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Albert Abraham Michelson

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Now, the velocity of wave propagation can be seen, without the aid of any mathematical analysis, to depend on the elasticity of the medium and its density; for we can see that if a medium is highly elastic the disturbance would be propagated at a great speed.
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Light Waves and Their Uses Page 146

 
Albert Abraham Michelson

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The general equations are next applied to the case of a magnetic disturbance propagated through a non-conductive field, and it is shown that the only disturbances which can be so propagated are those which are transverse to the direction of propagation, and that the velocity of propagation is the velocity v, found from experiments such as those of Weber, which expresses the number of electrostatic units of electricity which are contained in one electromagnetic unit. This velocity is so nearly that of light, that it seems we have strong reason to conclude that light itself (including radiant heat, and other radiations if any) is an electromagnetic disturbance in the form of waves propagated through the electromagnetic field according to electromagnetic laws.

 
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Now, since the time of Newton there had been a debate about whether light was a wave---that is, a traveling disturbance in some background medium---or a particle, which travels regardless of the presence of a background medium. The observation of Maxwell that electromagnetic waves must exist and that their speed was identical to that of light ended the debate: light was an electromagnetic wave.

 
Lawrence M. Krauss
 

Although a mathematician, Turing took quite an interest in the engineering side of computer design. There was some discussion in 1947 as to whether a cheaper substance than mercury could not be found for use as an ultrasonic delay medium. Turing's contribution to this discussion was to advocate the use of gin, which he said contained alcohol and water in just the right proportions to give a zero temperature coefficient of propagation velocity at room temperature.

 
Alan Turing
 

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Ben Croshaw
 

Critics of visual arts and of music describe in words — that is to say, a system of signs other than those made by brushes on canvas or chisels into stone or notes of music — those characteristics of painting or sculpture or music which can be described or analysed. Visual artists and composers can disregard critics on the ground that the medium of verbal criticism bears so indirect a relation to the medium in which they make something. Poets are in a different situation. With the development of so-called scientific methods of criticism they are made ever conscious that criticism of poetry is in the same medium of work as the art which they practise. “Close analysis” is useful to critics and readers. But for the poet there is the danger of disintegration of poetry into paraphrase, examination of technique, influences, all analysed in the language of criticism.

 
Stephen Spender
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