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The astronomer’s observing chair as both image and object, and the story it tells about a particular kind of science and a particular view of history. The astronomer’s chair is a leitmotif in the history of astronomy, appearing in hundreds of drawings, prints, and photographs from a variety of sources. Nineteenth-century stargazers in particular seemed eager to display their observing chairs—task-specific, often mechanically adjustable observatory furniture designed for use in conjunction with telescopes. But what message did they mean to send with these images? In The Astronomer’s Chair, Omar W. Nasim considers these specialized chairs as both image and object, offering an original framework for linking visual and material cultures. Observing chairs, Nasim ingeniously argues, showcased and embodied forms of scientific labor, personae, and bodily practice that appealed to bourgeois sensibilities. Viewing image and object as connected parts of moral, epistemic, and visual economies of empire, Nasim shows that nineteenth-century science was represented in terms of comfort and energy, and that “manly” postures of Western astronomers at work in specialized chairs were contrasted pointedly with images of “effete” and cross-legged “Oriental” astronomers. Extending his historical analysis into the twentieth century, Nasim reexamines what he argues to be a famous descendant of the astronomer’s chair: Freud’s psychoanalytic couch, which directed observations not outward toward the stars but inward toward the stratified universe of the psyche. But whether in conjunction with the mind or the heavens, the observing chair was a point of entry designed for specialists that also portrayed widely held assumptions about who merited epistemic access to these realms in the first place. With more than 100 illustrations, many in color; flexibound.
Traces the history of the chair and provides guidelines to assist the reader in choosing a chair that suits one's body.
In the study of all sciences, chemistry is considered the central science. This is simply because it is essential to the study of all other sciences and (although not obvious), is fundamentally core to hairstyling and professional barbering. Without truly appreciating the chemistry, a barber or stylist will be deprived of the know-how behind the central component which drives the industry and their profession. Understanding hair chemistry is now more important than ever as it has served in some civilisations to represent power, beauty and even survival. (C)hair science is a book written by an ex-academic scientist (and bioengineer) turned-entrepreneur and pro-barber. The manuscript provides scientific content that professional barbers can use to better understand hair both on a macro and micro scale.
What do we do when we view a work of art? What does it mean to have an 'aesthetic' experience? Are such experiences purely in the eye of the beholder? This book addresses the nature of aesthetic experience from the perspectives of philosophy psychology and neuroscience.
Including considerations of sustainability in universities’ activities has long since become mainstream. However, there is still much to be done with regard to the full integration of sustainability thinking into science and engineering curricula. Among the problems that hinder progress in this field, the lack of sound information on how to actually implement it is prominent. Created in order to address this need, this book presents a wealth of information on innovative approaches, methods and tools that may be helpful in translating sustainability principles into practice.