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Author: Publisher: ISBN: 9781332523429 Category : Poetry Languages : en Pages : 100
Book Description
Excerpt from Scientific and Poetical Works: Of the Last of the Hereditary Bards and Skalds A Thousand Discoveries Condensed Into Paragraphs. Force, or Potential Motion. Force is pure matter, devoid of everything save extension and elasticity. Force is therefore pure space, a penetrable void, in fact a nothing to the general sense. Why Force is a Void. Force is a void because it is weightless, viewless, and intangible. It is pure matter, and being pure, does not possess the qualities of the material save in the possession of its first attributes, penetrability and extension. Force is expressed by weight, color and tangibility; but these are only its expressions. It gives weight, color, and tangibility to matter, yet, in the bestowal, it robs itself of these qualities and sits, "the power behind the throne." Nobody has ever presented us with a lump of pure force, or told us whether its color was Dutch pink or bottle green. As force is not to be found in visible matter it must be sought for elsewhere. Force must be one of two things; it must be either what is commonly called matter, or it must not. There is no way to elude this question; it is either tangible or it is not tangible. If matter, uncaused, can move itself, then there is no such thing as force; but if what we commonly call matter cannot move itself, then something not material must be the potential power within. Hence, it follows that force is not common matter, and the only thing that remains after the abolition of such material, is a void. Note. - The writer often uses penetrability and elasticity as synonymous. Qualities of Force. Some forces are more refined than others. Everything in the universe is comparative. The lower forces are material by comparison with the higher. Everything in itself, is penetrable and elastic but only to a higher force; the lower cannot penetrate the higher. The lowest force is common matter, the highest force is thought or mind. All forces are one in the abstract. What we call forces are only its forms. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Publisher: ISBN: 9781332523429 Category : Poetry Languages : en Pages : 100
Book Description
Excerpt from Scientific and Poetical Works: Of the Last of the Hereditary Bards and Skalds A Thousand Discoveries Condensed Into Paragraphs. Force, or Potential Motion. Force is pure matter, devoid of everything save extension and elasticity. Force is therefore pure space, a penetrable void, in fact a nothing to the general sense. Why Force is a Void. Force is a void because it is weightless, viewless, and intangible. It is pure matter, and being pure, does not possess the qualities of the material save in the possession of its first attributes, penetrability and extension. Force is expressed by weight, color and tangibility; but these are only its expressions. It gives weight, color, and tangibility to matter, yet, in the bestowal, it robs itself of these qualities and sits, "the power behind the throne." Nobody has ever presented us with a lump of pure force, or told us whether its color was Dutch pink or bottle green. As force is not to be found in visible matter it must be sought for elsewhere. Force must be one of two things; it must be either what is commonly called matter, or it must not. There is no way to elude this question; it is either tangible or it is not tangible. If matter, uncaused, can move itself, then there is no such thing as force; but if what we commonly call matter cannot move itself, then something not material must be the potential power within. Hence, it follows that force is not common matter, and the only thing that remains after the abolition of such material, is a void. Note. - The writer often uses penetrability and elasticity as synonymous. Qualities of Force. Some forces are more refined than others. Everything in the universe is comparative. The lower forces are material by comparison with the higher. Everything in itself, is penetrable and elastic but only to a higher force; the lower cannot penetrate the higher. The lowest force is common matter, the highest force is thought or mind. All forces are one in the abstract. What we call forces are only its forms. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Book Description
'Writing Poetry Through the Eyes of Science' presents a unique & effective interdisciplinary approach to teaching science poems & science poetry writing in secondary English & science classrooms.
Author: Mary Midgley Publisher: Routledge ISBN: 1134559542 Category : Philosophy Languages : en Pages : 234
Book Description
Crude materialism, reduction of mind to body, extreme individualism. All products of a 17th century scientific inheritance which looks at the parts of our existence at the expense of the whole. Cutting through myths of scientific omnipotence, Mary Midgley explores how this inheritance has so powerfully shaped the way we are, and the problems it has brought with it. She argues that poetry and the arts can help reconcile these problems, and counteract generations of 'one-eyed specialists', unable and unwilling to look beyond their own scientific or literary sphere. Dawkins, Atkins, Bacon and Descartes all come under fire as Midgely sears through contemporary debate, from Gaia to memes, and organic food to greenhouse gases. After years of unquestioned imperialism, science is finally forced to take a step back and acknowledge the arts.
Author: James William Carling Publisher: Legare Street Press ISBN: 9781017297614 Category : Languages : en Pages : 0
Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Tom McLeish Publisher: Oxford University Press, USA ISBN: 0198797990 Category : SCIENCE Languages : en Pages : 372
Book Description
What human qualities are needed to make scientific discoveries, and which to make great art? Many would point to 'imagination' and 'creativity' in the second case but not the first. This book challenges the assumption that doing science is in any sense less creative than art, music or fictional writing and poetry, and treads a historical and contemporary path through common territories of the creative process. The methodological process called the 'scientific method' tells us how to test ideas when we have had them, but not how to arrive at hypotheses in the first place. Hearing the stories that scientists and artists tell about their projects reveals commonalities: the desire for a goal, the experience of frustration and failure, the incubation of the problem, moments of sudden insight, and the experience of the beautiful or sublime. Selected themes weave the practice of science and art together: visual thinking and metaphor, the transcendence of music and mathematics, the contemporary rise of the English novel and experimental science, and the role of aesthetics and desire in the creative process. Artists and scientists make salient comparisons: Defoe and Boyle; Emmerson and Humboldt, Monet and Einstein, Schumann and Hadamard. The book draws on medieval philosophy at many points as the product of the last age that spent time in inner contemplation of the mystery of how something is mentally brought out from nothing. Taking the phenomenon of the rainbow as an example, the principles of creativity within constraint point to the scientific imagination as a parallel of poetry.
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Author: Nancy Gorrell
Author: Mary Midgley
Author: Constance Naden
Author: Alexander Pope
Author: James William Carling
Author: Tom McLeish
Author: Jas [Carling
Author: Alfred Tennyson Baron Tennyson
Author: James Thomson