‘Morgan's canon’ is a rule for making inferences from animal behaviour about animal minds, proposed in 1892 by the Bristol geologist and zoologist C. Lloyd Morgan, and celebrated for promoting scepticism about the reasoning powers of animals. Here I offer a new account of the origins and early career of the canon. Built into the canon, I argue, is the doctrine of the Oxford philologist F. Max Müller that animals, lacking language, necessarily lack reason. Restoring the Müllerian origins of the (...) canon in turn illuminates a number of changes in Morgan's position between 1892 and 1894. I explain these changes as responses to the work of the American naturalist R. L. Garner. Where Morgan had a rule for interpreting experiments with animals, Garner had an instrument for doing them: the Edison cylinder phonograph. Using the phonograph, Garner claimed to provide experimental proof that animals indeed spoke and reasoned. (shrink)

While from a late twentieth- and early twenty-first century perspective, the ideologies of eugenics (controlled reproduction to eliminate the genetically unfit and promote the reproduction of the genetically fit) and environmental conservation and preservation, may seem incompatible, they were promoted simultaneously by a number of figures in the progressive era in the decades between 1900 and 1950. Common to the two movements were the desire to preserve the “best” in both the germ plasm of the human population and natural environments (...) (including not only natural resources, but also undisturbed nature preserves such as state and national parks and forests). In both cases advocates sought to use the latest advances in science to bolster and promote their plans, which in good progressive style, involved governmental planning and social control. This article explores the interaction of eugenic and conservationist ideologies in the careers of Sacramento banker and developer Charles M. Goethe and his friend and mentor, wealthy New York lawyer Madison Grant. In particular, the article suggests how metaphors of nature supported active work in both arenas. (shrink)

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. -/- Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating (...) the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music. (shrink)

An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot. -/- Animation is the optical illusion of motion created by the consecutive display of images of static elements. In film and video production, this refers to techniques by which each frame of a film or movie is produced individually. Computer animation is the art of creating moving images (...) via the use of computers. It is a subfield of computer graphics and animation. Anime is a medium of animation originating in Japan, with distinctive character and background aesthetics that visually set it apart from other forms of animation. An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot (even if it is a very short one). Manga is the Japanese word for comics and print cartoons. Outside of Japan, it usually refers specifically to Japanese comics. Special effects (abbreviated SPFX or SFX) are used in the film, television, and entertainment industry to visualize scenes that cannot be achieved by normal means, such as space travel. Stop motion is a generic gereral term for an animation technique which makes static objects appear to move. (shrink)

Important shifts took place in the areas investigated by British experimental philosophers during the late eighteenth century. In particular, the phenomena of heat, light, electricity, and magnetism shifted from largely qualitative, non-mathematical subjects to increasingly quantitative, mathematically based subjects. Emphasizing the Scottish context of Edinburgh natural philosopher, John Robison, this paper traces developments in magnetic theory in Britain from the latter quarter of the eighteenth century to the beginning of the nineteenth century. Robison is an important transitional figure who practiced (...) a new style of experimental philosophy, which eventually emerged as 'physics' in the nineteenth century. In particular, Robison's works presented and disseminated the one-fluid magnetic theory of Franz Aepinus among British experimental philosophers. (shrink)

Summary Historians of all kinds are beginning to return to temporally expansive studies after decades of aversion and neglect. There are even signs that intellectual historians are returning to the longue durée. What are the reasons for this revival of long-range intellectual history? And how might it be rendered methodologically robust as well as historically compelling? This article proposes a model of transtemporal history, proceeding via serial contextualism to create a history in ideas spanning centuries, even millennia: key examples come (...) from work in progress on ideas of civil war from ancient Rome to the present. The article concludes with brief reflections on the potential impact of the digital humanities on the practice of long-range intellectual history. Summary Historians of all kinds are beginning to return to temporally expansive studies after decades of aversion and neglect. There are even signs that intellectual historians are returning to the longue durée. What are the reasons for this revival of long-range intellectual history? And how might it be rendered methodologically robust as well as historically compelling? This article proposes a model of transtemporal history, proceeding via serial contextualism to create a history in ideas spanning centuries, even millennia: key examples come from work in progress on ideas of civil war from ancient Rome to the present. The article concludes with brief reflections on the potential impact of the digital humanities on the practice of long-range intellectual history. (shrink)

The article addresses a highly detailed and complex lithograph with the title Aperçu d­e ­l’Origine du Culte Hébraïque, which was designed and executed in Paris in 1841 by a Hungarian rabbi, David Rosenberg. The iconographic programme of the elaborate print, also conceived by the rabbi, is based on the Kabbalistic understanding of the system of the universe and Judaism, and is presented in an explicatory booklet to the lithograph. However, in a separate publication Rabbi Rosenberg offered a different interpretation: a (...) Masonic reading of the tableau, in which the symbolic numbers of Kabbalah and the various scenes in the lithograph were associated with the symbols, degrees, office-bearers, and ceremonies of Freemasonry, including the physical arrangement of the Masonic lodge and its furnishing. Thereby the rabbi wished to prove that Freemasonry originated with the Hebrews. The true protagonist in both readings is the divine order, embodied in the universal harmony and the laws of nature, which manifested itself in Judaism, the source of Freemasonry. The article explains the Kabbalistic meaning of the lithograph and its application to Freemasonry. Rosenberg’s endeavour will be analysed within the wider Masonic historical context. The probable reasons behind the reinterpretation of the lithograph from a Judaic into a Masonic work will be explored, including Rosenberg’s possible personal motives. It will be argued that the rabbi used Kabbalah as a tool to gain higher recognition within the Masonic lodge. (shrink)

In a previous study the author proposed that the third edition of Leviathan was produced not long before 1702 . An alternative view, dating the edition to 1670 and suggesting that it incorporated corrections by Hobbes, was put forward by the late Karl Schuhmann; it was based on both typographical and textual evidence. This article considers Schuhmann's arguments and finds them unconvincing. It also adduces some new evidence , on the basis of which it proposes that this edition was produced (...) in the period 1695-1702, probably by the printer John Darby. (shrink)

The concept of popularization, in the present context, implies the existence of a reading public interested in science, together with a corpus of scientific knowledge, part of which, in its range and complexity, was outside the limits of the general understanding.

This contribution to a symposium on quietism concerns what is known as the Quietist period of Quakerism in the eighteenth century. Dandelion addresses the key question of conflict between the quietist commitment of the Quaker faithful and the commitment of many among them to abolitionism and other pressing social causes. He reviews the scholarship on this issue, noting the recent tendency to look for mystical aspects to the social commitment of Quakers. Instead, however, he argues that the culture of Friends (...) during this period became self-enclosed to a remarkable degree, permitting some of the members to move about extramurally, as required by conscience, then return to their essentially quietist world. (shrink)