This essay addresses the very different ways in which Galileo Galilei and his rival Christoph Scheiner S.J. treated projection and engraving during their conflict over sunspots in 1612-1613. While Galileo sought, somewhat misleadingly, to present the optical and graphic practices as a seamless process, and the artifact itself as relatively remote from distortions introduced by individual observers and artisans, Scheiner suppressed his own early reliance on the camera obscura, insisted unduly on errors caused by his eye and hand, and thus minimized the impact of the images published with his work. Thus while Galileo presented his engravings as idealized and authoritative representatives of the accuracy, fixity, and diffusion associated with print, Scheiner?s several allusions to an archaic manuscript culture were designed to maintain his claims to priority in the observation of the sunspots, but to otherwise uncouple a still somewhat inchoate message about their essence from the medium of its appearance
...MoreDescription On different ways in which Galileo and Christoph Scheiner understood optical and graphical methods in science.
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