“The book examines Kant’s influence on five strands of nineteenth-century scientific thought: Naturphilosophie and the effect of German Romanticism (especially Goethe) on biology; Fries’s philosophy of science; Helmholtz’s rejection of Naturphilosophie and Romanticism; neo-Kantianism and its return to “methodological” concerns in natural science and academic philosophy; and Poincaré and his reflections on scientific epistemology. The essays give a nuanced picture of Kant’s legacy to nineteenth-century thinkers and of the rich interaction between philosophical ideas and discoveries in the natural and mathematical sciences during this period. They point to the ways that the scientific developments of the nineteenth century link Kant’s thought to the science of the twentieth century.”
My interest in this subject extends from daily experiences with geometry and typography over a 35-year career of visual design. The terminology is personal and was created as needed. In late 1986, while sketching on a quadrille pad, I generated this little drawing and asked myself a seemingly simple question: How many different 5×5 images will nature allow? After filling pages of quadrille pad I realized that imagination alone wasn’t up to the task (not an easy thing for an artist to accept). I next made a 20-foot-wide wallchart and kept searching for a method to generate quantities of these symbols. Over several years I worked on the 5×5 problem in my spare time. It soon became my favorite intellectual diversion. I thought of it as some kind of hyper-digital I Ching. I thought of it as my Glass Bead Game.
“Owen Schuh uses mathematical procedures, sometimes with the aid of a calculator as well as bespoke drawing machines, to generate emergent drawings which evoke computational and natural system visualisations. One of the key aspects of Owen’s work is the use of simple formulae, iteratively, to direct the growth of complex structures – local calculations give rise to autonomous and unexpected global configurations.”
“…features twelve essays by leading specialists in the fields of musicology, history of science, astronomy, philosophy, and instrument building that explore the relations between music and the scientific culture of Galileo’s time. The essays take a broad historical approach towards understanding such topics as the role of music in Galileo’s experiments and in the scientific revolution, the musical formation of scientists, Galileo’s impact on the art and music of his time, the scientific knowledge of instrument builders, and the scientific experiments and cultural context of Galileo’s father, Vincenzo Galilei.”