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Shortly after Hooke died in 1703, his miscellaneous papers and unpublished manuscripts were entrusted to Richard Waller, who edited and published some of them in a volume titled The Posthumous Works of Robert Hooke (1705; reprinted, Frank Cass, 1968). Waller himself died, however, before he was able to complete the task of republishing Hooke’s papers and they were eventually handed on to William Derham. After delaying for what some of Hooke’s followers thought to be a scandalously long time, Derham finally published this volume in 1726. It contains numerous papers and notes by Hooke as well as a number of important papers and letters written by Hooke’s contemporaries and found, evidently, among Hooke’s literary remains. This is an exact facsimile reproduction of Derham’s edition of the Philosophical experiments and Observations of the late Eminent Dr. Rober Hooke (1726) except that an analytical table of contents, prepared by the General Editor, has been added. First Published in 1967. Routledge is an imprint of Taylor & Francis, an informa company.
At one time, Hooke was a research assistant to Robert Boyle. He is believed to be one of the greatest inventive geniuses of all time and constructed one of the most famous of the early compound microscopes.
A critical biography of the seventeenth-century scientist’s expansive life and work. Robert Hooke was England’s first professional scientist and a pioneer of science communication. He was also one of the earliest to write a guide for how others might become “experimental philosophers” like himself. In this new biography, Felicity Henderson takes Hooke’s scientific method as a starting point for an expedition into what Hooke himself saw as key aspects of a scientific life. Tracing this expansive life, the story draws readers through marketplaces, bookshops, construction sites, and coffee houses—even into the King’s royal presence at Whitehall Palace. Henderson explains how Hooke’s observations and conversations with the workmen, colleagues, craftsmen, and patrons he met through his work underpinned Hooke’s research in significant ways. The result is a fresh portrait of the scientist as a champion of the mundane, whose greatest gift was to help the world see even the smallest parts of everyday life with new eyes.
A biography of the famous seventeenth-century English scientist, Robert Hooke, who investigated light, sound, and microscopic organisms.
Leviathan and the Air-Pump examines the conflicts over the value and propriety of experimental methods between two major seventeenth-century thinkers: Thomas Hobbes, author of the political treatise Leviathan and vehement critic of systematic experimentation in natural philosophy, and Robert Boyle, mechanical philosopher and owner of the newly invented air-pump. The issues at stake in their disputes ranged from the physical integrity of the air-pump to the intellectual integrity of the knowledge it might yield. Both Boyle and Hobbes were looking for ways of establishing knowledge that did not decay into ad hominem attacks and political division. Boyle proposed the experiment as cure. He argued that facts should be manufactured by machines like the air-pump so that gentlemen could witness the experiments and produce knowledge that everyone agreed on. Hobbes, by contrast, looked for natural law and viewed experiments as the artificial, unreliable products of an exclusive guild. The new approaches taken in Leviathan and the Air-Pump have been enormously influential on historical studies of science. Shapin and Schaffer found a moment of scientific revolution and showed how key scientific givens--facts, interpretations, experiment, truth--were fundamental to a new political order. Shapin and Schaffer were also innovative in their ethnographic approach. Attempting to understand the work habits, rituals, and social structures of a remote, unfamiliar group, they argued that politics were tied up in what scientists did, rather than what they said. Steven Shapin and Simon Schaffer use the confrontation between Hobbes and Boyle as a way of understanding what was at stake in the early history of scientific experimentation. They describe the protagonists' divergent views of natural knowledge, and situate the Hobbes-Boyle disputes within contemporary debates over the role of intellectuals in public life and the problems of social order and assent in Restoration England. In a new introduction, the authors describe how science and its social context were understood when this book was first published, and how the study of the history of science has changed since then.
All physicists are familiar with Hooke's law of springs, but few will know of his theory of combustion, that his Micrographia was the first book on microscopy, that his astronomical observations were some of the best seen at the time, that he contributed to the knowledge of respiration, insect flight and the properties of gases, that his work on gravitation preceded that of Newton's, that he invented the universal joint, and that he was an architect of distinction and a surveyor for the City of London after the Great Fire. England's Leonardo is a biography of Hooke covering all aspects of his work, from his early life on the Isle of Wight through his time at Oxford University, where he became part of a group who would form the original Fellowship of the Royal Society. The author adopts a novel approach at this stage, dividing the book by chapter according to the fields of research-Physiology, Engineering, Microscopy, Astronomy, Geology, and Optics-in which Hooke applied himself. The book concludes with a chapter considering the legacy of Hooke and his impact on science.
A biography of a largely forgotten, maverick - a major figure in the 17th century cultural and scientific revolutions. Lisa Jardine places Robert Hooke in the historical and intellectual context of his time, she examines his vast width of interests, achievements and his many influential friends.
"This volume pays tribute to Hooke's considerable achievements in a range of scientific endeavours, and shows how he was to influence science and scientists in the centuries that followed with inventions that are still of importance today."--BOOK JACKET.
In late seventeenth-century London, the most provocative images were produced not by artists, but by scientists. Magnified fly-eyes drawn with the aid of microscopes, apparitions cast on laboratory walls by projection machines, cut-paper figures revealing the “exact proportions” of sea monsters—all were created by members of the Royal Society of London, the leading institutional platform of the early Scientific Revolution. Wicked Intelligence reveals that these natural philosophers shaped Restoration London’s emergent artistic cultures by forging collaborations with court painters, penning art theory, and designing triumphs of baroque architecture such as St Paul’s Cathedral. Matthew C. Hunter brings to life this archive of experimental-philosophical visualization and the deft cunning that was required to manage such difficult research. Offering an innovative approach to the scientific image-making of the time, he demonstrates how the Restoration project of synthesizing experimental images into scientific knowledge, as practiced by Royal Society leaders Robert Hooke and Christopher Wren, might be called “wicked intelligence.” Hunter uses episodes involving specific visual practices—for instance, concocting a lethal amalgam of wax, steel, and sulfuric acid to produce an active model of a comet—to explore how Hooke, Wren, and their colleagues devised representational modes that aided their experiments. Ultimately, Hunter argues, the craft and craftiness of experimental visual practice both promoted and menaced the artistic traditions on which they drew, turning the Royal Society projects into objects of suspicion in Enlightenment England. The first book to use the physical evidence of Royal Society experiments to produce forensic evaluations of how scientific knowledge was generated, Wicked Intelligence rethinks the parameters of visual art, experimental philosophy, and architecture at the cusp of Britain’s imperial power and artistic efflorescence.