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Translating Early Modern Science explores the essential role translators played in a time when the scientific community used Latin and vernacular European languages side-by-side. This interdisciplinary volume illustrates how translators were mediators, agents, and interpreters of scientific knowledge.
Cosmology—the science that aims at a comprehensive theory of creation, evolution, and present structure of the entire physical universe—is the subject of this compelling book by one of the world’s preeminent astronomers. Written especially for the general reader, Emerging Cosmology traces the history of what is perhaps the first science from the earliest surviving evidence of cosmological thought, circa 3,000 B.C.E., to the present. Robert Jastrow calls Emerging Cosmology "an eminently readable and absorbing account of the greatest revolution in human thought since the dawn of time—growing awareness that space is vast and the world of man is small. Lovell tells the story with a rare grace and insight that reveal the touch of a master on science for the layman."
In the history of science and philosophy and the philosophy of nature the name Robert Hooke has been largely ignored. H he is occasionally men tioned. it is usually in one of two ways: either he is briefly referred to in passing. or. he is viewed through the eyes of some later giant in the history of science and philosophy such as Sir Isaac Newton. Both approaches. however, do Hooke an injustice. In the academic world of today. there is no scholarly study available of Hooke's actual place in the history of science and philosophy with respect to his doctrines and accomplishments within the area of mechanics. Such a situation constitutes an unfortunate lacuna in the academic life of the world in our time. It is the more unfortunate because. in his time. Robert Hooke played an important role in the intellectual life of his world. Hooke. a contemporary of Boyle and Newton. lived from 1635 to 1703. For most of his active intellectual life he held the position of Curator of Experiments to the Royal Society of London. As a result of his own initi ative and of directives given him by other members of the Society. Hooke performed hundreds of experiments designed to explore the secrets of na ture so that men might better understand God's creation. In this treatise I will disengage from the large disorganized welter of monographs and trea tises left by Hooke all the material pertinent to the science of mechanics.
In Inwood's biography of this forgotten scientist, Robert Hooke and his world are vividly recreated with all their contradictions, successes, and failures. The Forgotten Genius is an absorbing and compelling study of this unduly overlooked man.
Major progress has been made in the field of driveshafts since the authors presented their first edition of this unique reference work. Correspondingly, major revisions have been done for second edition of the German Textbook (Springer 2003), which is present here in the English translation. The presentation was adjusted, novel improvements of manufacturing and design are described, and modern aspects of production are incorporated. The design and application of Hooke’s joint driveshafts is discussed as well as constant velocity joints for the construction of agricultural engines, road and rail vehicles. This work can be used as a textbook as well as a reference for practitioners, scientists, and students dealing with drive technology.
This book provides a compact history of gears, by summarizing the main stages of their development and the corresponding gradual acquisition of engineering expertise, from the antiquity to the Renaissance and the twentieth century. This brief history makes no claim to be exhaustive, since the topic is so extensive, complex and fascinating that it deserves an entire encyclopedia. Despite its brevity, the book debunks a number of popular misconceptions, such as the belief that the first literary description of a gear was supplied by Aristotle. It disproves not only this myth, but also other peremptory statements and/or axiomatic assumptions that have no basis in written documents, archaeological findings or other factual evidence. The book is chiefly intended for students and lecturers, historians of science and scientists, and all those who want to learn about the genesis and evolution of this topic.
In spite of all that has been written in the past decades about the first half-century of the Royal Society's existence, no one has so far examined just what took place at the Society's weekly meetings nor how far they fulfilled the expressed aim of promoting 'experimental learning'. Students of the early Royal Society have often taken its aim to have been fully expressed in the writings of such Fellows as Boyle, Hooke and Newton, aware that Hooke especially performed very many experiments at the meetings between 1662 and 1703, while he and others wrote about the necessity of doing so. This study attempts to analyse the content of the meetings in detail in order to discover how far and in what manner the aims of the Society were fulfilled in the seventeenth and early eighteenth centuries. This book for the first time explores the practices of the Society's Fellows, and shows how these altered between 1660 and 1727.
This book celebrates binocular vision by presenting illustrations that require two eyes to see the effects of cooperation and competition between them. Pictures are flat but by printing them in different colours and viewing them through similarly coloured filters (included with the hardcover book) they are brought to life either in stereoscopic depth or in rivalry with one another. They are called anaglyphs and all those in the book display the ways in which the eyes interact. Thus, the reader is an integral element in the book and not all readers will see the same things. The history, science and art of binocular vision can be experienced in ways that are not usually available to us and with images made specifically for this book. The study of vision with two eyes was transformed by the invention of stereoscopes in the early 19th century. Anaglyphs are simple forms of stereoscopes that have three possible outcomes from viewing them – with each eye alone to see the monocular images, with both eyes to see them in stereoscopic depth or rivalry, or without the red/cyan glasses where they can have an appeal independent of the binocularity they encompass. Through the binocular pictures and the words that accompany them there will be an appreciation of just how remarkable the processes are that yield binocular singleness and depth. Moreover, the opportunities for expressing these processes are explored with many examples of truly binocular art.