Hero (or Heron) of Alexandria (c. 10-70 AD) was an ancient Greek mathematician and engineer who was active in his native city of Alexandria during the height of the Roman Empire. He is considered the greatest experimenter of antiquity and his work is representative of the Hellenistic scientific tradition. Hero published a well recognized description of a steam-powered device called an aeolipile (hence sometimes called a "Hero engine"). Among his most famous inventions was a windwheel, constituting the earliest instance of wind harnessing on land. He is also said to have been a follower of the Atomists. Much of Hero's original writings and designs have been lost, but some of his works were preserved in Arab manuscripts.It is almost certain that Hero taught at the Musaeum which once included the famous Library of Alexandria, because most of his writings appear as lecture notes for courses in mathematics, mechanics, physics and pneumatics. Although the field was not formalized until the 20th century, it is thought that the work of Hero, his "programmable" automated devices in particular, represents some of the first formal research into cybernetics. The Pneumatica, or Pneumatics of Hero of Alexandria include descriptions of machines working on air, steam or water pressure, including the hydraulis or water organ.

Renaissance Fun is about the technology of Renaissance entertainments in stage machinery and theatrical special effects; in gardens and fountains; and in the automata and self-playing musical instruments that were installed in garden grottoes. How did the machines behind these shows work? How exactly were chariots filled with singers let down onto the stage? How were flaming dragons made to fly across the sky? How were seas created on stage? How did mechanical birds imitate real birdsong? What was ‘artificial music’, three centuries before Edison and the phonograph? How could pipe organs be driven and made to play themselves by waterpower alone? And who were the architects, engineers, and craftsmen who created these wonders? All these questions are answered. At the end of the book we visit the lost ‘garden of marvels’ at Pratolino with its many grottoes, automata and water jokes; and we attend the performance of Mercury and Mars in Parma in 1628, with its spectacular stage effects and its music by Claudio Monteverdi – one of the places where opera was born. Renaissance Fun is offered as an entertainment in itself. But behind the show is a more serious scholarly argument, centred on the enormous influence of two ancient writers on these subjects, Vitruvius and Hero. Vitruvius’s Ten Books on Architecture were widely studied by Renaissance theatre designers. Hero of Alexandria wrote the Pneumatics, a collection of designs for surprising and entertaining devices that were the models for sixteenth and seventeenth century automata. A second book by Hero On Automata-Making – much less well known, then and now – describes two miniature theatres that presented plays without human intervention. One of these, it is argued, provided the model for the type of proscenium theatre introduced from the mid-sixteenth century, the generic design which is still built today. As the influence of Vitruvius waned, the influence of Hero grew.

It has long been thought that the ancient Greeks did not take mechanics seriously as part of the workings of nature, and that therefore their natural philosophy was both primitive and marginal. In this book Sylvia Berryman challenges that assumption, arguing that the idea that the world works 'like a machine' can be found in ancient Greek thought, predating the early modern philosophy with which it is most closely associated. Her discussion ranges over topics including balancing and equilibrium, lifting water, sphere-making and models of the heavens, and ancient Greek pneumatic theory, with detailed analysis of thinkers such as Aristotle, Archimedes, and Hero of Alexandria. Her book shows scholars of ancient Greek philosophy why it is necessary to pay attention to mechanics, and shows historians of science why the differences between ancient and modern reactions to mechanics are not as great as was generally thought.

In this book, stories portray the production of our built environment, guided by three characters: Giraffes, Telegraphs, and Hero of Alexandria. Having developed its long neck to reach the leaves of high trees, the giraffe represents the vernacular approach to architecture, in which construction follows forces of nature. The telegraph, in contrast, embodies the modernist paradigm, in which technology reigns supreme and forces nature to adapt. Inspired by Hero of Alexandria, SMAQ subscribe to a third paradigm ? using technology to optimize nature and, inversely, nature to assimilate technology. Their design concepts appear as tools ready to engage our contemporary urban environment, free of today's ecological and technological fundamentalism and in favor of experimentation, pleasure, and play.

Provides a broad framework for engaging with ideas relevant to ancient Greek and Roman science, medicine and technology.