and references in the literature. This catalogue will serve as a practical guide for curators and researchers as well as a comprehensive overview of nineteenth-century acoustical practice.
Rudolph Koenig was one of the more prolific and colourful instrument makers in the renowned nineteenth-century precision instrument trade of Paris. Beginning his career as a violin maker, in 1858 the young Prussian immigrant shifted his talents towards the growing field of acoustics. Altered Sensations is a portrait of his vibrant atelier, a place of construction, commerce and experiment. For over forty years it was also a popular meeting place for scientists, artisans, musicians and teachers. Using archival and collection research from across North American and Europe, David Pantalony has traced the material and social influences of this space on the development of modern acoustics. In particular, he has detailed the manner in which Koenig modified, extended, spread and challenged Hermann von Helmholtz's Sensations of Tone. A large part of the research on Koenig comes from the actual products of his workshop which survive in museums and collections around the world. The second section of Altered Sensations provides a Catalogue Raisonné of Koenig’s entire line of instruments, including their history, details from specific examples, locations, and references in the literature. This catalogue will serve as a practical guide for curators and researchers as well as a comprehensive overview of nineteenth-century acoustical practice.
Hermann von Helmholtz was a towering figure of nineteenth-century scientific and intellectual life. Best known for his achievements in physiology and physics, he also contributed to other disciplines such as ophthalmology, psychology, mathematics, chemical thermodynamics, and meteorology. With Helmholtz: A Life in Science, David Cahan has written a definitive biography, one that brings to light the dynamic relationship between Helmholtz’s private life, his professional pursuits, and the larger world in which he lived. ? Utilizing all of Helmholtz’s scientific and philosophical writings, as well as previously unknown letters, this book reveals the forces that drove his life—a passion to unite the sciences, vigilant attention to the sources and methods of knowledge, and a deep appreciation of the ways in which the arts and sciences could benefit each other. By placing the overall structure and development of his scientific work and philosophy within the greater context of nineteenth-century Germany, Helmholtz also serves as cultural biography of the construction of the scientific community: its laboratories, institutes, journals, disciplinary organizations, and national and international meetings. Helmholtz’s life is a shining example of what can happen when the sciences and the humanities become interwoven in the life of one highly motivated, energetic, and gifted person.
Facilitates a rapprochement between psychology and physics. Brings measurement and mathematics into the study of the mind. This detailed and engaging account fills a deep gap in the history of psychology.
This book provides a new perspective for examining the Native policies of the late nineteenth century. It centers on the figure of Henry Laurens Dawes, and more specifically, on the conceptual roots of his views on allotment, education and assimilation. These roots are grounded in John Locke’s epistemology and pedagogy. Through a philosophical analysis of Dawes’ ideas and policies, the book provides a new approach to arrive at a better understanding of an important historical process. In this regard, an often-overlooked link between philosophy and history is clarified, helping philosophers, historians and other scholars in their quest for knowledge. This book clarifies the impact of philosophical ideas on historical conceptions, and by studying Dawes, also addresses the reflection behind a major historical process. Political and social philosophers, as well as historians of ideas and of Native policies, will greatly benefit from this concise book.
In An Artists Model and Other Poems, preferring to portray his modela woman with whom he has fallen in lovein words rather than in paint, author David J. Murray off ers an extended hymn of praise to her, expressing unresolved yearning throughout. Following a prologue setting the scene, he presents her with four gifts, each consisting of a set of twelve poems. Th e fi rst set of poems describes what its like spending Christmas without her; the second set of poems compares her to the Greek goddess Athena; the third set of poems likens her to a ballerina; and the fourth set of poems, written in summer, compares her to the beauty of the season. Between each set are entractes consisting of several poems that comment on the complexities of their situation. Th e collection ends with an epilogue that recalls the mood of the prologue. Reflecting the conflict between Murrays emotions and his sense of propriety with regard to his model, An Artists Model and Other Poems presents a cycle of poems that are unabashedly of the high-fl ung romantic genre.
This book repositions thinking about rhythm, meter and versification during the “Mechanical Age.” Cutting across disciplinary boundaries, the book examines the rhythmical workings of poems alongside not only Victorian theories of prosody and poetics but also contemporary thinking about labor practices, pedagogical procedures, scientific experiments, and technological innovations. By offering an exploded definition of meter—one that extends beyond conventional foot-based scansion—this book explicates the conceptual and, at times, material exchanges between poetic meter and machine culture. The machines of meter include mid-century theories of abstraction and technologies of smoothness and even spacing; a deeply influential, though rarely credited, system of metrical manufacture; verse produced by a Victorian automaton; the mechanics of the human body and mind and the meters that issued from them; and the promise of scientific machines to resolve metrical dilemmas once and for all.
From the blackboard to the graphing calculator, the tools developed to teach mathematics in America have a rich history shaped by educational reform, technological innovation, and spirited entrepreneurship. In Tools of American Mathematics Teaching, 1800–2000, Peggy Aldrich Kidwell, Amy Ackerberg-Hastings, and David Lindsay Roberts present the first systematic historical study of the objects used in the American mathematics classroom. They discuss broad tools of presentation and pedagogy (not only blackboards and textbooks, but early twentieth-century standardized tests, teaching machines, and the overhead projector), tools for calculation, and tools for representation and measurement. Engaging and accessible, this volume tells the stories of how specific objects such as protractors, geometric models, slide rules, electronic calculators, and computers came to be used in classrooms, and how some disappeared.
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