ArgumentIn 1895 when the Lumière brothers unveiled their cinematographic camera, many scientists were elated. Scientists hoped that the machine would fulfill a desire that had driven research for nearly half a century: that of capturing the world in its own image. But their elation was surprisingly short-lived, and many researchers quickly distanced themselves from the new medium. The cinematographic camera was soon split into two machines, one for recording and one for projecting, enabling it to further escape from the laboratory. (...) The philosopher Henri Bergson joined scientists, such as Etienne-Jules Marey, who found problems with the new cinematographic order. Those who had worked to make the dream come true found that their efforts had been subverted. This essay focuses on the desire to build a cinematographic camera, with the purpose of elucidating how dreams and reality mix in the development of science and technology. It is about desired machines and their often unexpected results. The interplay between what “is” (the technical), what “ought” (the ethical), and what “could” be (the fantastical) drives scientific research. (shrink)

During the late nineteenth century, scientists around the world disagreed as to the types of instruments and methods that should be used for determining the most important constant of celestial mechanics: the solar parallax. Venus’s 1874 transit across the sun was seen as the best opportunity for ending decades of debate. However, a mysterious “black drop” that appeared between Venus and the sun and individual differences in observations of the phenomenon brought traditional methods into disrepute. To combat these difficulties, the (...) astronomer Jules Janssen devised a controversial new instrument, the “photographic revolver,” that photographed Venus at regular intervals. Another solution came from physicists, who rivaled the astronomers’ dominance in precision measurements by deducing the solar parallax from physical measurements of the speed of light. Yet other astronomers relied on drawings and well‐trained observers. The new space emerging from this debate was characterized by a decline in faith in photography and in geometry and by the growing realization of the importance of alternative elements needed for establishing scientific truths: power and authority, skill and discipline, standardization, mechanical reproducibility, and theatricality. By examining the “cinematographic turn” in science and its alternatives, this essay brings to light unexplored multidisciplinary connections that contribute to the histories of psychology, philosophy, physics, and film studies. (shrink)

Untimely -- "More Einsteinian than Einstein" -- Science or philosophy? -- The twin paradox -- Bergson's achilles' heel -- Worth mentioning? -- Bergson writes to Lorentz -- Bergson meets Michelson -- The debate spreads -- Back from Paris -- Two months later -- Logical positivism -- The immediate aftermath -- An imaginary dialog -- "Full-blooded" time -- The previous spring -- The church -- The end of universal time -- Quantum mechanics -- Things -- Clocks and wristwatches -- Telegraph, telephone, (...) and radio -- Atoms and molecules -- Einstein's films: reversible -- Bergson's movies: out-of-control -- Microbes and ghosts -- One new point: recording devices -- Bergson's last comments -- Einstein's last thoughts. (shrink)