By David Pantalony
Rudolph Koenig used to be one of many extra prolific and vibrant tool makers within the well known nineteenth-century precision software exchange of Paris. starting his profession as a violin maker, in 1858 the younger Prussian immigrant shifted his skills in the direction of the becoming box of acoustics. Altered Sensations is a portrait of his shiny atelier, a spot of building, trade and scan. For over 40 years it used to be additionally a well-liked assembly position for scientists, artisans, musicians and academics. utilizing archival and assortment examine from throughout North American and Europe, David Pantalony has traced the fabric and social impacts of this area at the improvement of contemporary acoustics. specifically, he has distinct the style within which Koenig converted, prolonged, unfold and challenged Hermann von Helmholtz's Sensations of Tone.
A huge a part of the study on Koenig comes from the particular items of his workshop which live on in museums and collections worldwide. the second one element of Altered Sensations presents a listing Raisonné of Koenig’s whole line of tools, together with their heritage, information from particular examples, destinations, and references within the literature. This catalogue will function a pragmatic advisor for curators and researchers in addition to a accomplished assessment of nineteenth-century acoustical perform.
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Additional info for Altered Sensations: Rudolph Koenig’s Acoustical Workshop in Nineteenth-Century Paris
Lindsay p. 42 notes how he advised on the weather at Andler’s. Silbermann also produced a series of stunning and colourful didactic paintings on optical studies, Brenni (2007). Quoted in Lindsay (1973, p. 40). Champfluery (1872, p. 189). , p. 186. Mack (1970, pp. 57–63). Thompson (2002). For general account of 20th century acoustics, see Beyer (1998). Wittje (2003). Jackson (2006). Chapter 1 Training In the cluttered storeroom of the Physical Sciences collection of the Smithsonian Institution in Washington DC, amidst thousands of historic scientific instruments, it is not difficult to spot the woodwork of Rudolph Koenig.
In conclusion, in the 1850 s and 60 s Koenig became immersed in the artisan culture of Paris. He trained in the world of musical instruments and then integrated into the precision instrument trade. Both worlds shared similar values, tools, business approaches, labour traditions, and social dynamics. In Vuillaume’s workshop he learned the tools and skills of violin making, the relations between hand, ear, materials and sound. He absorbed the ideals, values, standards and traditions of the violin workshop culture, the art of promotion, the need to cultivate relations with clients and the awareness of the growing trend of utilizing science for tackling acoustical problems.
J. Marey, William Spottiswoode, and Hermann von Helmholtz. He was one of the top makers in the famed Parisian precision instrument trade winning awards throughout Europe and North America. He was involved in scientific disputes that influenced the field. He survived the turmoil of the Franco-Prussian war, Paris Commune, anti-German prejudice and the fluctuations of the French economy and scientific market. He spent many years in isolation researching controversial questions that challenged instruments, theory and observation.