Historians have unanimously credited Christopher Wren with having constructed a weather clock (a self-registering instrument) in the early 1660s. This conclusion was based on the account of the French diplomat Balthasar de Monconys, which included a sketch uncannily similar to an undated drawing by Wren of the weather clock. By critically re-examining the available sources, I argue that one can infer that Wren never actually constructed a weather clock. What Monconys saw and sketched was, in fact, a drawing produced by Wren for a meeting of the Royal Society that took place on 8 January 1662. I further show that there is strong evidence to assume that Wren's drawing for the Royal Society is the undated drawing preserved at the Royal Institute of British Architects. The new context in which I place Wren's drawing provides an incentive to look at it with fresh eyes. Though the drawing does not represent a device actually constructed by Wren, it still bears (unexpected) connections to the material world that surrounded him. The analysis of the drawing developed in this article will be relevant for historians interested in the role that images can play as historical evidence.
历史学家一致认为，克里斯托弗·雷恩(Christopher Wren)在17世纪60年代早期建造了一个气象钟(一种自动记录的仪器)。这一结论是基于法国外交官巴尔塔萨·德·蒙科内斯(Balthasar de Monconys)的描述，其中包括一幅素描，与雷恩未注明日期的天气钟的素描惊人地相似。通过批判性地重新审视现有的资料来源，我认为人们可以推断雷恩从未真正建造过一个天气钟。Monconys所看到和画出的，实际上是雷恩为1662年1月8日皇家学会的一次会议绘制的一幅画。我进一步表明，有强有力的证据表明，雷恩为英国皇家学会绘制的图纸是保存在英国皇家建筑师学会的未注明日期的图纸。我把雷恩的画放在一个新的背景下，让我有动力用新的眼光来看待它。虽然这幅画并不代表Wren实际建造的装置，但它仍然与他周围的物质世界有着(意想不到的)联系。本文对这幅画的分析将与对图像作为历史证据的作用感兴趣的历史学家有关。
{"title":"Graphical details: the secret life of Christopher Wren's drawing of the weather clock","authors":"I. Mihâilescu","doi":"10.1098/rsnr.2021.0048","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0048","url":null,"abstract":"Historians have unanimously credited Christopher Wren with having constructed a weather clock (a self-registering instrument) in the early 1660s. This conclusion was based on the account of the French diplomat Balthasar de Monconys, which included a sketch uncannily similar to an undated drawing by Wren of the weather clock. By critically re-examining the available sources, I argue that one can infer that Wren never actually constructed a weather clock. What Monconys saw and sketched was, in fact, a drawing produced by Wren for a meeting of the Royal Society that took place on 8 January 1662. I further show that there is strong evidence to assume that Wren's drawing for the Royal Society is the undated drawing preserved at the Royal Institute of British Architects. The new context in which I place Wren's drawing provides an incentive to look at it with fresh eyes. Though the drawing does not represent a device actually constructed by Wren, it still bears (unexpected) connections to the material world that surrounded him. The analysis of the drawing developed in this article will be relevant for historians interested in the role that images can play as historical evidence.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72960289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1520, Segovia's rebel city council besieged the impregnable royal fortress located on a narrow stone outcrop at the far west of the city. The cathedral stood just in front of the fortress, and the rebels demolished part of the church's structure to use it as a secure stronghold. Beyond the physical damage, the revolt demonstrated the peril posed by the proximity of cathedral and castle. Unsurprisingly, it was soon decided that the cathedral would be relocated to the city's main square. Deserted by its canons and chaplains, the old church was a ruin by 1562, while its younger counterpart was slowly reaching completion. Neglect coexisted with preservation: the first step in the construction of a new cathedral was the decision to move the building's cloister—stone by stone—from the old to the new site. This paper discusses the relocation, exploring its denouement and contextualizing it within pre-modern perspectives on heritage and architecture.
{"title":"Defence by demolition? Preserving and relocating the cloister of Segovia cathedral","authors":"C. Beltrami","doi":"10.1098/rsnr.2021.0045","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0045","url":null,"abstract":"In 1520, Segovia's rebel city council besieged the impregnable royal fortress located on a narrow stone outcrop at the far west of the city. The cathedral stood just in front of the fortress, and the rebels demolished part of the church's structure to use it as a secure stronghold. Beyond the physical damage, the revolt demonstrated the peril posed by the proximity of cathedral and castle. Unsurprisingly, it was soon decided that the cathedral would be relocated to the city's main square. Deserted by its canons and chaplains, the old church was a ruin by 1562, while its younger counterpart was slowly reaching completion. Neglect coexisted with preservation: the first step in the construction of a new cathedral was the decision to move the building's cloister—stone by stone—from the old to the new site. This paper discusses the relocation, exploring its denouement and contextualizing it within pre-modern perspectives on heritage and architecture.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90658704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Precisely how to reconstruct the planetary past is not predetermined. This article compares three contemporary plans, dreamed up in the United States during the Interwar and Depression years, that deploy diverse techniques to evoke extinct environments. Building on Martin Rudwick's historicization of ‘scenes from deep time’, this article develops the concept of designs on deep time to explain how public displays of the planetary past circulate anything-but-neutral ideas about past and present to awed audiences. By detailing three contemporary designs on deep time—Pleistocene Park at the La Brea Tar Pits, a sensational World's Fair exhibit called ‘The World a Million Years Ago’, and a dinosaur park where living fossils and ancient plants approximated a Mesozoic atmosphere—this article captures diverse philosophies about how to construct persuasive encounters with the prehistoric past. It also demonstrates how, despite disparate approaches, these designers of deep time displays all used the planetary past to legitimate present regimes and foster faith in human progress. During the 1920s and 1930s, when the wounds of war, changing demographics, and economic depression collaborated to dispute a prevailing myth of American progress, deep time by design buoyed faith in a better future.
{"title":"Pleistocene Park, and other designs on deep time in the Interwar United States","authors":"A. Laurence","doi":"10.1098/rsnr.2021.0032","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0032","url":null,"abstract":"Precisely how to reconstruct the planetary past is not predetermined. This article compares three contemporary plans, dreamed up in the United States during the Interwar and Depression years, that deploy diverse techniques to evoke extinct environments. Building on Martin Rudwick's historicization of ‘scenes from deep time’, this article develops the concept of designs on deep time to explain how public displays of the planetary past circulate anything-but-neutral ideas about past and present to awed audiences. By detailing three contemporary designs on deep time—Pleistocene Park at the La Brea Tar Pits, a sensational World's Fair exhibit called ‘The World a Million Years Ago’, and a dinosaur park where living fossils and ancient plants approximated a Mesozoic atmosphere—this article captures diverse philosophies about how to construct persuasive encounters with the prehistoric past. It also demonstrates how, despite disparate approaches, these designers of deep time displays all used the planetary past to legitimate present regimes and foster faith in human progress. During the 1920s and 1930s, when the wounds of war, changing demographics, and economic depression collaborated to dispute a prevailing myth of American progress, deep time by design buoyed faith in a better future.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80036419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1734 a young Fellow of the Royal Society, Taylor White, made a proposal to the Council that the dried plants in the Society’s RepositoryMuseum ‘be painted by the hand ofMrVanHuyssen’. Sir Hans Sloane, the President, added his support, and the Council adopted Mr White’s recommendation and charged him with engaging the botanical artist Jacob van Huysum (ca 1687–1740) to depict in watercolour the plants sent from the Chelsea Physic Garden in London. This is the first evidence of an interest in natural history and its representation that would inform the rest of Taylor White’s life and lead him to amass a collection of almost 1500 paintings of plants and animals over the course of the next forty years. Despite his lifelong dedication, Taylor White never succeeded in publishing his collection, nor his speculations on classification of birds and other animals. He is remembered rather for his service to his profession—his coat of arms is executed in stained glass in the chapel at Lincoln’s Inn where he was a Bencher (a senior member)—and his contributions to the Foundling Hospital, where he was Treasurer for twenty-five years. His portrait in pastel by the artist Francis Cotes (1726–1770) hung on the walls of the Hospital as did the grand seascape he commissioned from the maritime painter Charles Brooking (ca 1723–1759). His collection of natural history paintings was not, however, dispersed at his death, unlike the similar collection of his friend the botanist Robert More (1703–1780), which was sold at auction in 1784. The twenty-nine portfolios of paintings commissioned by Taylor White remained with the White family for over 150 years until 1926, when they appeared at auction in London. Here, in the Sotheby’s showroom, the hundreds of brilliantly coloured birds, wide-eyed mammals and intricately patterned fish caught the attention of Dr Casey Wood (1856–1942), founder of the Blacker Wood Library of Ornithology and Zoology at McGill University in Montreal. Wood attended the June 1926 sale of ‘Valuable Printed Books, Illuminated Manuscripts and Miniatures, Autograph Letters and Historical Documents’, but according to the handwritten notes on the British Library’s copy of the sale Catalogue, Wood bought only a few small items. On the third day of the sale, however, he was impressed by Lot 657A. The lot was described as ‘A Magnificent Collection of Fourteen Hundred and Sixty-Two Original Water-Colour Drawings of Natural History Subjects’. This lot comprised nearly 500 botanical drawings by Jacob van Huysum and Georg Ehret (1708–1770) and over 900 watercolours
{"title":"Introduction: Undescrib'd: Taylor White (1701–1772) and his collections","authors":"Victoria Dickenson","doi":"10.1098/rsnr.2021.0062","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0062","url":null,"abstract":"In 1734 a young Fellow of the Royal Society, Taylor White, made a proposal to the Council that the dried plants in the Society’s RepositoryMuseum ‘be painted by the hand ofMrVanHuyssen’. Sir Hans Sloane, the President, added his support, and the Council adopted Mr White’s recommendation and charged him with engaging the botanical artist Jacob van Huysum (ca 1687–1740) to depict in watercolour the plants sent from the Chelsea Physic Garden in London. This is the first evidence of an interest in natural history and its representation that would inform the rest of Taylor White’s life and lead him to amass a collection of almost 1500 paintings of plants and animals over the course of the next forty years. Despite his lifelong dedication, Taylor White never succeeded in publishing his collection, nor his speculations on classification of birds and other animals. He is remembered rather for his service to his profession—his coat of arms is executed in stained glass in the chapel at Lincoln’s Inn where he was a Bencher (a senior member)—and his contributions to the Foundling Hospital, where he was Treasurer for twenty-five years. His portrait in pastel by the artist Francis Cotes (1726–1770) hung on the walls of the Hospital as did the grand seascape he commissioned from the maritime painter Charles Brooking (ca 1723–1759). His collection of natural history paintings was not, however, dispersed at his death, unlike the similar collection of his friend the botanist Robert More (1703–1780), which was sold at auction in 1784. The twenty-nine portfolios of paintings commissioned by Taylor White remained with the White family for over 150 years until 1926, when they appeared at auction in London. Here, in the Sotheby’s showroom, the hundreds of brilliantly coloured birds, wide-eyed mammals and intricately patterned fish caught the attention of Dr Casey Wood (1856–1942), founder of the Blacker Wood Library of Ornithology and Zoology at McGill University in Montreal. Wood attended the June 1926 sale of ‘Valuable Printed Books, Illuminated Manuscripts and Miniatures, Autograph Letters and Historical Documents’, but according to the handwritten notes on the British Library’s copy of the sale Catalogue, Wood bought only a few small items. On the third day of the sale, however, he was impressed by Lot 657A. The lot was described as ‘A Magnificent Collection of Fourteen Hundred and Sixty-Two Original Water-Colour Drawings of Natural History Subjects’. This lot comprised nearly 500 botanical drawings by Jacob van Huysum and Georg Ehret (1708–1770) and over 900 watercolours","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87999220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1701, the Cotton Library became Britain's first nationally owned manuscript collection, before entering the newly instituted British Museum in 1757. In the intervening years it was threatened by damp, neglect, inadequate organization, and a fire that wrought havoc on its material's survival. Through a detailed analysis of the content, form and language of contemporary inventories and catalogues, this essay explores how the library could sustain a hybrid identity as both a durable, nationally significant repository and a precarious assemblage of fragile paper and parchment during the eighteenth century. Analysing the ways in which custodians of the Cotton Library articulated their work reveals a historically repeating narrative of neglect, loss and recovery that echoed from the collection's seventeenth-century inception to the major restoration work carried out in the mid-nineteenth century. Instrumental in shaping the Cotton Library's identities, as well as how the discipline of antiquarianism perceived itself, this dialectic of preservation depended on, and was threatened by, the eroding forces of time's teeth.
{"title":"Time's teeth: narratives of preservation in the eighteenth-century Cotton Library","authors":"W. G. Burgess","doi":"10.1098/rsnr.2021.0041","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0041","url":null,"abstract":"In 1701, the Cotton Library became Britain's first nationally owned manuscript collection, before entering the newly instituted British Museum in 1757. In the intervening years it was threatened by damp, neglect, inadequate organization, and a fire that wrought havoc on its material's survival. Through a detailed analysis of the content, form and language of contemporary inventories and catalogues, this essay explores how the library could sustain a hybrid identity as both a durable, nationally significant repository and a precarious assemblage of fragile paper and parchment during the eighteenth century. Analysing the ways in which custodians of the Cotton Library articulated their work reveals a historically repeating narrative of neglect, loss and recovery that echoed from the collection's seventeenth-century inception to the major restoration work carried out in the mid-nineteenth century. Instrumental in shaping the Cotton Library's identities, as well as how the discipline of antiquarianism perceived itself, this dialectic of preservation depended on, and was threatened by, the eroding forces of time's teeth.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73182054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A piece of historical research about the construction of the ancient Arch of Taq-iKisra, part of the imperial palace of the Sasanian Empire in the city of Ctesiphon, has been carried out. The information obtained, an analysis using graphic statics, the use of a physical model with hanging chains, and an ad hoc optimization program written in MATLAB have shown that the designer of this sixth century ad arch, a Byzantine named Farghán, was aware of the effects of the uneven distribution of loads and the differential settlements of the foundations on the equilibrium shape of structures working exclusively in compression and was able to control them. This discovery predates the earliest statement about the link between the shape of the catenary and that of an arch, by Robert Hooke, by eleven centuries and makes this building relevant not only because of its historical, archaeological, and architectural importance, but also because of its importance in the history of structural engineering. The building is currently in need of restoration to stop its collapse, and an awareness of the way it was designed could be of practical use for the definition of the intervention needed.
{"title":"New historical records about the construction of the Arch of Ctesiphon and their impact on the history of structural engineering","authors":"S. Miccoli, L. Gil-Martín, E. Hernández-Montes","doi":"10.1098/rsnr.2021.0025","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0025","url":null,"abstract":"A piece of historical research about the construction of the ancient Arch of Taq-iKisra, part of the imperial palace of the Sasanian Empire in the city of Ctesiphon, has been carried out. The information obtained, an analysis using graphic statics, the use of a physical model with hanging chains, and an ad hoc optimization program written in MATLAB have shown that the designer of this sixth century ad arch, a Byzantine named Farghán, was aware of the effects of the uneven distribution of loads and the differential settlements of the foundations on the equilibrium shape of structures working exclusively in compression and was able to control them. This discovery predates the earliest statement about the link between the shape of the catenary and that of an arch, by Robert Hooke, by eleven centuries and makes this building relevant not only because of its historical, archaeological, and architectural importance, but also because of its importance in the history of structural engineering. The building is currently in need of restoration to stop its collapse, and an awareness of the way it was designed could be of practical use for the definition of the intervention needed.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76816269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article enables an understanding of scientific practice and funding in a peripheral country ruled by a dictatorship in the interwar period, and thus provides the basis for comparison with studies of other non-democratic regimes. We examine the work of Portugal's Junta de Educação Nacional (National Education Board), which administered and provided funding for science from 1929 to 1936. Our findings show that this public body encouraged the participation of the Portuguese academic community in international science networks. This scenario contrasts with the dominant historiographical thesis that between the wars the Portuguese academic community did not play a role in international networks, and that it lacked state support. Also in contrast with the dominant historiography, whose ideological bias meant that a simplified picture was portrayed, whereas the reality is shown to be complex, this study demonstrates that the Portuguese dictatorial state sought to foster scientific progress through the Junta, but that resentment among academics and the resistance of universities to innovation meant that this objective was only partially achieved. Finally, the memory of a number of scientists has been rescued from oblivion, as we show how their political stance during the dictatorship led to their being ignored by historiographers when democracy prevailed.
本文使人们能够理解在两次世界大战期间，一个由独裁统治的外围国家的科学实践和资助，从而为与其他非民主政权的研究进行比较提供了基础。我们考察了葡萄牙的Junta de educa o Nacional(国家教育委员会)的工作，该委员会从1929年到1936年管理和提供科学资金。我们的研究结果表明，这个公共机构鼓励葡萄牙学术界参与国际科学网络。这种情况与主流的史学论点形成鲜明对比，即在两次世界大战之间，葡萄牙学术界没有在国际网络中发挥作用，而且缺乏国家支持。此外，与主流史学相反，主流史学的意识形态偏见意味着描绘了一个简化的画面，而现实却是复杂的，这项研究表明，葡萄牙的独裁国家试图通过军政府促进科学进步，但学术界的怨恨和大学对创新的抵制意味着这一目标只部分实现了。最后，一些科学家的记忆被从遗忘中拯救出来，因为我们展示了他们在独裁统治期间的政治立场如何导致他们在民主盛行时被历史学家忽视。
{"title":"Science funding under an authoritarian regime: Portugal's National Education Board and the European ‘academic landscape’ in the interwar period","authors":"Quintino Lopes, E. Pereira","doi":"10.1098/rsnr.2021.0037","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0037","url":null,"abstract":"This article enables an understanding of scientific practice and funding in a peripheral country ruled by a dictatorship in the interwar period, and thus provides the basis for comparison with studies of other non-democratic regimes. We examine the work of Portugal's Junta de Educação Nacional (National Education Board), which administered and provided funding for science from 1929 to 1936. Our findings show that this public body encouraged the participation of the Portuguese academic community in international science networks. This scenario contrasts with the dominant historiographical thesis that between the wars the Portuguese academic community did not play a role in international networks, and that it lacked state support. Also in contrast with the dominant historiography, whose ideological bias meant that a simplified picture was portrayed, whereas the reality is shown to be complex, this study demonstrates that the Portuguese dictatorial state sought to foster scientific progress through the Junta, but that resentment among academics and the resistance of universities to innovation meant that this objective was only partially achieved. Finally, the memory of a number of scientists has been rescued from oblivion, as we show how their political stance during the dictatorship led to their being ignored by historiographers when democracy prevailed.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82789981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Havi Carel suggested that to ‘fully understand illness it also has to be studied as a lived experience … [in its] existential, ethical and social dimensions’. This paper focuses on empirical work with those with Möbius syndrome on face perception and its implications, on their resilience and on their first person experiences. Möbius is characterized by the congenital absence of movements of the facial muscles; people with the condition cannot shut their eyes or mouths, or make facial expressions. Some also have reduced emotional experience as children. Fortunately, most do develop embodied emotional expression (through gesture and prosody, etc.) and learn that, by sharing these with others, they can also develop emotional experience within themselves. The mutual exchanges of embodied expression may facilitate and reinforce emotional experience.
{"title":"Insights from those who live with impairments of facial mobility","authors":"J. Cole","doi":"10.1098/rsnr.2021.0018","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0018","url":null,"abstract":"Havi Carel suggested that to ‘fully understand illness it also has to be studied as a lived experience … [in its] existential, ethical and social dimensions’. This paper focuses on empirical work with those with Möbius syndrome on face perception and its implications, on their resilience and on their first person experiences. Möbius is characterized by the congenital absence of movements of the facial muscles; people with the condition cannot shut their eyes or mouths, or make facial expressions. Some also have reduced emotional experience as children. Fortunately, most do develop embodied emotional expression (through gesture and prosody, etc.) and learn that, by sharing these with others, they can also develop emotional experience within themselves. The mutual exchanges of embodied expression may facilitate and reinforce emotional experience.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87001610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The downfall of the Parramatta Observatory during the 1840s led the British Government to reconsider the funding it provided to observatories. George Biddell Airy—the Astronomer Royal at the Royal Observatory, Greenwich—recommended the establishment of a central Colonial Board of Visitors (based in London) to oversee the management of observatories within the British Empire. The recommendation ultimately never materialized, but it showcased the support of the astronomical community and the British Government for centralizing the management of the vast network of observatories. This centralized vision continued to influence the founding of new observatories and the organization of their work. The article examines Airy's vision of a centralized organization of division of labour among observatories through his involvement in the discussions about the Colonial Board of Visitors. It also examines how he continued supporting the same vision through articles about the work of observatories, and through written advice about establishing observatories. The article demonstrates how he envisioned the grand strategy of an observatory to encompass public utility while also fitting it within the general policy of observatories in relation to the division of astronomical labour.
{"title":"‘The grand strategy of an observatory’: George Airy's vision for the division of astronomical labour among observatories during the nineteenth century","authors":"Daniel Belteki","doi":"10.1098/rsnr.2021.0034","DOIUrl":"https://doi.org/10.1098/rsnr.2021.0034","url":null,"abstract":"The downfall of the Parramatta Observatory during the 1840s led the British Government to reconsider the funding it provided to observatories. George Biddell Airy—the Astronomer Royal at the Royal Observatory, Greenwich—recommended the establishment of a central Colonial Board of Visitors (based in London) to oversee the management of observatories within the British Empire. The recommendation ultimately never materialized, but it showcased the support of the astronomical community and the British Government for centralizing the management of the vast network of observatories. This centralized vision continued to influence the founding of new observatories and the organization of their work. The article examines Airy's vision of a centralized organization of division of labour among observatories through his involvement in the discussions about the Colonial Board of Visitors. It also examines how he continued supporting the same vision through articles about the work of observatories, and through written advice about establishing observatories. The article demonstrates how he envisioned the grand strategy of an observatory to encompass public utility while also fitting it within the general policy of observatories in relation to the division of astronomical labour.","PeriodicalId":82881,"journal":{"name":"Tanzania notes and records","volume":"45 1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83404919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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