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Even to scientists of the day, these theories seemed patchwork: they dealt with nagging questions, but in an artificial and contrived way. Yet they contained seeds of truth. Science was groping toward the answer to the ether dilemma and the limitations of Newtonian physics. And even without Einstein, someone eventually would have solved the puzzle...

Author: /time Magazine | Title: Cover: The Year of Dr. Einstein | 2/19/1979 | See Source »

...which suggests that light projected forward from a moving spacecraft, like a bullet fired from a plane, would travel at a speed equal to its velocity plus that of the craft). From these statements, using thought experiments and simple mathematics, Einstein made deductions that shook the central ideas of Newtonian physics...

Author: /time Magazine | Title: Cover: The Year of Dr. Einstein | 2/19/1979 | See Source »

Unlike Laplace's dark star, this Einsteinian black hole?the name was not coined by Physicist Wheeler until the 1960s?had far more finality. Since relativity forbids anything to move faster than light, an idea unknown in classic Newtonian physics, escape was impossible. All the energy in the world could not extract an object from a black hole...

Author: /time Magazine | Title: Science: Those Baffling Black Holes | 9/4/1978 | See Source »

...motion as the integrating force was Kupka's first step towards a school of' painting Ezra Pound called "Vorticism The (theoretical) aim of the group, as Pound saw it, was "to portray the idea of motion itself." Kupka began trying to capture motion through the vibrancy of color; in "Newtonian Disks" (1912) the pure tones, reds, blues, yellows, are liberated from form. They no longer express the form of an object, but establish their own rhythm, make their own music...

Author: By Eleni Constantine, | Title: Reflections in a Mirror | 12/16/1975 | See Source »

...STUDIES from "Newtonian Disks", which follow that painting in sequence down the ramp of the Guggenheim museum, blend almost imperceptibly into studies for "Amorpha: Fugue in Two Colors." This painting is too large to be hung where it should chronologically be placed; one has to descend in suspense through Kupka's "pseudo-Expressionist," "pseudo-Mondrian" and "art deco" periods before finding it, at the bottom. "Fugue," painted in 1912, is indeed greater than anything else Kupka ever did. It represents a culmination of his nonprofessional interests--astronomy, music, and mysticism--as well as his artistic abilities: his skill with color...

Author: By Eleni Constantine, | Title: Reflections in a Mirror | 12/16/1975 | See Source »

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