David R. Topper

On Anamorphosis: Setting Some Things Straight

Recently there has been a revival of anamorphic imagery, notably in its use as a metaphor by postmodern theorists. But often, discussions of anamorphosis are confused, and even wrong. In this article, the author not only focuses upon correcting these errors, but also analyzes our perception of anamorphic images, since there is a dearth of such in the literature. The resulting discussion points out aspects of how we see anamorphs that have never been pointed out before.

Newton on the number of colours in the spectrum

Abstract In his Opticks (1704), Newton described the spectrum of white light as divided into seven distinct colours, a system subsequently adopted almost universally. But Newtons Optical Lectures of 1670–1672 reveal that he initially saw only five colours (red, yellow, green, blue, and violet). Several hypotheses have been put forward to explain Newtons addition of orange and indigo, the most recent and seemly persuasive being that Newton drew upon the analogy between colour and music (specifically the seven-tone scale of the octave). The argument presented here will qualify that thesis, with the emphasis instead being upon aesthetic factors (independent of external analogies) playing a key role in Newtons thinking.

The advancement of science, and its burdens : the Jefferson lecture and other essays

In this book Professor Holton continues his analysis of how modem science works and what its influences are on our world, with particular emphasis on the role of the thematic elements - those often unconscious presuppositions that guide scientific work to success or failure. The foundation of the book is provided by the authors research on the work of Albert Einstein, which is then contrasted with other styles of research in the advancement of science. The author deals directly with the often unforeseen consequences of the progress of contemporary science, detailing its fruits as well as its burdens. The many questions examined in this work range over a broad spectrum of areas that command the attention of all readers with an interest in understanding the development of modem science.

Galileo, Sunspots, and the Motions of the Earth: Redux

In the Third Day of the Dialogue Concerning the Two Chief World Systems (1632), Galileo presents an argument for the motion of the earth based on the annual motion of sunspots. Presented in a rather obscure and seemingly unorganized manner, this demonstration has been the source of much confusion and debate. Two key writings are Arthur Koestlers attack on Galileos integrity, based on his reading of the proof as a piece of sophistry, and A. Mark Smiths defense of Galileo, based on a comparison of the Ptolemaic and Copernican explanations of the phenomenon. This essay reexamines the arguments of Galileo and others, uncovering especially a key flaw: that they disregarded, omitted, or trivialized the crucial role played by the precession of the equinoxes.

‘To reason by means of images’: J. J. Thomson and the mechanical picture of nature

Summary Throughout his life J. J. Thomson was committed to a mechanical interpretation of nature. This work proceeded in several stages. Early in his career he attempted a Lagrangian formulation of mechanics. But due to certain epistemological difficulties with this approach, he began exploring various analogies and models, particularly those involving vortex motion. After his discovery of the electron in 1897, he commenced a synthesis of the electron with his previous physical conceptions. The result was a hypothesis of the ether as being composed of particles even smaller than electrons.

Einstein’s 1934 two-blackboard derivation of energy-mass equivalence

We use a famous and a rare picture of Einstein to reconstruct the context of a lecture he gave on the derivation of the equivalence of energy and mass in Pittsburgh in 1934. This lecture is interesting from a historical and sociological point of view because, at the time, Einstein was at the height of his fame, the equivalence of energy and mass was being discussed in newspapers, and his presence in Pittsburgh created much attention among the general public. Einstein exhibited his well-known intuitive style of using only the most important physical information in the zero-momentum frame derivation. His method was simple and direct and is relevant to those who teach the zero-momentum frame idea. From the perspective of the nonspecialists in the Pittsburgh audience, it was presented at an expert level without allowing for many explanatory concessions we would take for granted today. A definitive picture of Einstein, in front of his famous energy equation, was missed by photographers who posed him with the w...

Posing Einstein's Question: Questioning Einstein's Pose.

The paper deals with different versions and variations of a famous photograph of Einstein. It sets the historical background for the picture and explains the meaning of the equation on the blackboard in terms of Einstein’s thinking in 1931.

Depth Perception in Linear and Inverse Perspective Pictures

The range of pictorial depth perception was tested with four pictures from the repertoire of European art, rather than the customary line drawings or photographs. These pictures included those rendered in linear perspective and inverse perspective, as well as those with different degrees of depth. Using Pandora’ Box, the subjects were asked to place a lamp at the same apparent depth as objects in the pictures. The subjects did so without regard to the depiction technique. The results suggest that depth is seen in pictures both where the rules of linear perspective hold and where they have been violated.

On Interpreting Pictorial Art: Reflections on J. J. Gibson's Invariants Hypothesis

Using J. J. Gibson’s article The Information Available in Pictures published in Leonardo as a point of departure, the author analyzes three hypotheses of pictorial art: (1) the visual, (2) the symbolic and (3) Gibson’s invariants hypothesis. Through a study of the first two hypotheses (drawing heavily upon evidence from the history of art), the author concludes that neither of them alone is sufficient for explaining the characteristics of pictures (thus corroborating Gibson’s judgment of them), but, as a result of his investigation, the author proposes a symbiotic hypothesis, which combines aspects of both the visual and symbolic hypotheses (which runs contrary to Gibson’s complete rejection of them both, or any combination of them). Gibson’s hypothesis is analyzed in light of the author’s proposed alternative and he concludes that his symbiotic hypothesis is superior to the three hypotheses that have been proposed in the past.

Interrelationships between the Visual Arts, Science and Technology: A Bibliography

The authors have prepared a bibliography of texts dealing either explicitly or implicitly with interrelationships between the visual arts, science and technology, but excluding the scientific restoration of art works, the detection of forgeries and the properties and hazards of art materials. The items listed are mainly secondary sources from the 20th century. The authors hope that the bibliography will provide a starting point for a study of this subject in depth.