Charles Babbage (1792–1871) articulated the principles behind modern computing machines. This compilation of his writings, plus those of several of his contemporaries, illuminates the early history of the calculator.
An alternative history of software that places the liberal arts at the very center of software's evolution. In The Software Arts, Warren Sack offers an alternative history of computing that places the arts at the very center of software's evolution. Tracing the origins of software to eighteenth-century French encyclopedists' step-by-step descriptions of how things were made in the workshops of artists and artisans, Sack shows that programming languages are the offspring of an effort to describe the mechanical arts in the language of the liberal arts. Sack offers a reading of the texts of computing—code, algorithms, and technical papers—that emphasizes continuity between prose and programs. He translates concepts and categories from the liberal and mechanical arts—including logic, rhetoric, grammar, learning, algorithm, language, and simulation—into terms of computer science and then considers their further translation into popular culture, where they circulate as forms of digital life. He considers, among other topics, the “arithmetization” of knowledge that presaged digitization; today's multitude of logics; the history of demonstration, from deduction to newer forms of persuasion; and the post-Chomsky absence of meaning in grammar. With The Software Arts, Sack invites artists and humanists to see how their ideas are at the root of software and invites computer scientists to envision themselves as artists and humanists.
The partnership of Charles Babbage and Ada Lovelace was one that would change science forever. They were an unlikely pair – one the professor son of a banker, the other the only child of an acclaimed poet and a social-reforming mathematician – but perhaps that is why their work was so revolutionary. They were the pioneers of computer science, creating plans for what could have been the first computer. They each saw things the other did not: it may have been Charles who designed the machines, but it was Ada who could see their potential. But what were they like? And how did they work together? Using previously unpublished correspondence between them, Charles and Ada explores the relationship between two remarkable people who shared dreams far ahead of their time.
Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a 'science' of form, whether as lines in a painting, twinned characters in a novel, or wavelike stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll's children's books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.
A grand intellectual history from clay tablets to Bill Gates. Selected by Choice Magazine as an Outstanding Academic Title The late twentieth century is trumpeted as the Information Age by pundits and politicians alike, and on the face of it, the claim requires no justification. But in Information Ages, Michael E. Hobart and Zachary S. Schiffman challenge this widespread assumption. In a sweeping and captivating history of information technology from the ancient Sumerians to the world of Alan Turing and John von Neumann, the authors show how revolutions in the technology of information storage—from the invention of writing approximately 5,000 years ago to the mathematical models for describing physical reality in the seventeenth and eighteenth centuries to the introduction of computers—profoundly transformed ways of thinking.
This work derives from a conference discussing the history of computing in education. This conference is the first of hopefully a series of conferences that will take place within the International Federation for Information Processing (IFIP) and hence, we describe it as the First Conference on the History of Computing in Education (HCE1). These proceedings represent a collection of works presented at the HCE1 Conference held in association with the IFIP 2004 World Computer Congress held in Toulouse, France. Contributions to this volume range from a wide variety of educational perspectives and represent activities from four continents. The HCE1 conference represents a joint effort of the IFIP Working Group 9.7 on the History of Computing and the IFIP Technical Committee 3 on Education. The HCE1 Conference brings to light a broad spectrum of issues and spans fourcontinents. It illustrates topics in computing education as they occurred in the “early days” of computing whose ramifications or overtones remain with us today. Indeed, many of the early challenges remain part of our educational tapestry; most likely, many will evolve into future challenges. Therefore, this work provides additional value to the reader as it will reflect in part the future development of computing in education to stimulate new ideas and models in educational development.
Traces the 200-year evolution of the principles of Jacquard's knitting machines to the information revolution of the twentieth century and the desk-top computer of today. --From cover (p. 4).