Contemporary art must get inspiration from somewhere. In Tea, Automatons, and Time Machines, the subculture of Steampunk art is studied in relation to art history. Addressing three main topics within social and environmental justice, a comparison of art styles and creativity stems from an artist’s passion within popular culture. Using arts-based research methods and personal introspection viewed through the lens of nostalgia, a unique perspective of art history studies comes to life. Nostalgia, being primarily a psychological study, is used as a lens to view art, culture, and memoir into a complete research project. We live in a world in need of change. Historically, artists have provided a means for change through their work and the lives they choose to live. The vastness of art history provides plenty of room for inspiration and interpretation. In this study, the contemporary sub-culture of Steampunk looks nostalgically at Arts and Crafts, Art Nouveau, and Art Deco eras in a way that paves the way for social change and environmental preservation using fantasy, cos-play, and art to demonstrate needed changes. Through the art and culture of Steampunk, we explore areas that could use improvement in our modern world, and yet, they do tie in with similar occurrences of the past. We find that we’re not that different but with art and demonstration, we too, can make positive changes for our future.

The H.G. Wells classic that helped launch the time travel genre. The Time Traveller, a dreamer obsessed with traveling through time, builds himself a time machine and, much to his surprise, travels over 800,000 years into the future. He lands in the year 802701: the world has been transformed by a society living in apparent harmony and bliss, but as the Traveler stays in the future he discovers a hidden barbaric and depraved subterranean class. The Time Machine inspired the international bestseller The Map of Time by Félix J. Palma. As a gift to our readers, we are including the first three chapters of The Map of Time in this ebook edition.

An abundantly illustrated narrative that draws from the history of art, science, technology, artificial intelligence, psychology, religion, and conservation in telling the extraordinary story of a Renaissance robot that prays. This volume tells the singular story of an uncanny, rare object at the cusp of art and science: a 450-year-old automaton known as “the monk.” The walking, gesticulating figure of a friar, in the collection of the Smithsonian Institution’s National Museum of American History, is among the earliest extant ancestors of the self-propelled robot. According to legend connected to the court of Philip II of Spain, the monk represents a portrait of Diego de Alcalá, a humble Franciscan lay brother whose holy corpse was said to be agent to the miraculous cure of Spain’s crown prince as he lay dying in 1562. In tracking the origins of the monk and its legend, the authors visited archives, libraries, and museums across the United States and Europe, probing the paradox of a mechanical object performing an apparently spiritual act. They identified seven kindred automata from the same period, which, they argue, form a paradigmatic class of walking “prime movers,” unprecedented in their combination of visual and functional realism. While most of the literature on automata focuses on the Enlightenment, this enthralling narrative journeys back to the late Renaissance, when clockwork machinery was entirely new, foretelling the evolution of artificial life to come.

Whilst most research concentrates on the imagined future of robotics, this book brings together a group of international researchers to explore the different ways that robots and humans engage with one another at this point in history. Robotic design is advancing at an incredible pace, and consequently the role of robots has expanded beyond mechanical work in the industrial sector to the social and domestic environment. From kitchen table pets in the shape of dinosaurs or baby seals, to robot arms that assist with eating, to self-driving cars, this book explores the psychological impact of robotic engagement, especially in domestic settings. Each chapter explores a different aspect of humanoid robotics, for example, the relationship between robotics and gender, citizenship, moral agency, ethics, inequality, and psychological development, as well as exploring the growing role of robots in education, care work, and intimate relationships. Drawing on research from across the fields of psychology, anthropology, and philosophy, this ground-breaking volume discusses the emerging social side of robotics. By examining our relationship with robots now, this book offers a new and innovative opportunity for understanding our future with robots and robotic culture. Designing Robots, Designing Humans will be interest to researchers of artificial intelligence and humanoid robotics, as well as researchers from cognitive and social psychology, philosophy, computer science, anthropology, linguistics, and engineering backgrounds.

What is time made of? We might balk at such a question, and reply that time is not made of anything—it is an abstract and universal phenomenon. In Making Time, Yulia Frumer upends this assumption, using changes in the conceptualization of time in Japan to show that humans perceive time as constructed and concrete. In the mid-sixteenth century, when the first mechanical clocks arrived in Japan from Europe, the Japanese found them interesting but useless, because they failed to display time in units that changed their length with the seasons, as was customary in Japan at the time. In 1873, however, the Japanese government adopted the Western equal-hour system as well as Western clocks. Given that Japan carried out this reform during a period of rapid industrial development, it would be easy to assume that time consciousness is inherent to the equal-hour system and a modern lifestyle, but Making Time suggests that punctuality and time-consciousness are equally possible in a society regulated by a variable-hour system, arguing that this reform occurred because the equal-hour system better reflected a new conception of time — as abstract and universal—which had been developed in Japan by a narrow circle of astronomers, who began seeing time differently as a result of their measurement and calculation practices. Over the course of a few short decades this new way of conceptualizing time spread, gradually becoming the only recognized way of treating time.

They fix spacecraft, dance, tell jokes, and even clean your carpet! From the tiniest robo-bees to gigantic factory machines, robotics is all around you. This technology isn't just for science-fiction anymore -- it's real and more relevant than ever. With stunning visuals and energetic, impactful design, readers won't stop until they've learned everything there is to know about robotics.

Machines have always gone hand-in-hand with the cultural development of m- kind throughout time. A book on the history of machines is nothing more than a specific way of bringing light to human events as a whole in order to highlight some significant milestones in the progress of knowledge by a complementary persp- tive into a general historical overview. This book is the result of common efforts and interests by several scholars, teachers, and students on subjects that are connected with the theory of machines and mechanisms. In fact, in this book there is a certain teaching aim in addition to a general historical view that is more addressed to the achievements by “homo faber” than to those by “homo sapiens”, since the proposed history survey has been developed with an engineering approach. The brevity of the text added to the fact that the authors are probably not com- tent to tackle historical studies with the necessary rigor, means the content of the book is inevitably incomplete, but it nevertheless attempts to fulfil three basic aims: First, it is hoped that this book may provide a stimulus to promote interest in the study of technical history within a mechanical engineering context. Few are the co- tries where anything significant is done in this area, which means there is a general lack of knowledge of this common cultural heritage.