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Newton.Indd | Sander Pinkse Boekproductie | 16-11-12 / 14:45 | Pag
omslag Newton.indd | Sander Pinkse Boekproductie | 16-11-12 / 14:45 | Pag. 1 e Dutch Republic proved ‘A new light on several to be extremely receptive to major gures involved in the groundbreaking ideas of Newton Isaac Newton (–). the reception of Newton’s Dutch scholars such as Willem work.’ and the Netherlands Jacob ’s Gravesande and Petrus Prof. Bert Theunissen, Newton the Netherlands and van Musschenbroek played a Utrecht University crucial role in the adaption and How Isaac Newton was Fashioned dissemination of Newton’s work, ‘is book provides an in the Dutch Republic not only in the Netherlands important contribution to but also in the rest of Europe. EDITED BY ERIC JORINK In the course of the eighteenth the study of the European AND AD MAAS century, Newton’s ideas (in Enlightenment with new dierent guises and interpre- insights in the circulation tations) became a veritable hype in Dutch society. In Newton of knowledge.’ and the Netherlands Newton’s Prof. Frans van Lunteren, sudden success is analyzed in Leiden University great depth and put into a new perspective. Ad Maas is curator at the Museum Boerhaave, Leiden, the Netherlands. Eric Jorink is researcher at the Huygens Institute for Netherlands History (Royal Dutch Academy of Arts and Sciences). / www.lup.nl LUP Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. 1 Newton and the Netherlands Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. 2 Newton and the Netherlands.indd | Sander Pinkse Boekproductie | 16-11-12 / 16:47 | Pag. -
Gilt Bronze Antique Mantel Clock “The Magic Lantern”
Deverberie Gilt Bronze Antique Mantel Clock “The Magic Lantern”, Empire period Case Attributed to Jean-Simon Deverberie (1764 - 1824) Paris, Empire period, circa 1800 Height 46 cm, width 24 cm, depth 13 cm An extremely fine gilt bronze mantle clock of eight-day duration, the white enamel dial with Roman and Arabic numerals and gilt bronze hands for the hours and minutes. The movement, with lever escapement and silk thread suspension, strikes the hour and half hour, with outside count wheel. The case, in the form of a magic lantern, has a beaded bezel and is decorated with blue enamel rosettes; it is surmounted by a flaming torch pierced with stars and hearts. The pendulum bob is formed as a butterfly. The magic lantern is carried on the back of a striding Cupid with enamel eyes who carries a quiver of arrows and a bow. He stands on an oval plinth, featuring a cast frieze with winged putti playing around a central vase, is raised on feathered eagle’s claw feet. Exhibitions Rive Gauche HISTORICAL A clock with a very similar case, but with a patinated bronze Cupid, is illustrated in Pierre Kjellberg, Encyclopédie de la Pendule Française du Moyen Age au XXe Siècle, 1997, p. 447, pl. D. An almost identical gilt bronze clock whose dial is signed “Pinart à L’Orient” is illustrated in Elke Niehüser, Die Französische Bronzeuhr, Eine Typologie der Figürlichen Darstellungen, 1997: detail shot on the front cover; p. 129, colour pl. 210, and p. 230, pl. 658. An almost identical clock case is pictured in the undated catalogue of the François Duesberg museum, p. -
Phantasmagoria: Ghostly Entertainment of the Victorian Britain
Phantasmagoria: Ghostly entertainment of the Victorian Britain Yurie Nakane / Tsuda College / Tokyo / Japan Abstract Phantasmagoria is an early projection show using an optical instrument called a magic lantern. Brought to Britain from France in 1801, it amused spectators by summoning the spirits of ab- sent people, including both the dead and the living. Its form gradually changed into educational amusement after it came to Britain. However, with the advent of spiritualism, its mysterious na- ture was re-discovered in the form of what was called ‘Pepper’s Ghost’. Phantasmagoria was reborn in Britain as a purely ghostly entertainment, dealing only with spirits of the dead, be- cause of the mixture of the two notions brought from France and the United States. This paper aims to shed light on the role that phantasmagoria played in Britain during the Victorian period, how it changed, and why. Through observing the transnational history of this particular form of entertainment, we can reveal a new relationship between the representations of science and superstitions. Keywords Phantasmagoria, spiritualism, spectacle, ghosts, the Victorian Britain, superstitions Introduction Humans have been mesmerized by lights since ancient times. Handling lights was considered a deed conspiring with magic or witchcraft until the sixteenth century, owing to its sanctified appearance; thus, some performers were put in danger of persecution. At that time, most people, including aristocrats, were not scientifically educated, because science itself was in an early stage of development. However, the flourishing thought of the Enlightenment in the eighteenth century altered the situation. Entering the age of reason, people gradually came to regard illusions as worthy of scientific examination. -
Maty's Biography of Abraham De Moivre, Translated
Statistical Science 2007, Vol. 22, No. 1, 109–136 DOI: 10.1214/088342306000000268 c Institute of Mathematical Statistics, 2007 Maty’s Biography of Abraham De Moivre, Translated, Annotated and Augmented David R. Bellhouse and Christian Genest Abstract. November 27, 2004, marked the 250th anniversary of the death of Abraham De Moivre, best known in statistical circles for his famous large-sample approximation to the binomial distribution, whose generalization is now referred to as the Central Limit Theorem. De Moivre was one of the great pioneers of classical probability the- ory. He also made seminal contributions in analytic geometry, complex analysis and the theory of annuities. The first biography of De Moivre, on which almost all subsequent ones have since relied, was written in French by Matthew Maty. It was published in 1755 in the Journal britannique. The authors provide here, for the first time, a complete translation into English of Maty’s biography of De Moivre. New mate- rial, much of it taken from modern sources, is given in footnotes, along with numerous annotations designed to provide additional clarity to Maty’s biography for contemporary readers. INTRODUCTION ´emigr´es that both of them are known to have fre- Matthew Maty (1718–1776) was born of Huguenot quented. In the weeks prior to De Moivre’s death, parentage in the city of Utrecht, in Holland. He stud- Maty began to interview him in order to write his ied medicine and philosophy at the University of biography. De Moivre died shortly after giving his Leiden before immigrating to England in 1740. Af- reminiscences up to the late 1680s and Maty com- ter a decade in London, he edited for six years the pleted the task using only his own knowledge of the Journal britannique, a French-language publication man and De Moivre’s published work. -
Magic Lantern Society Click Slide Image for More! Hand-Colored Lantern Slides of Oregon Historical Society Research Library
May Magic Lantern Society Be Sure to LOOK for those Hand-colored Lantern Slides of Oregon Historical Society Research Library Buttons and roll-over effects Glass Slides– What Projector ...................... 2 Lantern Slides in Contemporary Art ................. 5 About 200 Slides For Sale .... 8 For Sale a Magic Lantern Missing Some Parts .............. 9 Creative Interruption For Sale On Ebay ................... 10 Update of VID Historical Archives ............... 12 Click slide image for more! 1 Glass Slides - What Dear David, Projector? Invaluable information! Thank you for the link to From Roberto celsun.com. Rossi [email protected] I may be mechanically handy, but I know next to Dear David, nothing about electricity. Hello. I am very happy to have located your site! Thank you so much for your thoughtful reply. The one plug on the Beseler runs both the light and I’ve been a creator of Toy Theaters for the A cache of glass slides form an art history department the fan, and subbing the LED for the bulb still means past 20 years, and a fan of the analogue visual have come into my possession, and I am keen on finding a way to power the fan - which I assume will spectacle technologies - like the magic lantern. purchasing the right kind of projector for them. still be necessary, even if the LED’s are much cooler. How wonderful to find a kindred community of I was hoping you would be able to help me with enthusiasts online. I think I am going to have to find a smart technician some information, for which I would be very grateful. -
Arts Et Savoirs, 9 | 2018 L’Âme Cellulaire Et L’Ésotérisme Moderne De Haeckel 2
Arts et Savoirs 9 | 2018 Ernst Haeckel entre science et esthétique L’âme cellulaire et l’ésotérisme moderne de Haeckel Robert Matthias Erdbeer Traducteur : Julie Mottet et Henning Hufnagel Édition électronique URL : http://journals.openedition.org/aes/1193 DOI : 10.4000/aes.1193 ISSN : 2258-093X Éditeur Laboratoire LISAA Référence électronique Robert Matthias Erdbeer, « L’âme cellulaire et l’ésotérisme moderne de Haeckel », Arts et Savoirs [En ligne], 9 | 2018, mis en ligne le 14 mai 2018, consulté le 02 mai 2019. URL : http:// journals.openedition.org/aes/1193 ; DOI : 10.4000/aes.1193 Ce document a été généré automatiquement le 2 mai 2019. Centre de recherche LISAA (Littératures SAvoirs et Arts) L’âme cellulaire et l’ésotérisme moderne de Haeckel 1 L’âme cellulaire et l’ésotérisme moderne de Haeckel Robert Matthias Erdbeer Traduction : Julie Mottet et Henning Hufnagel NOTE DE L'AUTEUR Cet article est une version française du texte „Die ‚Erhaltung der Fühlung’. Haeckels Seelenzellen und der Stil der Esoterischen Moderne“ paru dans Lendemains. Études comparées sur la France, t. 41, n° 162-163, 2016, p. 100-123 (version en ligne : URL : http:// periodicals.narr.de/index.php/Lendemains/article/view/2939). Traduction de l’allemand par Julie Mottet et Henning Hufnagel En somme c’est le malheur du savoir de nos jours que tout vise si terriblement à la grandiloquence.1 Sören Kierkegaard, Le Concept de l’angoisse. De la science à la para-science ésotérique Arts et Savoirs, 9 | 2018 L’âme cellulaire et l’ésotérisme moderne de Haeckel 2 1 La modernité ésotérique est le pendant de « l’ère des sciences naturelles ». -
American Scientist the Magazine of Sigma Xi, the Scientific Research Society
A reprint from American Scientist the magazine of Sigma Xi, The Scientific Research Society This reprint is provided for personal and noncommercial use. For any other use, please send a request to Permissions, American Scientist, P.O. Box 13975, Research Triangle Park, NC, 27709, U.S.A., or by electronic mail to [email protected]. ©Sigma Xi, The Scientific Research Society and other rightsholders Engineering Next Slide, Please Henry Petroski n the course of preparing lectures years—against strong opposition from Ibased on the material in my books As the Kodak some in the artistic community—that and columns, I developed during the simple projection devices were used by closing decades of the 20th century a the masters to trace in near exactness good-sized library of 35-millimeter Carousel begins its intricate images, including portraits, that slides. These show structures large and the free hand could not do with fidelity. small, ranging from bridges and build- slide into history, ings to pencils and paperclips. As re- The Magic Lantern cently as about five years ago, when I it joins a series of The most immediate antecedent of the indicated to a host that I would need modern slide projector was the magic the use of a projector during a talk, just previous devices used lantern, a device that might be thought about everyone understood that to mean of as a camera obscura in reverse. Instead a Kodak 35-mm slide projector (or its to add images to talks of squeezing a life-size image through a equivalent), and just about every venue pinhole to produce an inverted minia- had one readily available. -
Making Art / Discovering Science Steven Shapin, Harvard University
Making Art / Discovering Science steven shapin, harvard university ere is one way that, in ordinary speech, we mark the dis- tinction between science and art. We say that scientists dis- H cover things—the relationship between the volume and pres- sure of air was discovered by Boyle; nuclear fission was discovered by Hahn, Strassmann, and Meitner; the structure of DNA was discovered by Watson and Crick. We say, however, that artists invent, compose, construct,ormake things—Mozart composed Così fan tutte; Botticelli made La Primavera; Philip Roth invented Nathan Zuckerman. In ordi- nary speech, all genuine art is made up and no genuine science is made up. Again, in ordinary speech, the difference between these catego- ries is fundamental: it’s an important way we have to distinguish science and art in the stream of culture, to assign them to different institutions, to give us confidence in our distinctions, to hold them to different standards, and to assign them to different schemes of value. The categories also mark out different kinds of relationship between the named responsible people, and what it is they are said to be re- sponsible for. And it picks out different existential standings for the © 2018 by the university of chicago. all rights reserved. know v2n2, fall 2018 This content downloaded from 206.253.207.235 on October 27, 2018 08:17:38 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). know: a journal on the formation of knowledge objects of science and of art—as between things that exist indepen- dently in the world and things we bring into being through the work- ings of our creative imaginations. -
The Fandom of the Opera
TheThe FandomFandom ofof thethe Opera:Opera: HowHow thethe AudienceAudience forfor aa FourFour --CenturyCentury --OldOld ArtArt FormForm HelpedHelped CreateCreate thethe ModernModern MediaMedia WorldWorld Mark 8chubin, NYU -Poly, 2012 April 27 1 TraditionalTraditional MediaMedia HistoryHistory 1876: Bell files patent for the telephone st 1879: 1 Edison light bulb demonstration st 1895: 1 movie theater st 1920: 1 commercial radio station st 1927: 1 sound movie 1939: TV introduced at New York World ’s Fair st 1954: 1 NTSC color TV show st 1961: 1 FM stereo broadcast Mark 8chubin, NYU -Poly, 2012 April 27 2 TraditionalTraditional OperaOpera 1876: Bell files patent for 1849: Havana Opera electrical the telephone voice -transmission experiments st 1879: 1 Edison light bulb 1849: Paris Opera electric -light demonstration effect in Le Proph ète st 1895: 1 movie theater 1886: opera movie system st st 1920: 1 commercial 1910: 1 radio broadcasts radio station of operas st 1927: 1 sound movie 1900: opera sound movies 1939: TV introduced at 1936: opera Pickwick on TV New York World ’s Fair before its opening night st 1954: 1 NTSC color TV show 1953: NBC Carmen in NTSC color st 1961: 1 FM stereo 1925: Berlin Opera stereo radio broadcast broadcasts Mark 8chubin, NYU -Poly, 2012 April 27 3 Mark 8chubin, NYU -Poly, 2012 April 27 4 Mark 8chubin, NYU -Poly, 2012 April 27 5 WhatWhat IsIs Opera?Opera? Latin:Latin: opusopus == work,work, operaopera == worksworks SingingSinging InstrumentalInstrumental MusicMusic StorytellingStorytelling -
René Binet's Porte Monumentale at the 1900 Paris
Frontispiece. René Binet, Porte Monumentale for Exposition Universelle, Paris, 1900. Phototype, from Exposition Universelle, Paris 1900. Héliotypes de E. Le Deley (Paris, n.d.). (V&A Images, National Art Library, Victoria and Albert Museum). 224 A World of Things in Emergence and Growth: René Binet’s Porte Monumentale at the 1900 Paris Exposition robert proctor by 1898, René Binet had produced his final design for the Porte Monumentale of the 1900 Exposition Universelle in Paris, a building which came to symbolise the Exposition in the media, in the profusion of ephemeral literature which surrounded it, and in the public consciousness [Frontispiece; Figure 1].1 The arch was meant to be ‘a type and epitome of the Exposition itself ’, as an American commentator put it.2 The Exposition aimed to celebrate the achievements of the nineteenth century and the arrival of a new age of peace in the twentieth, under the steerage of the Third Republic. The Porte Monumentale compressed this ideological scheme into a single complex and ambivalent object. The contemporary discourse on nature provided Binet with an expressive range of symbolic forms with which to articulate such political concerns. Re-reading the Porte Monumentale through such discourse, however, produces more contradictions than certainties. While one strand of scientific enquiry maintained a rational view of life, and consequently of human society, as internally structured and constantly evolving according to understandable principles, another related strand proposed a more mystical, romantic and pseudo-religious view of nature. In Binet’s architectural adoption of natural forms, each of these views seems to have a role. -
Om: One God Universal a Garland of Holy Offerings * * * * * * * * Viveka Leads to Ānanda
Om: One God Universal A Garland of Holy Offerings * * * * * * * * Viveka Leads To Ānanda VIVEKNANDA KENDRA PATRIKĀ Vol. 22 No. 2: AUGUST 1993 Represented By Murari and Sarla Nagar Truth is One God is Truth . God is One Om Shanti Mandiram Columbia MO 2001 The treasure was lost. We have regained it. This publication is not fully satisfactory. There is a tremendous scope for its improvement. Then why to publish it? The alternative was to let it get recycled. There is a popular saying in American academic circles: Publish or Perish. The only justification we have is to preserve the valuable contents for posterity. Yet it is one hundred times better than its original. We have devoted a great deal of our time, money, and energy to improve it. The entire work was recomposed on computer. Figures [pictures] were scanned and inserted. Diacritical marks were provided as far as possible. References to citations were given in certain cases. But when a vessel is already too dirty it is very difficult to clean it even in a dozen attempts. The original was an assemblage of scattered articles written by specialists in their own field. Some were extracted from publications already published. It was issued as a special number of a journal. It needed a competent editor. Even that too was not adequate unless the editor possessed sufficient knowledge of and full competence in all the subject areas covered. One way to make it correct and complete was to prepare a kind of draft and circulate it among all the writers, or among those who could critically examine a particular paper in their respective field. -
Eduard Uhlenhuth/Anatomy Department Library
Dr. Eduard Uhlenhuth Papers Item Type Other Authors Wink, Tara Publication Date 2020-12-11 Abstract Dr. Eduard Uhlenhuth was a professor of Anatomy at the University of Maryland School of Medicine from 1925 until his retirement in 1955. In 1957 he was named professor emeritus. He was an avid book collector amassing an extensive collection of Anatom... Keywords Uhlenhuth, Eduard; Department of Anatomy; Anatomical Book Collection; Anatomy; Anatomy--education; Anatomists; University of Maryland, Baltimore; University of Maryland, Baltimore. School of Medicine; Medical education Rights Attribution-NonCommercial-ShareAlike 4.0 International Download date 28/09/2021 04:39:25 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10713/14245 Eduard Uhlenhuth/Anatomy Department Library Title Author Date Found in Cat Notes De Medicina Aulus Cornelius Celsus 1497 Cordell Coll "On Medicine" Matthaei Curtii…In Mundini Anatomen Commentarius Elegans & Docties Mondino dei Luzzi 1551 Cordell Coll De conceptu et generatione hominis : et iis quae circa hȩc potissimum consyderantur, libri sex Jakob Rueff 1554 Cordell Coll "On Conception and Generation in Man" Gabrielis Falloppii medici Mutinensis Obseruationes anatomicae Gabriel Fallopius/Falloppio 1562 Cordell Coll Theatrum anatomicum Caspar Bauhin 1605 Cordell Coll 1st ed. De lactibus sive lacteis venis Gaspare Aselli 1627 Cordell Coll Syntagma anatomicum Johann Vesling 1647 Cordel Coll Corporis hvmani disqvisitio anatomica Nathaniel Highmore 1651 Cordell Coll