Science In London

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways. Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

The essays in this volume are organised thematically. The first essay sets the scene by reviewing the present position and future potential of science museums as educational and cultural resources. The next section is devoted to the role of museum exhibitions and analyses how exhibitions deal with complex material. The third section is concerned with museum programmes and reports on the strengths and weaknesses of different museum programmes, ranging from gallery drama to the Boston Museum's innovative experiment with Science-by-mail.

Hello. I am a book. But I'm also a portal to the universe. I have 112 pages, measuring twenty centimetres high and twenty centimetres wide. I weigh 450 grams. And I have the power to show you the wonders of the world.

Citizen science, the active participation of the public in scientific research projects, is a rapidly expanding field in open science and open innovation. It provides an integrated model of public knowledge production and engagement with science. As a growing worldwide phenomenon, it is invigorated by evolving new technologies that connect people easily and effectively with the scientific community. Catalysed by citizens’ wishes to be actively involved in scientific processes, as a result of recent societal trends, it also offers contributions to the rise in tertiary education. In addition, citizen science provides a valuable tool for citizens to play a more active role in sustainable development. This book identifies and explains the role of citizen science within innovation in science and society, and as a vibrant and productive science-policy interface. The scope of this volume is global, geared towards identifying solutions and lessons to be applied across science, practice and policy. The chapters consider the role of citizen science in the context of the wider agenda of open science and open innovation, and discuss progress towards responsible research and innovation, two of the most critical aspects of science today.

Bloomsbury Scientists is the story of the network of scientists and artists living in a square mile of London before and after the First World War. This inspired group of men and women viewed creativity and freedom as the driving force behind nature, and each strove to understand this in their own inventive way. Their collective energy changed the social mood of the era and brought a new synthesis of knowledge to ideas in science and art. Class barriers were threatened as power shifted from the landed oligarchy to those with talent and the will to make a difference.

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.

"It is the summer of 1854. Cholera has seized London with unprecedented intensity. A metropolis of more than 2 million people, London is just emerging as one of the first modern cities in the world. But lacking the infrastructure necessary to support its dense population - garbage removal, clean water, sewers - the city has become the perfect breeding ground for a terrifying disease that no one knows how to cure." "As their neighbors begin dying, two men are spurred to action: the Reverend Henry Whitehead, whose faith in a benevolent God is shaken by the seemingly random nature of the victims, and Dr. John Snow, whose ideas about contagion have been dismissed by the scientific community, but who is convinced that he knows how the disease is being transmitted. The Ghost Map chronicles the outbreak's spread and the desperate efforts to put an end to the epidemic - and solve the most pressing medical riddle of the age."--BOOK JACKET.

The scientists affiliated with the early Royal Society of London have long been regarded as forerunners of modern empiricism, rejecting the symbolic and moral goals of Renaissance natural history in favor of plainly representing the world as it really was. In Aesthetic Science, Alexander Wragge-Morley challenges this interpretation by arguing that key figures such as John Ray, Robert Boyle, Nehemiah Grew, Robert Hooke, and Thomas Willis saw the study of nature as an aesthetic project. To show how early modern naturalists conceived of the interplay between sensory experience and the production of knowledge, Aesthetic Science explores natural-historical and anatomical works of the Royal Society through the lens of the aesthetic. By underscoring the importance of subjective experience to the communication of knowledge about nature, Wragge-Morley offers a groundbreaking reconsideration of scientific representation in the early modern period and brings to light the hitherto overlooked role of aesthetic experience in the history of the empirical sciences.