Product Description: This book is the first effort to examine the changing nature of research in the physical sciences since World War II - from individuals or small groups to the gigantic team efforts of hundreds of scientists.

"I want to get at the blown glass of the early cloud chambers and the oozing noodles of wet nuclear emulsion; to the resounding crack of a high-voltage spark arcing across a high-tension chamber and leaving the lab stinking of ozone; to the silent, darkened room, with row after row of scanners sliding trackballs across projected bubble-chamber images. Pictures and pulses—I want to know where they came from, how pictures and counts got to be the bottom-line data of physics." (from the preface)Image and Logic is the most detailed engagement to date with the impact of modern technology on what it means to "do" physics and to be a physicist. At the beginning of this century, physics was usually done by a lone researcher who put together experimental apparatus on a benchtop. Now experiments frequently are larger than a city block, and experimental physicists live very different lives: programming computers, working with industry, coordinating vast teams of scientists and engineers, and playing politics.Peter L. Galison probes the material culture of experimental microphysics to reveal how the ever-increasing scale and complexity of apparatus have distanced physicists from the very science that drew them into experimenting, and have fragmented microphysics into different technical traditions much as apparatus have fragmented atoms to get at the fundamental building blocks of matter. At the same time, the necessity for teamwork in operating multimillion-dollar machines has created dynamic "trading zones," where instrument makers, theorists, and experimentalists meet, share knowledge, and coordinate the extraordinarily diverse pieces of the culture of modern microphysics: work, machines, evidence, and argument.

How do the spaces in which science is done shape the identity of the scientist and the self-conception of scientific fields? How do the sciences structure the identity of the architect and the practice of architecture in a specific period? And how does the design of spaces such as laboratories, hospitals, and museums affect how the public perceives and interacts with the world of science? The Architecture of Science offers a dazzling set of speculations on these issues by historians of science, architecture, and art; architectural theorists; and sociologists as well as practicing scientists and architects. The essays are organized into six sections: "Of Secrecy and Openness: Science and Architecture in Early Modern Europe"; "Displaying and Concealing Technics in the Nineteenth Century"; "Modern Space"; "Is Architecture Science?"; "Princeton after Modernism: The Lewis Thomas Laboratory for Molecular Biology"; and "Centers, Cities, and Colliders." (view table of contents)

Product Description: All technologies differ from one another. They are as varied as humanity's interaction with the physical world. Even people attempting to do the same thing produce multiple technologies. For example, John H. White discovered more than l 1000 patents in the 19th century for locomotive smokestacks...read more

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Product Description: First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company. (view table of contents, read Amazon.com's description)

(view table of contents)

(view table of contents)

Product Description: First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company. (view table of contents, read Amazon.com's description)

Product Description: First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company. (view table of contents, read Amazon.com's description)

(view table of contents)

The true birth of modern twentieth-century science is traced through the groundbreaking work of these German and French scientists--German theoretical physicist Albert Einstein and Henri Poincaré, a mathematician responsible for mapping time coordinates across continents. Reprint. 30,000 first printing.

Product Description: This comparative study of contemporary artists William Kentridge (born 1955) and Nalini Malani (born 1946) focuses on their use of the shadow play as a medium of memory. Independently of each other, both artists have deployed this centuries-old performative art form in works that are widely considered to be highpoints of their respective careers--works such as Kentridge's installation The Refusal of Time and Malani's video/shadow play In Search of Vanished Blood...read more