The Machine as Spectacle: Function and Admiration in Seventeenth-Century Perspectives on Machines

Kapitel in diesem Buch

1. Frontmatter I
2. Editors’ Preface V
3. Contents VII
4. Introduction: The Hand as “instrumentum instrumentorum” XI
5. Intersections: Some Thoughts on Instruments and Objects in the Experimental Context of the Life Sciences 1
6. Representation and Distortion: On the Construction of Rationality and Irrationality in Early Modern Modes of Representation 20
7. World Orders and Corporal Worlds: Robert Fludd’s Tableau of Knowing and its Representation 38
8. Telescope, Theater, and the Instrumental Revelation of New Worlds 62
9. The Pathos of Function: Leonardo’s Technical Drawings 78
10. “Il pennello artificioso”: On the Intelligence of the Brushstroke 106
11. The Enlightenment “Catholization” of Projective Technology: Theurgy and the Media Origins of Art 127
12. The Machine as Spectacle: Function and Admiration in Seventeenth-Century Perspectives on Machines 152
13. The Anatomy of the Brain as Instrumentalization of Reason 176
14. The “Chymistry Laboratory”: On the Function of the Experiment in Seventeenth-Century Scientific Discourse 201
15. The Order of Knowledge, of Instruments, and of Leiden University, ca. 1700 222
16. The Ideal Musaeum Kircherianum and the Ignatian Exercitia spiritualia 235
17. Organology: The Study of Musical Instruments in the 17^th Century 257
18. In Sound Similar to the Harps: Early Descriptions of African Musical Instruments 269
19. Machines, Bats, and Scholars: Experimental Knowledge in the Late Eighteenth and Nineteenth Centuries 280
20. Scientific Coordination as Ethos and Epistemology 296
21. Breaking, Grinding, Burning: Instrumental Aspects in Early Microscopical Pictures 334
22. The Instrument in the Image: Revealing and Concealing the Condition of the Probing Tip in Scanning Tunneling Microscopic Image Design 348
23. Formal Signs and Numerical Computation: Between Intuitionism and Formalism. Critique of Computational Reason 362
24. Art Precedes Science: or Did the Camera Obscura Invent Modern Science? 383
25. Instrumentalities of Place in Science and Art 394
26. The Eye Opens, the Lamp Goes Out: Remarks on Bergson and Cinematography 421
27. The Illusion of Power: Central Bank Money 437
28. The Productivity of Blanks: On the Mathematical Zero and the Vanishing Point in Central Perspective. Remarks on the Convergences between Science and Art in the Early Modern Period 457
29. Instrumental Sound and Ruling Spaces of Resonance in the Early Modern Period: On the Acoustic Setting of the Princely potestas Claims within a Ceremonial Frame 479
30. About the Authors 507
31. Image Credits 515
32. Bibliography 517
33. Index of Names 555
34. Index of Subjects 563