scholarly journals Planetariums, theatres of the Universe

2009 ◽  
Vol 5 (S260) ◽  
pp. 465-474
Author(s):  
Agnès Acker

AbstractThe history of this magic instrument is complex, and the teaching goal was never forgotten. Technological developments of the planetarium enable it now to treat the major topics of astronomy and astrophysics. But by simplifying too much or badly, one is likely to bring confusion in the spirits. The development of the planetarium is a continual challenge, as long as the scientific culture is not integrated perfectly in the cultural landscape. In several countries, planetariums link their knowledge and their know-how, for better resisting to economic difficulties, and better speaking about astronomy to their public. In particular the great project ALMA will be celebrated in a show for the International Year of Astronomy. Today's planetarium works as a theater for all sciences, and can issue a passport to the various scales of the universe

2021 ◽  
Vol 13 (25) ◽  
pp. 95-106
Author(s):  
Imma Forino

In Italy the history of modern equipment design has shifted between ‘mass production and one-off’, as architects Gio Ponti and Antonio Fornaroli wrote in an article in the magazine Domus (1948). Starting from this important reflection by the two Italian architects, the article takes into consideration the case study of office furniture.The aim of the article is to identify the cultural landscape of Italian design during the twentieth century, taking into consideration the example of the office desk as fil rouge of the history of design in Italy.The methodology adopted is deductive: starting from the selection of some case studies (desks designed for some elitist furnishings or, vice versa, for serial reproduction) and in relation to the architectural and cultural context in which they were created, some key concepts are deduced in order to understand the progressive adherence of Italian architects to the idea of modernity, and then to the massification of industrial design. New materials and ancient ‘know-how’ have merged into projects that have distinguished the history of design in Italy as original.The conclusion highlights how in the history of Italian office furniture as a multi-faceted history, where elite furniture can become a democratic product, until it becomes part of the contemporary office.


Author(s):  
Sibylle Anderl

This article looks at the philosophical aspects and questions that modern astrophysical research gives rise to. Other than cosmology, astrophysics particularly deals with understanding phenomena and processes operating at “intermediate” cosmic scales, which has rarely aroused philosophical interest so far. Being confronted with the attribution of antirealism by Ian Hacking because of its observational nature, astrophysics is equipped with a characteristic methodology that can cope with the missing possibility of direct interaction with most objects of research. In its attempt to understand the causal history of singular phenomena, it resembles the historical sciences, while the search for general causal relations with respect to classes of processes or objects can rely on the “cosmic laboratory”: the multitude of different phenomena and environments naturally provided by the universe. Furthermore, the epistemology of astrophysics is strongly based on the use of models and simulations and a complex treatment of large amounts of data.


2012 ◽  
Vol 16 (1 and 2) ◽  
pp. 451-463
Author(s):  
Felicity Spear

Increasingly, we are looking beyond our planet to speculate about our place in the Universe. In the context of ideas about the sky and cosmic space, art works have the potential to provoke curiosity and to play an educative and imaginative role in visualising connections with science, history and a space beyond the full range of our senses. While both artists and scientists reconstruct the material world on the basis of understanding, artists are able to exploit subjectivity and are not accountable to demonstrate proof. In this way, art seeks a poetic dimension or insight which speaks of things outside art in new or different ways. This paper discusses my recent research and the exhibitions I curated in order to coincide with the 2009 International Year of Astronomy. Included in these were an astro­photographer and a number of Australian artists, both Western and Indigenous, whose work has been influenced by the speculative and experimental processes involved with observation, image-capture and mapping, and the technological developments which shape human consciousness. They draw also on the history of human efforts to picture whatever lies beyond Earth’s atmosphere. This space, mostly beyond the naked eye, is revealed now through a machine-produced visibility which extends our vision. Together, these works show us how various systems of knowledge have sought to make sense of the cosmos and our place within it.


2021 ◽  
Vol 10 (1) ◽  
pp. e34610111752
Author(s):  
Patricia Muller de Moraes ◽  
Joadilson Almeida da Costa ◽  
Libia de Souza Boss Cunha ◽  
Alberto Willian Mascarenhas

This work has as main objective to measure the degree of technology used in the management of the field, through a quantitative sampling on management of processes in the agribusiness, with the application of information technologies and softwares based on ERP, focusing on the macro-region southeast of Mato Thick. The survey was conducted via email and telephone, with 15.19% of producers in the universe surveyed and has a 95% reliability level. An overview of ERP software is presented, as well as some technologies most used in the field, exemplifying their use and a brief history of how they emerged and how their users benefit today. Through the research it was possible to determine which are the most used software, which are the internal sectors controlled by ERPs, in addition to the degree of connectivity that the investigated real properties have. With the data obtained, it was also possible to know how producers who have not yet adhered to the use of ERPs manage their properties and why they have not yet chosen to migrate to more efficient management systems.


Migration and Modernities recovers a comparative literary history of migration by bringing together scholars from the US and Europe to explore the connections between migrant experiences and the uneven emergence of modernity. The collection initiates transnational, transcultural and interdisciplinary conversations about migration in the eighteenth and nineteenth centuries, demonstrating how mobility unsettles the geographic boundaries, temporal periodization, and racial categories we often use to organize literary and historical study. Migrants are by definition liminal, and many have existed historically in the spaces between nations, regions or ethnicities. In exploring these spaces, Migration and Modernities also investigates the origins of current debates about belonging, rights, and citizenship. Its chapters traverse the globe, revealing the experiences — real or imagined — of eighteenth- and nineteenth-century migrants, from dispossessed Native Americans to soldiers in South America, Turkish refugees to Scottish settlers. They explore the aesthetic and rhetorical frameworks used to represent migrant experiences during a time when imperial expansion and technological developments made the fortunes of some migrants and made exiles out of others. These frameworks continue to influence the narratives we tell ourselves about migration today and were crucial in producing a distinctively modern subjectivity in which mobility and rootlessness have become normative.


Somatechnics ◽  
2012 ◽  
Vol 2 (2) ◽  
pp. 250-262 ◽  
Author(s):  
Oron Catts ◽  
Ionat Zurr

The paper discusses and critiques the concept of the single engineering paradigm. This concepts allude to a future in which the control of matter and life, and life as matter, will be achieved by applying engineering principles; through nanotechnology, synthetic biology and, as some suggest, geo-engineering, cognitive engineering and neuro-engineering. We outline some issues in the short history of the field labelled as Synthetic Biology. Furthermore; we examine the way engineers, scientists, designers and artists are positioned and articulating the use of the tools of Synthetic Biology to expose some of the philosophical, ethical and political forces and considerations of today as well as some future scenarios. We suggest that one way to enable the possibilities of alternative frames of thought is to open up the know-how and the access to these technologies to other disciplines, including artistic.


2018 ◽  
Vol 11 (1-2) ◽  
pp. 279-295
Author(s):  
Mohammed Aref

This review essay introduces the work of the Egyptian scientific historian and philosopher Roshdi Rashed, a pioneer in the field of the history of Arab sciences. The article is based on the five volumes he originally wrote in French and later translated into Arabic, which were published by the Centre for Arab Unity Studies and which are now widely acclaimed as a unique effort to unveil the achievements of Arab scientists. The essay reviews this major work, which seems, like Plato’s Republic to have “No Entry for Those Who Have No Knowledge of Mathematics” written on its gate. If you force your way in, even with elementary knowledge of computation, a philosophy will unfold before your eyes, described by the Italian astronomer Galileo Galilei as “written in that great book which ever lies before our eyes—I mean the universe—but we cannot understand it if we do not first learn the language and grasp the symbols, in which it is written. This book is written in the mathematical language, and the symbols are triangles, circles and other geometrical figures, without whose help it is impossible to comprehend a single word of it; without which one wanders in vain through a dark labyrinth.” The essay is a journey through this labyrinth where the history of world mathematics got lost and was chronicled by Rashed in five volumes translated from the French into Arabic. It took him fifteen years to complete.


2010 ◽  
Vol 1 (1) ◽  
pp. 75-93
Author(s):  
Jessica Moberg

Immediately after the Second World War Sweden was struck by a wave of sightings of strange flying objects. In some cases these mass sightings resulted in panic, particularly after authorities failed to identify them. Decades later, these phenomena were interpreted by two members of the Swedish UFO movement, Erland Sandqvist and Gösta Rehn, as alien spaceships, or UFOs. Rehn argued that ‘[t]here is nothing so dramatic in the Swedish history of UFOs as this invasion of alien fly-things’ (Rehn 1969: 50). In this article the interpretation of such sightings proposed by these authors, namely that we are visited by extraterrestrials from outer space, is approached from the perspective of myth theory. According to this mythical theme, not only are we are not alone in the universe, but also the history of humankind has been shaped by encounters with more highly-evolved alien beings. In their modern day form, these kinds of ideas about aliens and UFOs originated in the United States. The reasoning of Sandqvist and Rehn exemplifies the localization process that took place as members of the Swedish UFO movement began to produce their own narratives about aliens and UFOs. The question I will address is: in what ways do these stories change in new contexts? Texts produced by the Swedish UFO movement are analyzed as a case study of this process.


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