350 Year of Science
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The Huguenots and Art, C. 1560–1685*
chapter 7 The Huguenots and Art, c. 1560–1685* Andrew Spicer 1 Introduction At an extraordinary meeting of the Royal Academy of Painting and Sculpture in Paris on 10 October 1681, the president Charles Le Brun read a command from the king’s minister Jean-Baptiste Colbert. On the orders of Louis xiv, those who were members of the Religion Prétendue Reformée were to be deprived of their positions within the Academy; their places were to be taken by Catholics, and membership in the future was to be restricted to this confes- sion. The measure particularly targeted seven men: Henri Testelin (1616–95), Secretary of the Academy; Jean Michelin (1623–96), Assistant Professor; Louis Ferdinand Elle, père (1612–89), Samuel Bernard (1615–87), Jacques Rousseau (1630–93), council members; Mathieu Espagnandel (1616–89) and Louis Ferdinand Elle fils (1648–1717), academicians. The secretary, Testelin, who had painted several portraits of the young king during the 1660s, acquiesced to the royal order but requested that the Academy recognize that he was deprived of his position not due to any personal failings concerning his honesty and good conduct. The academicians acknowledged this to be the case and similarly noted that the other Huguenots present—Bernard, Ferdinand Elle and Michelin—had acquitted their charge with probity and to the satisfaction of the company.1 The following January, the names of Jacob d’Agard and Nicolas Eude were struck from the Academy’s registers because they had both sought refuge in England.2 The expulsion of these artists and sculptors from this learned society was part of the increasing personal and religious restrictions imposed on the Huguenots by Louis xiv, which culminated in the revocation of the Edict of Nantes in October 1685. -
Implementation of the Fizeau Aether Drag Experiment for An
Implementation of the Fizeau Aether Drag Experiment for an Undergraduate Physics Laboratory by Bahrudin Trbalic Submitted to the Department of Physics in partial fulfillment of the requirements for the degree of Bachelor of Science in Physics at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 2020 c Massachusetts Institute of Technology 2020. All rights reserved. ○ Author................................................................ Department of Physics May 8, 2020 Certified by. Sean P. Robinson Lecturer of Physics Thesis Supervisor Certified by. Joseph A. Formaggio Professor of Physics Thesis Supervisor Accepted by . Nergis Mavalvala Associate Department Head, Department of Physics 2 Implementation of the Fizeau Aether Drag Experiment for an Undergraduate Physics Laboratory by Bahrudin Trbalic Submitted to the Department of Physics on May 8, 2020, in partial fulfillment of the requirements for the degree of Bachelor of Science in Physics Abstract This work presents the description and implementation of the historically significant Fizeau aether drag experiment in an undergraduate physics laboratory setting. The implementation is optimized to be inexpensive and reproducible in laboratories that aim to educate students in experimental physics. A detailed list of materials, experi- mental setup, and procedures is given. Additionally, a laboratory manual, preparatory materials, and solutions are included. Thesis Supervisor: Sean P. Robinson Title: Lecturer of Physics Thesis Supervisor: Joseph A. Formaggio Title: Professor of Physics 3 4 Acknowledgments I gratefully acknowledge the instrumental help of Prof. Joseph Formaggio and Dr. Sean P. Robinson for the guidance in this thesis work and in my academic life. The Experimental Physics Lab (J-Lab) has been the pinnacle of my MIT experience and I’m thankful for the time spent there. -
Gnomon Sundials – Student Worksheet
Name ________________________ Gnomon Sundials – Student Worksheet GNOMON (shadow maker) Time read at point of shadow Arab philosophers of 9th and 10th centuries were amongst the first advanced scientists and mathematicians in Europe. They discovered that using a gnomon, a triangular shadow maker, would indicate hours of exactly the same length of standard time, no matter what time of year it was. Sundials were often ornate and had mottos such as: • Tempus fugit (Time flies – Latin) • Let others tell of storms and showers. I only tell of sunny hours (Anon) To prepare your gnomon Fold a sheet of paper in half. The fold will be the top of the gnomon and will be used to reinforce it. With the protractor, measure your school’s latitude (in this case 32oS) away from the fold then draw that line Name ________________________ Gnomon Sundials – Student Worksheet about 9cm long. Draw another line about 1cm below this to make the flaps that will stick onto the base in the worksheet. Leaving the paper folded cut round the outside of the gnomon. Fold out the flaps to attach to the prepared base below. The gnomon should be attached with the fold running down to the north or origin of the rays on the base. The base of the sundial Name ________________________ Gnomon Sundials – Student Worksheet Observations What time did your sundial read? __________________ What time is it according to your watch, clock or mobile? _______________________________________________ Why is there a difference? __________________________ Both Perth and Kalgoorlie are in the same time zone but their sundials read noon at different times. -
The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view. -
OF Versailles
THE CHÂTEAU DE VErSAILLES PrESENTS science & CUrIOSITIES AT THE COUrT OF versailles AN EXHIBITION FrOM 26 OCTOBEr 2010 TO 27 FEBrUArY 2011 3 Science and Curiosities at the Court of Versailles CONTENTS IT HAPPENED AT VErSAILLES... 5 FOrEWOrD BY JEAN-JACqUES AILLAGON 7 FOrEWOrD BY BÉATrIX SAULE 9 PrESS rELEASE 11 PArT I 1 THE EXHIBITION - Floor plan 3 - Th e exhibition route by Béatrix Saule 5 - Th e exhibition’s design 21 - Multimedia in the exhibition 22 PArT II 1 ArOUND THE EXHIBITION - Online: an Internet site, and TV web, a teachers’ blog platform 3 - Publications 4 - Educational activities 10 - Symposium 12 PArT III 1 THE EXHIBITION’S PArTNErS - Sponsors 3 - Th e royal foundations’ institutional heirs 7 - Partners 14 APPENDICES 1 USEFUL INFOrMATION 3 ILLUSTrATIONS AND AUDIOVISUAL rESOUrCES 5 5 Science and Curiosities at the Court of Versailles IT HAPPENED AT VErSAILLES... DISSECTION OF AN Since then he has had a glass globe made that ELEPHANT WITH LOUIS XIV is moved by a big heated wheel warmed by holding IN ATTENDANCE the said globe in his hand... He performed several experiments, all of which were successful, before Th e dissection took place at Versailles in January conducting one in the big gallery here... it was 1681 aft er the death of an elephant from highly successful and very easy to feel... we held the Congo that the king of Portugal had given hands on the parquet fl oor, just having to make Louis XIV as a gift : “Th e Academy was ordered sure our clothes did not touch each other.” to dissect an elephant from the Versailles Mémoires du duc de Luynes Menagerie that had died; Mr. -
The Concept of Field in the History of Electromagnetism
The concept of field in the history of electromagnetism Giovanni Miano Department of Electrical Engineering University of Naples Federico II ET2011-XXVII Riunione Annuale dei Ricercatori di Elettrotecnica Bologna 16-17 giugno 2011 Celebration of the 150th Birthday of Maxwell’s Equations 150 years ago (on March 1861) a young Maxwell (30 years old) published the first part of the paper On physical lines of force in which he wrote down the equations that, by bringing together the physics of electricity and magnetism, laid the foundations for electromagnetism and modern physics. Statue of Maxwell with its dog Toby. Plaque on E-side of the statue. Edinburgh, George Street. Talk Outline ! A brief survey of the birth of the electromagnetism: a long and intriguing story ! A rapid comparison of Weber’s electrodynamics and Maxwell’s theory: “direct action at distance” and “field theory” General References E. T. Wittaker, Theories of Aether and Electricity, Longam, Green and Co., London, 1910. O. Darrigol, Electrodynamics from Ampère to Einste in, Oxford University Press, 2000. O. M. Bucci, The Genesis of Maxwell’s Equations, in “History of Wireless”, T. K. Sarkar et al. Eds., Wiley-Interscience, 2006. Magnetism and Electricity In 1600 Gilbert published the “De Magnete, Magneticisque Corporibus, et de Magno Magnete Tellure” (On the Magnet and Magnetic Bodies, and on That Great Magnet the Earth). ! The Earth is magnetic ()*+(,-.*, Magnesia ad Sipylum) and this is why a compass points north. ! In a quite large class of bodies (glass, sulphur, …) the friction induces the same effect observed in the amber (!"#$%&'(, Elektron). Gilbert gave to it the name “electricus”. -
The Camarilla's Rules Supplement for the Sanctioned Chronicle Reprinted Material Is © White Wolf Game Publishing, Inc
The Camarilla's Rules Supplement for the Sanctioned Chronicle Reprinted material is © White Wolf Game Publishing, Inc. Terms and ideas trademarked by White Wolf are used with permission, and any mention of said intellectual properties should not be considered a challenge to their ownership. CONTENTS Chapter One: Character Creation 4 Concept, Types Chapter Two: Traits pg. 5 Free Traits, Recovering Traits, Abilities, Backgrounds, Merits & Flaws, Thorns Chapter Three: Powers 16 Arcanoi, Disciplines, Chapter Four: Systems 21 Sharpened Senses, Health, Metamorphosis The Camarilla's Rules Supplement for the Sanctioned Chronicle Reprinted material is © White Wolf Game Publishing, Inc. Terms and ideas trademarked by White Wolf are used with permission, and any mention of said intellectual properties should not be considered a challenge to their ownership. 2 his supplement details rules for Wraith venue games in the Camarilla's Sanctioned Mind’s Eye Theatre chronicle. These rules are intended for use with Oblivion and Dark Epics by White Wolf Publishing, and with the Camarilla’s Prime Supplement. These rules, when used for Sanctioned play, are to be applied without change, deviation, alteration or addition by any member, save a country’s National Storyteller. This is to enforce a homogenous set of rules throughout the organization, insuring that wherever a member goes, they may play with a minimum of problems. Storytellers are allowed and encouraged to use their judgment in the World of Darkness to develop stories and enrich the flavor of the game. If a Storyteller judges that the flow of the story would be enhanced by minor exceptions to the rules (on an individual basis only), this creative license is allowed. -
Ms. Rose's Latin Phrases & Mottoes
Mottoes from Rose https://archive.org/ ://web.archive.org/.../ctcweb/consortium/latinmottoes2.html Ms. Rose's Latin Phrases & Mottoes by Rose Williams Latin Phrases "The fault is mine," Dear Abby's Culpa est mea favorite "The Senate and the Roman people," seen today mostly in Rome on manhole covers, street Senatus populusque Romanus lampposts, etc., and it can be seen in slides and pictures of Rome "A person unwelcome," used in Persona non grata diplomacy "One from many," motto of United E pluribus unum States seal seen on money "A slip of the tongue," sometimes Lapsus linguae in newspapers. "To be rather than to seem," Esse quam videri Sallust said this of Cato; it is also the motto of North Carolina "They condemn because they do Condemnant quod non not understand," a phrase used to intellegunt defend almost anything "Thus always to tyrants," the state Sic semper tyrannis motto of Virginia "Thus passes the glory of the Sic transit gloria mundi world" "I came, I saw, I conquered," the Veni, vidi, vici most quoted saying of Caesar Habeas corpus "You may (must) have the body," a legal term "In this sign you will conquer," In hoc signo vinces found on a {gasp} cigarette pack "Where are you going?" Quo vadis Click image to see a larger version Tempus fugit "Time flies," a phrase from Virgil Summum Bonum "The Greatest Good" Verbum sat sapienti "A word to the wise is enough" "We who are about to die salute Te morituri salutamus you" "Always faithful," motto of the Semper fidelis Marines "Seize the day," a phrase from Horace found many places, -
Speed Limit: How the Search for an Absolute Frame of Reference in the Universe Led to Einstein’S Equation E =Mc2 — a History of Measurements of the Speed of Light
Journal & Proceedings of the Royal Society of New South Wales, vol. 152, part 2, 2019, pp. 216–241. ISSN 0035-9173/19/020216-26 Speed limit: how the search for an absolute frame of reference in the Universe led to Einstein’s equation 2 E =mc — a history of measurements of the speed of light John C. H. Spence ForMemRS Department of Physics, Arizona State University, Tempe AZ, USA E-mail: [email protected] Abstract This article describes one of the greatest intellectual adventures in the history of mankind — the history of measurements of the speed of light and their interpretation (Spence 2019). This led to Einstein’s theory of relativity in 1905 and its most important consequence, the idea that matter is a form of energy. His equation E=mc2 describes the energy release in the nuclear reactions which power our sun, the stars, nuclear weapons and nuclear power stations. The article is about the extraordinarily improbable connection between the search for an absolute frame of reference in the Universe (the Aether, against which to measure the speed of light), and Einstein’s most famous equation. Introduction fixed speed with respect to the Aether frame n 1900, the field of physics was in turmoil. of reference. If we consider waves running IDespite the triumphs of Newton’s laws of along a river in which there is a current, it mechanics, despite Maxwell’s great equations was understood that the waves “pick up” the leading to the discovery of radio and Boltz- speed of the current. But Michelson in 1887 mann’s work on the foundations of statistical could find no effect of the passing Aether mechanics, Lord Kelvin’s talk1 at the Royal wind on his very accurate measurements Institution in London on Friday, April 27th of the speed of light, no matter in which 1900, was titled “Nineteenth-century clouds direction he measured it, with headwind or over the dynamical theory of heat and light.” tailwind. -
Apparatus Named After Our Academic Ancestors, III
Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications Physics 2014 Apparatus Named After Our Academic Ancestors, III Tom Greenslade Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/physics_publications Part of the Physics Commons Recommended Citation “Apparatus Named After Our Academic Ancestors III”, The Physics Teacher, 52, 360-363 (2014) This Article is brought to you for free and open access by the Physics at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Apparatus Named After Our Academic Ancestors, III Thomas B. Greenslade Jr. Citation: The Physics Teacher 52, 360 (2014); doi: 10.1119/1.4893092 View online: http://dx.doi.org/10.1119/1.4893092 View Table of Contents: http://scitation.aip.org/content/aapt/journal/tpt/52/6?ver=pdfcov Published by the American Association of Physics Teachers Articles you may be interested in Crystal (Xal) radios for learning physics Phys. Teach. 53, 317 (2015); 10.1119/1.4917450 Apparatus Named After Our Academic Ancestors — II Phys. Teach. 49, 28 (2011); 10.1119/1.3527751 Apparatus Named After Our Academic Ancestors — I Phys. Teach. 48, 604 (2010); 10.1119/1.3517028 Physics Northwest: An Academic Alliance Phys. Teach. 45, 421 (2007); 10.1119/1.2783150 From Our Files Phys. Teach. 41, 123 (2003); 10.1119/1.1542054 This article is copyrighted as indicated in the article. Reuse of AAPT content is subject to the terms at: http://scitation.aip.org/termsconditions. -
The Portrait of the Sovereign
The Portrait of the Sovereign Painting as Hegemonic Practice in the Work and Discourse of Charles Le Brun and the Académie Royale de Peinture. Student: Nuno Atalaia Student Number: 1330004 Specialization: ResMA Arts and Culture Supervisor: Prof. dr. Frans-Willem Korsten Second Reader: Prof. dr.Yasco Horsman 1 Table of Contents Introduction ........................................................................................................................................ 3 Painting as hegemonic practice ...................................................................................................... 4 Expanding discourse ........................................................................................................................ 6 Absolutism and Social Collaboration ............................................................................................. 11 The king’s portrait as icon ............................................................................................................. 14 Overview ....................................................................................................................................... 17 Chapter I – Hegemony and Academic Strategy................................................................................. 19 Academic ambitions ...................................................................................................................... 21 Academic discourse ...................................................................................................................... -
Dossier Pédagogique | Charles Le Brun Created with Sketch
DOSSIER PÉDAGOGIQUE 1 Exposition : Crédits photographiques : Commissariat : BÉNÉDICTE GADY, collaboratrice scientifique, département des Arts graphiques, musée du Louvre et h = haut Sommaire NICOLAS MILOVANOVIC, conservateur en chef, b = bas département des Peintures, musée du Louvre. g = gauche d = droite Directeur de la publication : m = milieu LUC PIRALLA, directeur par intérim, musée du Louvre-Lens Texte pédagogique : Charles Le Brun. Le peintre du Roi-Soleil Couverture : © Musée du Louvre / Marc Jeanneteau P. 4 : © RMN-GP (musée du Louvre) / Franck Raux Responsable éditoriale : P. 6 (h) : © RMN-Grand Palais (musée du Louvre) / Michel Urtado THÈME 1 : LE BRUN : PROTÉGÉ DES PUISSANTS 4 JULIETTE GUÉPRATTE, chef du service des Publics, musée du Louvre-Lens P. 6 (b) : © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin P. 7 : © RMN-Grand Palais (musée du Louvre) / Martine Beck-Coppola I. UN JEUNE ARTISTE DISTINGUÉ PAR SÉGUIER ET RICHELIEU 4 Coordination : P. 8 : © De Agostini Picture Library / G. Dagli Orti/Bridgeman Images EVELYNE REBOUL, en charge des actions éducatives, musée du Louvre-Lens P. 9 : © Collection du Mobilier national / Philippe Sébert II. LES PREMIÈRES ARMES AU SERVICE DE FOUQUET 5 P. 10 : © RMN-Grand Palais (musée du Louvre) / Droits réservés III. DE COLBERT À LOUIS XIV 6 Conception : P. 11 : © Musée du Louvre, Dist. RMN-Grand Palais / Martine Beck-Coppola ISABELLE BRONGNIART, conseillère pédagogique en arts visuels, missionnée au P. 12 : © RMN-GP (musée du Louvre) / Hervé Lewandowski musée du Louvre-Lens P. 13 : © Galleria degli Uffizi, Florence, Italy / Bridgeman Images FLORENCE BOREL, médiatrice au musée du Louvre-Lens P. 15 (h) : © RMN-Grand Palais (musée du Louvre) / Franck Raux THÈME 2 : LE BRUN : ARTISTE D’ENVERGURE 8 PEGGY GARBE, professeur d’arts plastiques au collège Henri Wallon de P.