Abstract

The present paper studies Ernst Mach’s experimental work with “spark waves” and other types of shock waves, which brought him to the 1887–88 famous schlieren photographs of supersonic phenomena triggered by bullets shot at high speed. Against what it is traditionally argued, I show (1) that Ernst Mach’s visualization attempts do not depend on his commitment to any particular philosophical doctrine about the role of sensations as the foundation of empirical science, and (2) that his inclination toward experimental research may have crucially contributed to the development of his epistemological and ontological views.