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Riskin - The Restless Clock A History of the Centuries-Long Argument over What Makes Living Things Tick

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Riskin The Restless Clock A History of the Centuries-Long Argument over What Makes Living Things Tick
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Overview: Today, a scientific explanation is not meant to ascribe agency to natural phenomena: we would not say a rock falls because it seeks the center of the earth. Even for living things, in the natural sciences and often in the social sciences, the same is true. A modern botanist would not say that plants pursue sunlight. This has not always been the case, nor, perhaps, was it inevitable. Since the seventeenth century, many thinkers have made agency, in various forms, central to science.

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The Restless Clock
The Restless Clock
A History of the Centuries-Long Argument over What Makes Living Things Tick

Jessica Riskin

The University of Chicago Press

CHICAGO & LONDON

Jessica Riskin is professor of history at Stanford University and author of Science in the Age of Sensibility: The Sentimental Empiricists of the French Enlightenment, also published by the University of Chicago Press.

The University of Chicago Press, Chicago 60637

The University of Chicago Press, Ltd., London

2016 by Jessica Riskin

All rights reserved. Published 2016.

Printed in the United States of America

25 24 23 22 21 20 19 18 17 16 1 2 3 4 5

ISBN-13: 978-0-226-30292-8 (cloth)

ISBN-13: 978-0-226-30308-6 (e-book)

DOI: 10.7208/chicago/9780226303086.001.0001

Library of Congress Cataloging-in-Publication Data

Riskin, Jessica, author.

The restless clock : a history of the centuries-long argument over what makes living things tick / Jessica Riskin.

pages ; cm

Includes bibliographical references and index.

ISBN 978-0-226-30292-8 (cloth : alk. paper) ISBN 978-0-226-30308-6 (ebook) 1. Vitalism. 2. Mechanism (Philosophy) 3. Life (Biology) 4. SciencePhilosophy. I. Title.

Q175.32.V65R57 2016

147dc23

2015019941

Published with the support of the Susan E. Abrams Fund

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).

For Madeleine and for Oliver, my vis viva, my pouvoir de la vie

In German, the name for the balance of a clock is Unruhethat is to say disquiet. One could say that it is the same thing in our body, which can never be perfectly at ease: because if it were, a new impression of objects, a little change in the organs, in the vessels and viscera, would change the balance and make these parts exert some small effort to get back to the best state possible; which produces a perpetual conflict that is, so to speak, the disquiet of our Clock, so that this appellation is rather to my liking.

G. W. Leibniz, Nouveaux essais (1704)

Now, to make the comparison of a watch better suited to a living body and less imperfect, one must compare the exciting cause of organic movements with the spring of the watch; and consider the supple containing parts as well as the essential fluids contained by them as the works of the movement of the instrument in question. Then one can see, first of all, that the spring (the exciting cause) is the essential motor, without which, in fact, everything would remain inactive, and that its variations in tension must cause variations in the energy and rapidity of the movements.

J.-B. Lamarck, Philosophie zoologique (1809)

Let us analyse the motion of a real clock accurately. It is not at all a purely mechanical phenomenon. A purely mechanical clock would need no spring, no winding. Once set in motion, it would go on forever. A real clock without a spring stops after a few beats of the pendulum, its mechanical energy is turned into heat. This is an infinitely complicated atomistic process. The general picture the physicist forms of it compels him to admit that the inverse process is not entirely impossible: a springless clock might suddenly begin to move, at the expense of the heat energy of its own cog wheels and of the environment. The physicist would have to say: The clock experiences an exceptionally intense fit of Brownian movement.

E. Schrdinger, What Is Life? (1944)

Contents
Figures

Pilgrim souvenir of the Rood of Grace, fourteenth century

Automaton Magi on the Piazza San Marco clock

Strasbourg astronomical clock, engraving by Isaac Brunn

Etching of the Stanza dei Venti, Villa Aldobrandini, by Giovanni Battista Falda

Isaac De Caus, Grotto of Neptune

Isaac De Caus, menacing owl and frightened birds

Isaac De Caus, Grotto of Galatea

Athanasius Kirchers rendition of a camshaft

Portrait of Ren Descartes by Franz Hals

Illustration of the mechanism of sensation from Descartess Trait de lhomme

Christiaan Huygenss drawing of a spring balance for a watch, 1675

Rendition of the eye as camera obscura, from Johann Zahn, Oculus artificialis

Christopher Wrens depiction of a brain from Thomas Williss Cerebri Anatome, and Antoni van Leeuwenhoeks drawing of a dogs uterus

The nerves of the trunk, from Thomas Williss Two Discourses concerning the Souls of Brutes, and the organ at Kings College, University of Cambridge

Portrait of Gottfried Wilhelm Leibniz, after a painting by Bernhard Francke

The nervous system of a silkworm, from Jan Swammerdam, Book of Nature

Faune jouant de la flte, statue by Antoine Coysevox

The Flutist, the Piper, and the Duck, from Vaucansons Mcanisme du fluteur automate

Wolfgang von Kempelens Chess-Playing Turk, from Windisch, Lettres sur le joueur dechecs de M. de Kempelen

The Jaquet-Droz Musicienne

The Jaquet-Droz Dessinateur

A much-reproduced rendition of Vaucansons Duck and one of a mysterious set of photographs, labeled Pictures of Vaucansons Duck received from Dresden

Maillards artificial swan

Athanasius Kirchers design for a speaking figure, from Oedipus Aegyptiacus

The abb Micals pair of discoursing heads

Joseph Fabers talking head advertised as Barnums Euphonia

Adolf Von Menzel, Die Tafelrunde, a dinner hosted by Frederick II at Sanssouci Palace

Lamarcks chart of species-transformation from Philosophie zoologique

Portrait of Jean-Baptiste Lamarck, lithograph by Louis-Lopold Boilly

Giovanni Aldinis electrical antics with corpses, from Essai thorique, and Andrew Ure galvanizing the corpse of an executed murderer, from Figuier, Merveilles de la science

Page from Darwins secret transmutation notebook of 1837, Notebook B.

The results of pigeon-fancying, from Darwin, Variation of Animals and Plants

An earlobe mutilation from August Weismanns Supposed Transmission of Mutations

Sylvia Field as Helena and Albert Van Dekker as Radius, a robot, in a scene from the stage production of R.U.R. and a robot uprising from the stage production of R.U.R.

Early robot cartoon from Life (1923) and Westinghouses Mr. Televox in the New York Times (1927)

Westinghouses Mr Televox

Eric the Robot, from the Illustrated London News

Ross Ashbys Homeostat, from The Electronic Brain, Radio-Electronics

One of Grey Walters electromechanical tortoises, Elmer and Elsie

Norbert Wiener with his tropism machine, the Moth/Bedbug

Claude Shannon with his mouse, Theseus

Plates

Sketch of an automaton she-devil by Giovanni Fontana

Automaton devil from the collection of Ludovico Settala

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