DigiCat Publishing presents to you this special edition of "The Attitudes of Animals in Motion, Illustrated with the Zoopraxiscope" by Eadweard Muybridge. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

This work presents a brilliant study of some phases of animal movements. The writer has attempted to explain the information straightforwardly, avoiding technicalities to help the readers grasp information quickly.

Eadweard Muybridge's 'Descriptive Zoopraxography; or, the science of animal locomotion made popular' is a groundbreaking work that delves into the study of movement in animals through the use of photography. Muybridge, known for his pioneering work in motion studies, presents a comprehensive analysis of various animals in motion, providing detailed descriptions and visual representations. The book is written in a scientific yet engaging style, making it accessible to readers with an interest in both biology and photography. Muybridge's use of high-speed photography to capture precise moments of motion adds a unique element to the study of animal locomotion. This work is a significant contribution to the fields of science and art, bridging the gap between the two disciplines. Fans of natural history and photography will find this book to be a valuable resource, shedding light on the intricate movements of animals in a visually captivating manner.

Best known for his contribution to the development of the motion picture, Eadweard Muybridge (1830–1904) was a pioneering photographer during his lifetime. Alongside his remarkable photographic achievements, his personal life was riddled with melodrama—including a near-fatal stagecoach accident and a betrayal by his wife that ended with Muybridge being tried for the murder of her lover. Marta Braun’s revealing biography traces the sensational events of Muybridge’s life and his personal reinventions as artist, photographer, researcher, and showman. In the 1870s, Muybridge’s photography skills were enlisted by Leland Stanford, a racehorse breeder who later founded Stanford University, to prove the “unsupported motion controversy”—the theory that during a horse’s stride, there was a moment when all four of its legs left the ground. The resulting collection of motion studies, as Braun explains, inspired Muybridge to take photography beyond landscapes to the realm of science. He went on to invent the zoopraxiscope, which captures movement too quick for the human eye to record. Most importantly, simulating motion through a series of stills, his pioneering use of sequence photography served as a forerunner to the introduction of cinematography in the 1890s. This illuminating study examines a man whose influence has resounded through generations. In Eadweard Muybridge, Braun firmly establishes Muybridge’s central contributions to the history of art, science, photography, and motion pictures.

A self-educated man who knew no mathematics, Michael Faraday rose from errand boy to become one of Britain's greatest scientists. Faraday made the discoveries upon which most of twentieth-century technology is based and readers of this book will enjoy finding out in how many ways we are indebted to him. The story of his life speaks to us across the

In his 1978 book Nelson Goodman coined the term “worldmaking.” The new-materialistic approach to the potential for meaning of extra-human materiality and its multidimensional entanglements and the intraconnectedness shifts the concept of world-making into new perspectives of interpretation. In the categories of Karen Barad’s “agential realism,” it applies to practices of knowledge production and to a diffractive (re)configuration of the world’s matter and its meaning. “World-making” gains a further specific expression in Donna Haraway’s concept of “worlding” which shows the intraactive entanglement of matter, substance, meaning, storytelling and thinking on the fundamental level of the polysemic linguistic tissue itself.