Gerald Holton: Worlds Within Worlds by Barbara Delman Wolfson
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Friedrich Stadler, Leslie Topp, Chair: William Johnston
1 Workshop VIENNA 1900: CURRENT DISCOURSES ON FIN-DE-SIECLE VIENNA International Center, University of New Orleans (UNO), October 24-25, 2016 SLIDE 1 Roundtable IV: Interdisciplinary Models Friedrich Stadler, Leslie Topp, Chair: William Johnston Friedrich Stadler (University of Vienna): “The Sciences and Humanities as Culture” SLIDE 2 INTRODUCTION Based on William Johnston’s path breaking trilogy of books on Austrian-Hungarian intellectual history I will focus mainly on the role of philosophy, the sciences and humanities from a trans- and interdisciplinary point of view. (Of course, the publications of Carl Schorske, Allan Janik/Stephen Toulmin, Edward Timms, David Luft, and Steven Beller and many others are to be mentioned as essential background knowledge). SLIDES 3-4: Constructive Unrest. Austrian Conference on Contemporary History Graz 2016 According to the new model of the “Long 20th Century” in Austrian history (from Habsburg Monarchy to the Republic) in general, and as applied to the history of the University of Vienna, specifically, I make a plea for this conception more or less also regarding Vienna 1900 / Fin-de-Siécle Vienna. This can be illustrated by a short report on a panel dealing with the “Paradigmenwechsel zum langen 20. Jahrhundert” (paradigm shift on the long 20th century) at the last “Österreichischer Zeitgeschichtetag” (ÖZT) in Graz, June 2016. SLIDE 5: “Wissenschaft als Kultur” (Frankfurt 1995) Following this perspective, I will argue for the need to cover all sciences (including humanities) under the umbrella of (Austro-Hungarian) culture, which seems to me the main deficit in the related historiography. Instead, the image of all sciences as an essential part of culture (Wissenschaft als Kultur) is leading up to transgressing disciplinary boundaries. -
Leonardo and the Whale
Biology Faculty Publications Biology 6-17-2019 Leonardo and the Whale Kay Etheridge Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/biofac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Biology Commons, Ecology and Evolutionary Biology Commons, and the Marine Biology Commons Share feedback about the accessibility of this item. Recommended Citation Etheridge, Kay. "Leonardo and the Whale." In Leonardo da Vinci – Nature and Architecture, edited by C. Moffat and S.Taglialagamba, 89-106. Leiden: Brill, 2019. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/biofac/81 This open access book chapter is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Leonardo and the Whale Abstract Around 1480, when he was 28 years old, Leonardo da Vinci recorded what may have been a seminal event in his life. In writing of his travels to view nature he recounted an experience in a cave in the Tuscan countryside: Having wandered for some distance among overhanging rocks, I can to the entrance of a great cavern... [and after some hesitation I entered] drawn by a desire to see whether there might be any marvelous thing within..." [excerpt] Keywords Leonardo da Vinci, fossils, whale Disciplines Ancient, Medieval, Renaissance and Baroque Art and Architecture | Biology | Ecology and Evolutionary Biology | Marine Biology Comments Please note that that this is pre-print version of the article and has not yet been peer-reviewed. -
Works Issued As Multipart Monographs Works Issued
LC-PCC: Policy Statements for Chapter 6: Identifying Works and Expressions Policy Statements for Chapter 6: Identifying Works and Expressions LC-PCC PS FOR 6.1.3.1 WORKS ISSUED AS MULTIPART MONOGRAPHS LC practice/PCC practice: If a work embodied in a multipart monograph is identified by a creator based on the first or earliest volume received, and subsequent volumes indicate additional creators are involved, do not change the authorized access point for the work, but record additional creators when considered important. [2013-01] LC-PCC PS FOR 6.1.3.2 WORKS ISSUED AS SERIALS Expressions When Preferred Title of Work Changes LC practice/PCC practice: When there are different language expressions of a serial work and the preferred title of the work (as determined according to RDA 6.2.2 ) changes, create a new description for each different expression of that work even if the title proper of the manifestation of the specific language expression did not change. 130 0# $a Inzhenernyĭ zhurnal. Mekhanika tverdogo tela. $l English. 245 10 $a Mechanics of solids. 785 00 $a $t Izvestiíà. Mekhanika tverdogo tela. English. Mechanics of solids 130 0# $a Izvestiíà. Mekhanika tverdogo tela. $l English. 245 10 $a Mechanics of solids. 780 00 $t Inzhenernyĭ zhurnal. Mekhanika tverdogo tela. English. Mechanics of solids "Mechanics of solids" is the title proper of an English-language expression of a work in Russian. Although the English title proper did not change, a new description is necessary because the preferred title of the work in Russian changed. LC Policy & Standards Division and PCC Standing Committee on Standards LCPCC6-1 LC-PCC: Policy Statements for Chapter 6: Identifying Works and Expressions Subseries and the Omission/Addition of Main Series PCC practice: When either of the situations below occurs, create a new series authority record (SAR) and link the two authorized access points via MARC 5XX fields . -
Johannes Gutenberg Zim:///A/Johannes Gutenberg.Html
People David Livingstone p2 Henry Morton Stanley p12 Johann Gutenberg p16 Leonardo da Vinci p24 http://cd3wd.com wikipedia-for-schools http://gutenberg.org page no: 1 of 41 David Livingstone zim:///A/David_Livingstone.html David Livingstone 2008/9 Schools Wikipedia Selection. Related subjects: British History 1750-1900; Geographers and explorers David Livingstone ( 19 March 1813 – 1 May 1873) was a British Congregationalist pioneer medical missionary with the London Missionary Society and explorer in central Africa. He was the first European David Livingstone to see Mosi-oa-Tunya (Victoria Falls), to which he gave the English name in honour of his monarch, Queen Victoria. He is the subject of the meeting with H. M. Stanley, which gave rise to the popular quotation, " Dr Livingstone, I presume?" Perhaps one of the most popular national heroes of the late-nineteenth century in Victorian Britain, Livingstone had a mythic status, which operated on a number of interconnected levels: that of Protestant missionary martyr, that of working-class "rags to riches" inspirational story, that of scientific investigator and explorer, that of imperial reformer, anti-slavery crusader and advocate of commercial empire. His fame as an explorer helped drive forward the obsession with discovering the sources of the Nile River that formed the culmination of the classic period of European geographical discovery and colonial penetration of the African continent. At the same time his missionary travels, "disappearance" and death in Africa, and subsequent glorification as posthumous national hero in 1874 led to the founding of several major central African Christian missionary initiatives carried forward in the era of the European "Scramble for Africa." Early life Born 19 March 1813 David Livingstone was born on March 19, 1813 in the mill town of Blantyre, Lanarkshire, Scotland, into Blantyre, United Kingdom a Protestant family believed to be descended from the highland Livingstones, a clan that had been Died 4 May 1873 (aged 60) previously known as the Clan MacLea. -
FOR IMMEDIATE RELEASE August 18, 2015
FOR IMMEDIATE RELEASE August 18, 2015 MEDIA CONTACT Emily Kowalski | (919) 664-6795 | [email protected] North Carolina Museum of Art Presents M. C. Escher, Leonardo da Vinci Exhibitions and Related Events Raleigh, N.C.—The North Carolina Museum of Art (NCMA) presents two exhibitions opening in October 2015: The Worlds of M. C. Escher: Nature, Science, and Imagination and Leonardo da Vinci’s Codex Leicester and the Creative Mind. The Worlds of M. C. Escher features over 130 works (some never before exhibited) and will be the most comprehensive Escher exhibition ever presented in the United States. The Codex Leicester is a 500-year-old notebook handwritten and illustrated by inventor, scientist, and artist Leonardo da Vinci—the only manuscript by Leonardo in North America—that offers a glimpse into one of the greatest minds in history. “This is going to be an exciting fall at the Museum—an incredibly rare opportunity for our visitors to see not only centuries-old writings and sketches by Leonardo da Vinci, but also the work of M. C. Escher, another observer of nature and a perfect modern counterpart to Leonardo,” says NCMA Director Lawrence J. Wheeler. “These exhibitions will thrill art lovers and science lovers alike, and we hope that all visitors leave with a piqued curiosity, an ignited imagination, and a desire to more closely observe the world around them.” The Worlds of M. C. Escher: Nature, Science, and Imagination October 17, 2015−January 17, 2016 Comprising over 130 woodcuts, lithographs, wood engravings, and mezzotints, as well as numerous drawings, watercolors, wood blocks, and lithographic stones never before exhibited, The Worlds of M. -
Einstein, History, and Other Passions : the Rebellion Against Science at the End of the Twentieth Century
Einstein, history, and other passions : the rebellion against science at the end of the twentieth century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Holton, Gerald James. 2000. Einstein, history, and other passions : the rebellion against science at the end of the twentieth century. Cambridge, MA: Harvard University Press. Published Version http://www.hup.harvard.edu/catalog.php?isbn=9780674004337 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:23975375 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA EINSTEIN, HISTORY, ANDOTHER PASSIONS ;/S*6 ? ? / ? L EINSTEIN, HISTORY, ANDOTHER PASSIONS E?3^ 0/" Cf72fM?y GERALD HOLTON A HARVARD UNIVERSITY PRESS C%772^r?<%gf, AizziMc^zzyeZZy LozzJozz, E?zg/%??J Q AOOO Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book and Addison-Wesley was aware of a trademark claim, the designations have been printed in capital letters. PHYSICS RESEARCH LIBRARY NOV 0 4 1008 Copyright @ 1996 by Gerald Holton All rights reserved HARVARD UNIVERSITY Printed in the United States of America An earlier version of this book was published by the American Institute of Physics Press in 1995. First Harvard University Press paperback edition, 2000 o/ CoMgre.w C%t%/og;Hg-zM-PMMt'%tz'c7t Dzztzz Holton, Gerald James. -
Léonard De Vinci (1452-1519)
1/44 Data Léonard de Vinci (1452-1519) Pays : Italie Langue : Italien Sexe : Masculin Naissance : Anchiano (près de Vinci) (Italie), 15-04-1452 Mort : Amboise (Indre-et-Loire), 02-05-1519 Note : Peintre, sculpteur, architecte. - Théoricien de l'art. - Chercheur scientifique Domaines : Sciences Art Autres formes du nom : Leonardo da Vinci (1452-1519) (italien) Léonard de Vinci (1452-1519) Leonardo da Vinci (1452-1519) Da Vinci (1452-1519) Da Vinchi (1452-1519) (japonais) 30 30 30 30 30 30 C0 FB F4 A3 F3 C1 (1452-1519) (japonais) ISNI : ISNI 0000 0001 2124 423X (Informations sur l'ISNI) A dirigé : École de Léonard de Vinci Léonard de Vinci (1452-1519) : œuvres (281 ressources dans data.bnf.fr) Œuvres textuelles (152) Trattato della pittura (1651) Voir plus de documents de ce genre data.bnf.fr 2/44 Data Œuvres iconographiques (63) La Joconde nue Portrait de Christ : peinture parfois attribué à Léonard (1514) de Vinci (1452-1519) (1511) The Burlington House cartoon L'homme vitruvien (1500) (1492) La Vierge aux rochers : National gallery, Londres La Vierge aux rochers : Musée du Louvre (1491) (1483) Il Redentore La Belle princesse : dessin "Tête de vieillard maigre, les lèvres serrées" Codice Corazza de Anne Claude Philippe de Caylus avec Léonard de Vinci (1452-1519) comme Dessinateur du modèle "Tête d'homme aux longs cheveux bouclés, coiffé d'une Codex atlanticus calotte" de Anne Claude Philippe de Caylus avec Léonard de Vinci (1452-1519) comme Dessinateur du modèle "Buste d'un vieux moine" "Combat de divers animaux" de Anne -
Teaching Light and Vision As a Case Study
WHERE DO IDEAS IN SCIENCE COME FROM?: TEACHING LIGHT AND VISION AS A CASE STUDY Lance Schachterle Worcester Polytechnic Institute The belief that the "scientific method" provides a degree of certitude not available in the humanities or social sciences helps to attract many students to careers in engineering. An important goal, then, of an interdisciplinary program at an engineering college is to subject a simplistic notion of the "scientific method" to appropriate scrutiny. The course "Light and Vision" described here attempts to open science, engineering and management studies at WPI to the ideas of writers like Thomas Kuhn and Gerald Holton concerning how ideas and innovations in science arise. How "Light and Vision" was formulated is perhaps best understood by considering its development in the context of WPI's recent revaluation of its program and goals. In reorganizing its curriculum in the late 1960's, WPI placed a much greater emphasis on interdisciplinary studies than is common at engineering- oriented colleges. In place of conventional course and distribution requirements for determining the major, the WPI faculty defined four new competence-based degree requirements as the qualifications for an engineering or science major. Two of these requirements--an examination and a project--are in the major, while the other two, a humanities minor and an interactive project, develop the student's strengths in liberal studies. The interactive project is perhaps the most innovative part of WPI's program. Students are asked to define, research and write up some topic of their choice linking science and technology to a social need or issue. -
History and Technology
This article was downloaded by:[Forman, Paul] [Forman, Paul] On: 23 April 2007 Access Details: [subscription number 777307305] Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK History and Technology An International Journal Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713643058 The Primacy of Science in Modernity, of Technology in Postmodernity, and of Ideology in the History of Technology To cite this Article: , 'The Primacy of Science in Modernity, of Technology in Postmodernity, and of Ideology in the History of Technology', History and Technology, 23:1, 1 - 152 To link to this article: DOI: 10.1080/07341510601092191 URL: http://dx.doi.org/10.1080/07341510601092191 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article maybe used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. -
Gerald Holton Bio
Gerald Holton Bio Gerald Holton is an American physicist, historian of science, and educator, whose professional interests also include philosophy of science and the fostering of careers of young men and women. He is Mallinckrodt Professor of Physics and Professor of History of Science, Em, at Harvard University1. His contributions range from physical science and its history to their professional and public understanding, from studies on gender problems and ethics in science careers to those on the role of immigrants. These have been acknowledged by an unusually wide spectrum of appointments and honors, from physics to initiatives in education and other national, societal issues, to contributions for which he was selected, as the first scientist, to give the tenth annual Jefferson Lecture that the National Endowment for the Humanities describes as, “the highest honor the federal government confers for distinguished achievement in the humanities”2. However, his life story is also punctuated by improbable rescues during the dark time of the 20th century. EARLY LIFE AND EDUCATION Holton was born on May 23, 1922 in Berlin3, when Germany was in turmoil and sliding toward disaster. In June, the Foreign Minister, Walter Rathenau, was one of the more than 350 politicians and intellectuals assassinated by fascist gangs that already commanded the streets. 4 Albert Einstein was told he was next on the list, so he fled the country. Holton's parents were Austrians: Emanuel, an Attorney-at-Law specializing in International Law, and Regina, a physiotherapist. Forced by the rise of fascism in Germany, and one physical attack on the young family, they returned early to Vienna. -
The Lost Manuscripts of Leonardo Da Vinci
THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost by RICHARD SHAW POOLER Submitted in accordance with the requirements for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Promoter: Prof Bernadette Van Haute -------------------------------------- OCTOBER 2014 DECLARATION I declare that THE LOST MANUSCRIPTS OF LEONARDO DA VINCI is my own work and that all the sources that I have used or quoted have been indicated or acknowledged by means of complete references. ……………………………. Richard Shaw Pooler Date ………………………….. Title: THE LOST MANUSCRIPTS OF LEONARDO DA VINCI A history of Leonardo da Vinci’s manuscripts and a calculation of how many remain lost Summary: This thesis investigates the history of Leonardo da Vinci’s manuscripts, explains the recovery of some of those that were lost, and calculates what proportion of his work remains lost. It does this by researching the following four main topics: the compilation of his manuscripts; the dispersal and loss of his manuscripts; the recovery and reconstruction of some manuscripts; and an estimate of what remains lost. Most of Leonardo’s manuscripts were written in the last thirty years of his life. The first part of this thesis traces which manuscripts were written and when. After his death, his manuscripts dispersed and it is not known how many were lost. The next section details the dispersal. Recovery of some manuscripts took place followed by further dispersal and loss. Part of the recovery was due to key collectors such as Pompeo Leoni. -
The Scaling Ladders of Leonardo Da Vinci: Art and Engineering
The Scaling Ladders of Leonardo da Vinci: Art and Engineering John Garton1 In an increasingly war-torn Europe, Renaissance artists of the highest rank occasionally devoted themselves to military design. Francesco di Giorgio de- vised various assault weapons, Andrea Verrocchio and Hans Burgkmair each designed armo ur, Michelangelo created ramparts, and Albrecht Dürer wrote a treatise on fortifications — to name a few. Even artists averse to violence could hardly ignore the constant threat of war and its impact on the cityscape. Leonardo’s notebooks, particularly the drawings assembled by Pompeo Leoni in the 1560s to create the Codex Atlanticus, chronicle Leonardo’s involve- ment with weaponry design while serving Duke Ludovico Sforza of Milan. These drawings may never have been intended to form an organized military treatise; indeed, they range in style from quick, conceptual sketches to care- fully shaded, perspectival showpieces probably meant to impress the duke or his advisors. The little-known sheet of drawings at the center of this essay dates to around 1487–90, a period of intense absorption for Leonardo in the arts of warfare. While the drawing’s provenance has received some scholarly attention regarding possible origins in the Codex Atlanticus, its innovative technology remains poorly understood (fig. 7.1).2 The sheet, now in the Pier- pont Morgan Library, reveals much about Leonardo’s thinking as a military 1 My introduction to Leonardo studies began in 1998 in a seminar at the Metropoli- tan Museum of Art with Carmen Bambach, Associate Curator of Drawings and Prints. I choose to revisit Leonardo here, in honour of Colin Eisler, with the hopes that further scrutiny of the works of that polymath from Vinci might reflect warmly on Colin’s eclectic interests and ceaseless work ethic.