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)

This is the first book in modern times that makes sense of the Nicomachean Ethics in its entirety as an interesting philosophical argument, rather than as a compilation of relatively independent essays. In Taking Life Seriously Francis Sparshott expounds Aristotle's Nicomachean Ethics as a single continuous argument, a chain of reasoned exposition on the problems of human life. He guides the reader through the whole text passage by passage, showing how every part of it makes sense in the light of (...) what has gone before, as well as indicating problems in Aristotle's argument. No knowledge of Greek is required. When the argument does depend on the precise wording of the Greek text, translations and explanatory notes are provided, and there is a glossary of Greek terms. Sparshott offers insightful and useful criticism, making Taking Life Seriously the best available companion to a first reading of the Ethics. (shrink)

In spite of his profound influence on philosophy in general, Wittgenstein has had no discernible effect upon the philosophy of education. It was not to be expected that his rejection of doctrine in favour of the clarification of language as the goal of philosophical activity would readily find favour with those for whom the medium was intrinsically less important than the message it was intended to convey. Nevertheless philosophers of education have no medium other than language and no means of (...) identifying the subject of their discourse other than the word ‘education’. They cannot convey a clear message if the meaning of their words, ‘education’ in particular, is not clear. Accordingly they cannot take for granted but must clarify in accordance with a postulated theory of meaning the nexus between ‘education’ and education. In his early Tractatus and his later Philosophical Investigations respectively, Wittgenstein proposes alternative theories of meaning. I apply each in turn to ‘education’ and sketch my view of a Wittgensteinian philosophy of education. (shrink)

The first thing to note about Peirce’s semiotic aesthetics is that Peirce himself had very little to say about it. Two articles published in the Journal of Aesthetics and Art Criticism are concerned with determining Pierce’s views on aesthetic theory. The first was by Max Oliver Hocutt, in 1962, called “The Logical Foundations of Peirce’s Aesthetics.” This article has something less than an auspicious start, however, since its first sentence reads, “There is a sense in which it might be said (...) that Charles Peirce had no aesthetics.” And since that sentence is followed in the next paragraph with one of the flattest—or, if you prefer, deadest of metaphors, to wit. (shrink)