Umberto Eco argues that a mirror image is not a sign. At best it is a double, a thing that ceases to be once the reflected object is removed. Harry Mulisch narratively suggests that mirror images function metaphorically as gateways between human suffering and the divine. And interestingly, science employs mirrors and mirror images both to turn our gaze upwards and to show us reflections of our place in the cosmos. Tying together Eco's notion of the double, Mulisch's insistence that (...) mirror images reflect humanity's construction of the divine, and the Giant Magellan Telescope Project's cosmic images, it is my contention that modern, telescopic mirror images are much more than snapshots of the cosmos. They are constructions of human and divine meaning that—signifying—pose the question, what is reflected: the cosmos or humanity? (shrink)

In this paper, we identify and describe a new practice for responding to unfinished requests, which we call telescoping responses, due to their being designed for telescoping the request sequence forward in the face of troubles with progressivity and in producing the request. Considering cases from an American shoe repair shop, we demonstrate that telescoping responses serve to telescope request sequences exactly because they are neither syntactically, prosodically or pragmatically fitted to the unfinished requests that they respond to.

The brief life of the Accademia del Cimento (1657–1667), the first known society with a purely experimental programme,11 Over the period of a year and a half in 2020–2021, I had the honor to join the European-funded research group Tacitroots under the direction of Professor Giulia Giannini, at the Università Statale di Milano. My task was to research the instruments of the Accademia del Cimento through the lens of social and cultural history. I therefore approached these instruments as cultural products, (...) investigating the agencies that shaped them: specifically, I was interested in the processes involved in their design and construction. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 101025015. is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how the supposed “invisibility’ of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron. (shrink)

How do we know what is metaphysically possible? Many philosophers agree that conceivability is our main, if not the only, guide to possibility. And attempts at conceiving various philosophically relevant scenarios lie at the heart of much of philosophical method. No wonder that the link between the epistemic and the modal has attracted a lot of attention. The present collection documents it on more than five hundred pages of densely argued text authored by some of the most creative philosophers in (...) the area and published here for the first time. Meanwhile, Philosophical Studies have also published a thematic issue on the topic that reads like continuation of the collection, carrying the debate a bit further. We stay here with the collection. (shrink)

in 1612, lodovico cigoli completed a fresco in the pauline chapel of the basilica of santa maria maggiore in rome depicting apocalypse 12: “a woman clothed with the sun, and the moon under her feet.” he showed the crescent moon with spots, as his friend galileo had observed with the newly invented telescope. considerations of the orthodox view of the perfect moon as held by philosophers have led historians to ask why this clearly imperfect moon in a religious painting (...) raised no eyebrows. we argue that when considered in the context of biblical interpretation and the rhetoric of the counter-reformation, the imperfect moon under the woman's feet was entirely consistent with traditional interpretations of apocalypse 12. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 135-149 [Access article in PDF] Ghostly Comparisons: Anderson's Telescope H. D. Harootunian While the formation of area studies in the universities and colleges of the United States was initially inaugurated as a response to the Cold War "necessity" to win the hearts and minds of the unaligned, many of whom were new refugees of decolonization, one of its unintended consequences was to foster the development (...) of comparative perspectives of study across disciplines and different cultural regions. But this secondary goal was often diverted by the principal purpose of area studies programs to supply authoritative information on regions outside of Euro-America (the second and third worlds) considered crucial to the national security and to private businesses thrown increasingly into an expanding global market seeking new regions capable of providing buyers, workers, and materials. In time, the vocation of comparison became part of the unconscious of area studies, as the unit of the nation-state took precedence over all other considerations. Instead of envisaging genuinely interdisciplinary agendas that were able to integrate different disciplines, area studies have too often settled for simple multidisciplinarism, substituting coverage for comparison, language acquisition for method, the nation-state for the totality of the cultural region. Benedict Anderson's recent Spectre of Comparisons reminds us of the role played by area studies programs in the American academic profession during the nervous days of the Cold War and the wartime exigencies that led to their postwar organization and installation in a number of universities. But it also recalls for us the comparative promise associated with area studies and how it was either redirected to a multidisciplinary approach poorly disguised as interdisciplinarism or simply incorporated into large developmental narratives like modernization theory. It is instructive to see how Anderson's own work, rather than Southeast Asian area studies, has been able to achieve the remote goal of integration and comparison in a number of stunning examples that have eluded the collective efforts of many institutional programs. This singular success magisterially discloses how he was trained to envisage the region as a "unified" area studies program, even though little more than a geographical term named this unity, and what he needed to do to actually realize the dim prospect of achieving some sort of larger, integrated understanding, which was eventually inscribed in his seminal book, Imagined Communities. At the most basic level, Anderson was able to secure this effect first by roaming around the area (turning his banishment from Indonesia in 1972 to good use by shifting his attention to Thailand and then the Philippines). Yet, as his essays show, there were other, more intellectually and epistemologically compelling reasons which, if amplified, might provide such diversity with a sense of commonality that only geography and the putatively integrative approach of an area studies program seemed willing to promise even as they failed to deliver.Anderson situates his own intellectual trajectory within the institutional circumstances of the region as an area studies which he and his contemporary fellow students "helped give a certain reality" [Spectre 19]. In fact, "Southeast Asia" has always been [End Page 135] the common frame that structured the particular relationship between Europe of the colonizers and its Asian colonized and thus became the location that best exemplified for him the peculiar nature of the "haunting," as he puts it, as both the place of comparison and the necessity of comparability. In other words, Southeast Asia was the locus that best afforded a sighting of the spectacle of specters that recalled authorizing sister images in Europe and provided a perspective that was necessarily comparative. In Anderson's reckoning, comparison first referred to the circulation of images between metropole and colony and secondly between the various colonial sites that constituted Southeast Asia. As a result, Southeast Asia, and by extension all colonies, became the overdetermined place of haunting.Beyond the agency of the war, of course, was the experience of colonialism and those first modern interpreters of Asia who, as administrators, spent long years in the field serving imperial bureaucracies and who were in the incomparable position of examining such sites... (shrink)

There is an uncanny unanimity about the founding role of Kepler's Dioptrice in the theory of optical instruments and for classical geometric optics generally. It has been argued, however, that for more than fifty years optical theory in general, and Dioptrice in particular, was irrelevant for the purposes of telescope making. This article explores the nature of Kepler's achievement in his Dioptrice . It aims to understand the Keplerian 'theory' of the telescope in its own terms, and particularly (...) its links to Kepler's theory of vision. It deals first with Kepler's way to circumvent his ignorance of the law of refraction, before turning to Kepler's explanations of why lenses magnify and invert vision. Next, it analyses Kepler's account of the properties of telescopes and his suggestions to improve their designs. The uses of experiments in Dioptrice , as well as the explicit and implicit references to della Porta's work that it contains, are also elucidated. Finally, it clarifies the status of Kepler's Dioptrice vis-à-vis , classical geometrical optics and presents evidence about its influence in treatises about the practice of telescope making during roughly the first two-thirds of the seventeenth century. (shrink)

The author performed optical tests on four telescopes dating from the first half of the seventeenth century and on four objective lenses made by the Italian optician Giuseppe Campani. These tests consisted of the method of Ronchi and of the highly sensitive method of Foucault on an optical bench. The two incomplete surviving telescopes in Skokloster made by Wiesel have been reconstructed and compared with a telescope made by Divini and a telescope made by Campani. The contributions of (...) Schyrl de Rheita and Johannes Wiesel to the development of the telescope, and the influence of their new methods upon the opticians of the second half of the seventeenth century, especially Giuseppe Campani, are discussed. (shrink)

The ArgumentIn 1612, Lodovico Cigoli completed a fresco in the Pauline chapel of the Basilica of Santa Maria Maggiore in Rome depicting Apocalypse 12: “A woman clothed with the sun, and the moon under her feet.” He showed the crescent Moon with spots, as his friend Galileo had observed with the newly invented telescope. Considerations of the orthodox view of the perfect Moon as held by philosophers have led historians to ask why this clearly imperfect Moon in a religious (...) painting raised no eyebrows. We argue that when considered in the context of biblical interpretation and the rhetoric of the Counter-Reformation, the imperfect Moon under the woman's feet was entirely consistent with traditional interpretations of Apocalypse 12. (shrink)

While Newton tried to make his telescope into a proof of the supremacy of his theory of colours over older theories, his instrument was welcomed as a way to shorten telescopes, not as a way to solve the problem of chromatic aberration. This paper argues that the image published together with the report on Newton’s telescope in Philosophical Transactions (1672) encouraged this reception. The differences between this visualization and other images of Newton’s telescope, especially that published in (...) Opticks (1704), are discussed. This paper shows that the image in Opticks adopted characteristics of a Cartesian program of visualization of machines and instruments which complemented a rhetoric which attributed primacy to theory over practice. The differences between the images in Philosophical Transactions and Opticks are also considered within the broader institutional context of Newton’s attitude towards the Royal Society. (shrink)

There is no unproblematic way to study things as “African”, yet an epistemologically situated approach based on concrete technological projects situated in Africa and their social and political implications offers an important account of the intersection of the Fourth Industrial Revolution and African Studies. We explore this perspective through the notion of “indiscipline” using the Square Kilometre Array radio telescope project based in South Africa as a case study through which to observe “indiscipline” as a methodological approach to technoscience (...) at work. Indiscipline helps frame the socio-technical products of astrophysics and engineering, and we present the production of ventilators for COVID-19 patients as an example of how the design of mega-science projects can become entangled with the dynamic concerns of society. Our conclusion elaborates on the politics of large technological systems, opening up a conversation on the intersection of science and society in the context of the Fourth Industrial Revolution in African settings, using the template of experiences with the SKA and the National Ventilator Project in South Africa. (shrink)

This article focuses on some theoretical developments prompted by the use and construction of telescopes in the first half of the seventeenth century. It argues that today's notion of "scientific instrument" cannot be used to categorize these optical devices or explain their impact on natural philosophy. The article analyzes in historical terms the construction of conceptual references for the telescope as an instrument of a new kind, which possessed capabilities and working principles unlike those of traditional "mathematical instruments." It (...) shows that through the 1650s, in both rhetorical and explanatory terms, first-rank telescope makers, theoreticians, and astronomers found it useful to equate the telescope with the eye, suggesting that the data the telescope produced was as reliable as that obtained in naked-eye vision. Kepler's and Descartes' theory of the telescope will be shown to dovetail uncannily with this understanding of the telescope. (shrink)

“Almost in the same historical moment when Galileo directed all modern physics to the reading of that book which Nature was supposed to have written herself in geometric or, subsequently, algebraic signs, the modern novel and modern theatre stepped in as evidence that modern readers and spectators enjoy the effects of those fictions most of all when they are altogether free of science.” Friedrich Kittler, “Man as a drunken town musician”.

: Scientific observation is determined by the human sensory system, which generally relies on instruments that serve as mediators between the world and the senses. Instruments came in the shape of Heron's Dioptra, Levi Ben Gerson's Cross-staff, Egnatio Danti's Torqvetto Astronomico, Tycho's Quadrant, Galileo's Geometric Military Compass, or Kepler's Ecliptic Instrument. At the beginning of the seventeenth century, however, it was unclear how an instrument such as the telescope could be employed to acquire new information and expand knowledge about (...) the world. To exploit the telescope as a device for astronomical observations Galileo had to: 1. establish that telescopic images are not optical defects, imperfections in the eye of the observer, or illusions caused by lenses; 2. develop procedures for systematically handling errors that may occur during observation and measurement and methods of processing data. Galileo made it clear that in order to measure and interpret natural phenomena accurately, a suitable method and instrument would need to be developed. It is intriguing, therefore, to regard the Galilean telescope in this light and to discover the linkage established by Galileo among theory, method, and instrument—the telescope. Although the telescope was not invented through science, it is instructive to see how Galileo used optics to employ a theory-laden instrument for bridging the gulf between picture and scientific language, between drawing and reporting physical facts, and between merely sketching the world and actually describing it. (shrink)

This book explores the life of Galileo Galilei through a philosophical and scientific lens, utilizing an innovative hermeneutic perspective that places his work in the wider context of early modern hermeticism, religious heresy, and libertinism. As the first comprehensive study of Galileo’s life and work from a phenomenological and existentialist viewpoint, Paolo Palmieri calls into question the positivist myth of Galileo, the founder of modern science, and interrogates the positivist historiography that has shaped the myth since the historic publication of (...) the monumental edition of Galileo’s works at the turn of the twentieth century. The book highlights the entanglement of Galileo’s natural philosophy with his private unorthodox convictions about Christian theology, Biblical hermeneutic, sexuality, and the hidden traditions of Italian heretics and libertines. The text demonstrates the philosophical, pedagogical, and political implications of this new reading of one of the founding fathers of modernity for both the sciences and the humanities. Addressing hotly debated questions of ethnicity, racism, subjectivity, the self, and pedagogy, this study will be of particular interest to scholars who teach both undergraduate and graduate courses in history of science, philosophy of science, phenomenology and existential philosophy, cultural studies, Italian studies, humanism, and the European Renaissance. (shrink)

The following essay explores the way in which notions of truth are linked to those of secure identity and hence to certain mathematical issues, from Plato and Aristotle onward. It argues that this recognition underlies traditional resorts to notions of form or eidos as securing both particular and general identity—at once the integrity of things and the link among things. I contend that nominalism rightly saw that there were certain problems with this notion in terms of the strict application of (...) the logical law of identity and the recognition of the “artificial” character of human understanding. However, I also argue that the most extreme fulfillment of the nominalist program after Frege itself ran foul of the law of identity because of the paradoxes of set theory. In the face of this double impasse I press for a re-configured Thomistic realism, taking account of the insights of Nicholas of Cusa that would abandon the ultimacy of the law of identity as paradoxically the only way to save identity and so truth, and would admit that the passage to the recognition of universals lies through the human creative construction of universals. Realism can still be saved here because in the Divine Son or Logos, in whom human reason participates, divine ideas are at once made and seen. (shrink)

In the Optics, Descartes claims that telescopes and microscopes lead to morally certain knowledge. It is unclear, however, that Descartes’s expressed confidence in these instruments is warranted. In this article, I show how a limited range of telescope and microscope observations could lead to morally certain knowledge for Descartes, and how observations beyond this range admit of enough reasonable doubt to undermine moral certainty. I also explain moral certainty as a form of knowledge in Descartes’s scientific practices, his epistemic (...) commitment to optical instruments, and I offer an explanation for why Descartes never used optical instruments in his scientific endeavours. -/- ---- -/- Dans la Dioptrique, Descartes prétend que les télescopes et les microscopes donnent accès à des connaissances moralement certaines. Cependant, il n’est pas certain que la confiance accordée par Descartes à ces instruments soit justifiée. Dans cet article, je montre comment une gamme limitée d’observations effectuées à l’aide d’instruments d’optique pourraient mener aux connaissances moralement certaines pour Descartes, et comment d’autres observations allant au-delà de cette gamme introduisent suffisamment de doute raisonnable pour saper cette certitude morale. Enfin, j’interprète la certitude morale comme une forme de connaissance dans l’empirisme de Descartes, j’explique son engagement épistémique envers les instruments d’optique, et j’éclaire les raisons pour lesquelles il n’a jamais employé d’instruments d’optique dans ses propres recherches scientifiques. (shrink)

Husserl’s Crisis argues that early modern science, exemplified in Galileo, separates the Lifeworld from a world of science by forgetting its origins in bodily perception on the one side, and the practices which found the science on the other. This essay argues that, rather, by overemphasizing mathematization and underemphasizing instruments or technologies which mediate perception, Husserl creates the division he describes. Positively, through the embodied use of instruments science remains thoroughly immersed in the Lifeworld.

Don Ihde has recently launched a sweeping attack against Husserl’s late philosophy of science. Ihde takes particular exception to Husserl’s portrayal of Galileo and to the results Husserl draws from his understanding of Galilean science. Ihde’s main point is that Husserl paints an overly intellectualistic picture of the “father of modern science”, neglecting Galileo’s engagement with scientific instruments such as, most notably, the telescope. According to Ihde, this omission is not merely a historiographical shortcoming. On Ihde’s view, it is (...) only on the basis of a distorted picture of Galileo that Husserl can “create“ the division between Lifeworld and the “world of science“, a division that is indeed fundamental for Husserl’s overall position. Hence, if successful, Ihde’s argument effectively undermines Husserl’s late philosophy of science. The aim of this paper is to show that Ihde’s criticism does not stand up to closer historical or philosophical scrutiny. (shrink)

Summary The twofold objective of this study is (1) to identify and give a brief review of the historical development of the various designs of early (pre-1850) telescope eyepieces, and (2) to determine by measurements and calculations the axial and lateral chromatic aberrations of a number of extant eyepieces from that period in order to provide basic data on which to judge the relative quality of different eyepiece forms. Eight distinct types of eyepieces containing one to five lens elements (...) are discussed and illustrated. The second objective was addressed by measuring the focal lengths of the individual lens elements and the lens spacings in each eyepiece. The data were processed by a ray-tracing program that yields the chromatic aberration (CA) and focal length of each of the eyepieces. Twenty-one telescopes from that period were studied in this way. Similar calculations were also made using data available in the literature on several additional historic telescopes. The conclusions drawn from the data are: (1) Telescopes with Galilean eyepieces have a smaller CA than those with Keplerian or Huygens eyepieces. (2) The two-lens Keplerian terrestrial eyepieces are demonstrated to have larger axial and lateral CA than any of the other eyepiece types. (3) Calculations from examples of telescopes by Divini and Campani for which data were available indicate that while the axial CAs of the two were the same, Campani's instrument had a much smaller lateral CA. (4) Five element eyepieces were found to be better corrected for CA than the early four-lens systems that replaced them. (5) This study tends to confirm the speculation that the reason makers of early achromatic telescopes overcorrected the objective lenses was to compensate for the CA of the eyepieces. (shrink)

This white paper outlines the plans of the History Philosophy Culture Working Group of the Next Generation Event Horizon Telescope Collaboration.

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate (...) decisions made by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)