This 1867 document, akin to a patent application for the US Patent Office, is among the first to describe processes for producing both motion and color photography. It precedes by 20 years Edison's ...1888 kinetograph/kinetoscope design, the earliest working prototype of cinema. Its author is Charles Cros, who also outlined a phonograph system in 1877, a few months before Edison displayed his working phonograph. Cros is mostly known as a poet, fiction writer and playwright associated with members of the French Symbolist and Decadent movements (Arthur Rimbaud, Paul Verlaine, Auguste Villiers de l'Isle-Adam). Yet he was an accomplished technician and inspired media innovator who deserves reconsideration in media history. Evidence of his status comes for instance from his close collaboration with Jules-Adrien Carpentier, the very engineer the Lumière Brothers tasked with constructing their Cinématographe camera. Sent to and received by the French Academy of Sciences, this document is in three parts. The first describes with prescient specificity the photographic synthesis of motion. The second offers several ways of achieving the photographic synthesis of color using filters and projection (rather than pigment and print, as later achieved in the 1890s). The last and more cryptic section concerns an ambitious theory of perception. Unpublished in French until 1970, this document will be of wide interest to scholars of media history, cinema and photography studies, literary studies, and modernist studies. The introductory essay makes a strong case for rehabilitating Charles Cros as a key inceptor of modern audiovisual media.
Right to the Source Harbster, Jennifer
The Science teacher (National Science Teachers Association),
03/2015, Letnik:
82, Številka:
3
Journal Article
Recenzirano
Harbster talks about a silent film A Day with Thomas A. Edison produced by the General Electric Co in 1922. It offers a glimpse into early 20th-century science and industry and also humanizes the ...larger-than-life Wizard of Menlo Park. The 24-minute film captures the industrious 74-year-old inventor, scientist, and industrialist at his laboratory in Orange NJ.
Miller's talent for weaving seemingly disparate topics into a cohesive argument is showcased in her four chronological chapters, each of which pairs close readings with considerations of "a specific ...aspect of the automatic body as it engages with the developing media of nineteenth-century poetry" (20). Thematizing a resistance to interpersonal sympathy, these poems cue readers to turn inward, thus aligning themselves with critical attempts to "shore up the boundedness of the individual" despite the presence of "an ever-increasing, and largely anonymous, reading public" (86). Despite the very occasional appearance of slightly overstated claims (in underscoring the visuality of printed texts, for example, Miller may do too much to discount the mnemonic nature of sound and rhythm), and though it might have benefited from a few more extensive close analyses of the poems at hand, Poetry, Media, and the Material Body is a delight to read.
Self-consciously identifying himself as a "Professional Athlete," he drafted a patent application for what he called a "novel and effective portable method of advertising" (figs. 1, 2).2 This mobile ...moving-picture device was to be mounted on a human body that would walk the streets while projecting lantern slides or films, bringing novel meaning to the newly developing media and the bandied-about terms of "moving pictures" and "living pictures."
Tilley's careful analysis undermines common misconceptions about blindness as a disability, including the idea that blindness means a lifetime of complete darkness; instead, she demonstrates a ...continuum of visual impairment in the nineteenth century, from myopia to cataracts, and shows the ebb and flow of vision throughout individual lifetimes. In response to the increasing number of people with visual impairments, nineteenth-century inventors developed new technologies aimed at increasing literacy, from William Moon's embossed type to braille. Throughout Blindness and Writing, Tilley is attentive to the relationship between blindness and literary form, arguing that new technologies, such as embossed print, which aimed to make literature accessible to those with visual impairments, shaped both the experience of blind people as well as larger ideas about language and communication in Victorian culture.
George Washington Carver (1864?-1943) mastered chemistry, botany, mycology (study of fungi), music, herbalism, art, and cooking; his life began in slavery about 1864 in Diamond Grove, Missouri. ...Finding himself rejected from college due to his race, he tried his hand at homesteading in Kansas. Finally, in 1890 he was accepted as an art major at Simpson College in Iowa, where he was the only African American. Within a year, he transferred to Iowa State Agricultural College (today's Iowa State University) to pursue agriculture. Hence, Carver earned a master's degree at Iowa State Agricultural College and went on to become that university's first Black faculty member. His peanut work, beginning in about 1903, was aimed at freeing African American farmers and the South from the tyranny of cotton production. With innovative farming methods, Carver convinced Southern farmers to grow such soil-enriching crops as soybeans and peanuts, in addition to cotton. At the heart of his vision for an economically rejuvenated South was his teaching that nature produced no waste.
The club served as a kind of incubator for Silicon Valley; a number of microcomputer companies, entrepreneurs, hackers, and other tech stars emerged from its ranks-most famously Apple. MARCH 7, ...1876-Alexander Graham Bell files a patent for the telephone, beating a similar claim by just two hours. Bell sued Gray and Western Union for infringement, taking the case all the way to the US Supreme Court, which upheld Bell's right to the invention.
