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In this compelling story about one of the nineteenth century's most famous Americans, Benjamin Reiss uses P. T. Barnum's Joice Heth hoax to examine the contours of race relations in the antebellum North. Barnum's first exhibit as a showman, Heth was an elderly enslaved woman who was said to be the 161-year-old former nurse of the infant George Washington. Seizing upon the novelty, the newly emerging commercial press turned her act--and especially her death--into one of the first media spectacles in American history. In piecing together the fragmentary and conflicting evidence of the event, Reiss paints a picture of people looking at history, at the human body, at social class, at slavery, at performance, at death, and always--if obliquely--at themselves. At the same time, he reveals how deeply an obsession with race penetrated different facets of American life, from public memory to private fantasy. Concluding the book is a piece of historical detective work in which Reiss attempts to solve the puzzle of Heth's real identity before she met Barnum. His search yields a tantalizing connection between early mass culture and a slave's subtle mockery of her master.
This book reveals a new history of the imagination told through its engagement with the body. Even as they denounced the imagination’s potential for inviting luxury, vice, and corruption, American audiences avidly consumed a transatlantic visual culture of touring paintings, dioramas, gift books, and theatrical performances that pictured a preindustrial—and largely imaginary—European past. By examining the visual, material, and rhetorical strategies artists like Washington Allston, Asher B. Durand, Thomas Cole, and others used to navigate this treacherous ground, Catherine Holochwost uncovers a hidden tension in antebellum aesthetics. The book will be of interest to scholars of art history, literary and cultural history, critical race studies, performance studies, and media studies.
A rich and informative exploration of our age-old obsession with “making life.” Could an eighteenth-century mechanical duck really digest and excrete its food? Was “the Turk,” a celebrated chess-playing and -winning machine fabricated in 1769, a dazzling piece of fakery, or could it actually think? Why was Thomas Edison obsessed with making a mechanical doll—a perfect woman, mass-produced? Can a twenty-first-century robot express human emotions of its own? Taking up themes long familiar from the realms of fairy tales and science fiction, Gaby Wood traces the hidden prehistory of a modern idea—the thinking, hoaxes, and inventions that presaged contemporary robotics and the current experiments with artificial intelligence. Informed by the author’s scientific and historical research, Edison’s Eve is also a brilliant literary, cultural, and philosophical examination of the motives that have driven human beings to pursue the creation of mechanical life, and the effects of that pursuit—both in its successes and in its failures—on our sense of what makes us human.
Part historical detective story, part biography, "The Turk" relates the saga of an unusual 18th-century robot--fashioned from wood to look like a man who was dressed like a Turk and played chess. 25 illustrations.