This is the first comprehensive translation of the expanded French version of E.F.F. Chladni's Traité d'Acoustique, using Chladni's 1802 Die Akustik for reference and clarification. Chladni's experiments and observations with sound and vibrations profoundly influenced the development of the field of Acoustics. The famous Chladni diagrams along with other observations are contained in Die Akustik, published in German in 1802 and Traité d'Acoustique, a greatly expanded version, published in French in 1809. The present translation was undertaken (...) by Robert T. Beyer, PhD (1920-2008), noted acoustician, Professor of Physics at Brown University, and Gold Medal recipient of the Acoustical Society of America. Along with many other projects completed over the course of his career, Dr. Beyer translated Von Neumann's seminal work, Mathematical Foundations of Quantum Mechanics from the original German, spent 30 years translating Russian physics treatises and journals, served as editor of the English translation of the Soviet Journal of Experimental and Theoretical Physics, and also authored Sounds of our Times: Two Hundred Years of Acoustics. Represents the first comprehensive English translation of a seminal work in acoustics Translated by a prominent acoustician, and former Gold Medal recipient of the Acoustical Society of America In addition to the classic experiments with glass plates and violin bows, covers topics in music, architecture, and anatomy of human and animal hearing Appeals to a wide audience in physics, acoustics, and history of science. (shrink)

Friedrich Nietzsche's reference to Ernst Chladni in ‘On Truth and Lie in an Extra-Moral Sense’ (1873) could easily be overlooked as a casual analogy. Yet it emerges from a systematic engagement with the nascent field of acoustics. Chladni was among the discipline's founding fathers, having honed the application of rigorous empirical testing to sound and music. His name is most enduringly associated with the discovery of the 'sound figures', which rendered sound visible for the first time. To produce (...) them, Chladni scattered sand onto a metal sheet. A note was then emitted by playing a violin bow against its side. The resulting oscillations prompted the sand to settle in a range of symmetrical patterns. The natural beauty of the shapes made them quite famous. Yet they also represented a mystery. Though the formula for calculating the oscillation of single strings was reliable, it could not easily be reconciled with oscillation in two dimensions. In lieu of an explanation, the sound figures became the object of speculative attention. Their existence posed a difficulty for the quantitative ontology of rationalist metaphysics. The inheritors of Schelling, for example, saw in the sound figures an undeciphered language of nature. But Nietzsche was implacably opposed to this position: for him, nature contains no inherent meaning, no rational order, and no divine teleology. The ‘book of nature’ was at best an anthropomorphic projection, and at worst a theological dogma. Thus reframed, Chladni's sound figures confront us not with the infinite mystery of nature, but our own cognitive impotence. The following essay therefore elaborates the provenance of Nietzsche's sound figure analogy: a rare intersection of scientific experiment and speculative philosophy. (shrink)

Summary Kant's critique of corpuscular theory created a tabula rasa situation in natural philosophy and opened up a vast new field of research, particularly related to the study of heat, light, electricity and magnetism. ?rsted introduced Kantian epistemology in Scandinavia and made friends with J. W. Ritter, an outstanding experimenter who was the first to make dynamical philosophy productive. The ?rsted?Ritter partnership aimed at the construction of a cosmology based on dynamical philosophy as well as galvanic interpretations of the Lichtenberg (...) and Chladni patterns. It is suggested that Kantian critique and dynamical cosmology provided the framework within which ?rsted and Ritter made their epochal discoveries as well as their bold speculations. Finally, it is argued that the Romantics widened the scope of natural philosophy itself. (shrink)

The work of Robert Hooke on acoustics and music theory is a larger subject than might seem the case from studies of his career so far available. First, there are his experiments for the Royal Society which can be defined as purely acoustical, which anticipate later experiments performed by men such as J. Sauveur and E. Chladni. Second, there are passages in many of his writings which by extensive use of musical analogy attempt to account for all physical phenomena (...) of the universe, which operates on the principles of ‘harmony’ and ‘dissonance’. It is in this context that the hitherto unpublished manuscript presented at the end of this paper should be considered. This essay, which combines both the older tradition of the ‘praise of music’ and the newer consideration of the physical nature of musical sound, illustrates a particular aspect of Hooke's thought which exercised a profound influence on all his studies. (shrink)

Das Buch versucht einen fairen Blick auf Spiritualität und Spirituelles aus Sicht der Physik und der modernen Geistesauffassung. So vieles soll spirituell sein, aber was ist es wirklich? Es gibt Aberglauben, Betrug und Illusionen einerseits und moderne Wissenschaft andererseits. Die Wissenschaft zeigt, was Geist ist, dass es unendlich Großes und unendlich Kleines gibt, dass wir so Vieles berechnen können - aber es bleibt das Mysteriöse. Manches in der Wissenschaft ist unmittelbar spirituell, etwa die Figuren von Lichtenberg und Chladni im (...) 18. Jahrhundert und die Kirlian-Fotographie und Tesla-Kugeln heute. Vieles verstehen wir nur oberflächlich. Wenn es der Computer versteht und wir nicht, können wir nicht zufrieden sein. Die Grenzen des Wissens sind weit nach außen verschoben, aber wir sind klein geblieben. Wir stoßen an Grenzen und begegnen Spirituellem: im Unendlichen, im Unausweichlichen und im Unfassbaren. Diese Grenzen sollten uns demütig machen. Die moderne Wissenschaft zeigt diese Grenzen auf. Die Spiritualität ist dann eher die Erfahrung des Mysteriösen des Physikers Albert Einstein. Es gibt Spirituelles, etwa wie eh und je den Anblick des Sternenhimmels oder des Ozeans. Auch heute sind Orte wie Stonehenge spirituelle Plätze oder Kraftörter. Der Magnetismus im Elektrofahrzeug ist so spirituell wie im Magnetstein der Antike. Besonders spirituell ist die Verbindung der Natur mit der Mathematik. Der Autor Dr. Walter Hehl ist Naturwissenschaftler und Softwareingenieur und Autor zahlreicher Sachbücher. (shrink)