In the early eighties, philosophers of science came to the conviction that discovery and creativity form an integral part of scientific rationality. Ever since, the?positivists? have been criticised for their neglect of these topics. It is the aim of this paper to show that the positivists' approach to scientific discovery is not only much richer than is commonly recognized, but that they even defended an important thesis which some of the `friends of discovery' seem to have forgotten. Contrary to what (...) is generally accepted, I shall also show that there is no reason at all why the positivists should have ignored discovery. (shrink)

During the 17th century, important conventions for the visual representation of the Earth as a whole were established by writers of Theories of the Earth. This essay examines how the emergence of visual representations contributed to the establishment of a new print tradition of multicontextual discourse and critical debate. Four vignettes contrast varying uses of global depictions: the incidental global depictions and mathematical vision of Johannes Kepler; the cosmogonic sections and chemical vision of Robert Fludd; the geogonic sections and mechanical (...) vision of René Descartes; and the global views and classical vision of Thomas Burnet. The continuities of visual conventions and the contrasts of disciplinary perspectives and local contexts observed in these vignettes conforms well to the characterization of Theories of the Earth as an interdisciplinary print tradition. (shrink)

In this paper I argue that William Harvey believed in a form of astrology. It has long been known that Harvey employed a macrocosm–microcosm analogy and used alchemical terminology in describing how the two types of blood change into one another. This paper then seeks to examine a further aspect of Harvey in relation to the magical tradition. There is an important corollary to this line of thought, however. This is that while Harvey does have a belief in astrology, it (...) is strongly related to Aristotle's views in this area and is quite restricted and attenuated relative to some contemporary beliefs in astrology. This suggests a more general thesis. While Harvey was amenable to ideas which we associate with the natural magic tradition, those ideas had a very broad range of formulation and there was a limit to how far he would accept them. This limit was largely determined by Harvey's adherence to Aristotle's natural philosophy and his Christian beliefs. I argue that this is also the case in relation to Harvey's use of the macrocosm–microcosm analogy and of alchemical terminology, and, as far as we can rely on the evidence, this informs his attitudes towards witches as well. Understanding Harvey's influences and motives here is important in placing him properly in the context of early seventeenth-century thought. (shrink)

The mathematical nature of modern science is an outcome of a contingent historical process, whose most critical stages occurred in the seventeenth century. ‘The mathematization of nature’ (Koyré 1957 , From the closed world to the infinite universe , 5) is commonly hailed as the great achievement of the ‘scientific revolution’, but for the agents affecting this development it was not a clear insight into the structure of the universe or into the proper way of studying it. Rather, it was (...) a deliberate project of great intellectual promise, but fraught with excruciating technical challenges and unsettling epistemological conundrums. These required a radical change in the relations between mathematics, order and physical phenomena and the development of new practices of tracing and analyzing motion. This essay presents a series of discrete moments in this process. For mediaeval and Renaissance philosophers, mathematicians and painters, physical motion was the paradigm of change, hence of disorder, and ipso facto available to mathematical analysis only as idealized abstraction. Kepler and Galileo boldly reverted the traditional presumptions: for them, mathematical harmonies were embedded in creation; motion was the carrier of order; and the objects of mathematics were mathematical curves drawn by nature itself. Mathematics could thus be assigned an explanatory role in natural philosophy, capturing a new metaphysical entity: pure motion. Successive generations of natural philosophers from Descartes to Huygens and Hooke gradually relegated the need to legitimize the application of mathematics to natural phenomena and the blurring of natural and artificial this application relied on. Newton finally erased the distinction between nature’s and artificial mathematics altogether, equating all of geometry with mechanical practice. (shrink)

This paper argues that Kepler considered his work in optics as part of natural philosophy and that, consequently, he aimed at change within natural philosophy. Back-to-back with John Schuster’s claim that Descartes’ optics should be considered as a natural philosophical appropriation of innovative results in the tradition of practical and mixed mathematics the central claim of my paper is that Kepler’s theory of optical imagery, developed in his Paralipomena ad Vitellionem (1604), was the result of a move similar to Descartes’ (...) by Kepler. My argument consists of three parts. First, Kepler borrowed a geometrical model and experiment of optical imagery from the mélange of mixed and practical mathematics provided in the works of the sixteenth-century mathematicians Ettore Ausonio and Giovanni Battista Della Porta. Second, Kepler criticized the Aristotelian theory of light and he developed his own alternative metaphysics. Third, Kepler used his natural philosophical assumptions about the nature of light to re-interpret the model of image formation taken from Della Porta’s work. Taken together, I portray Kepler’s theory of optical imagery as a natural philosophical appropriation of an innovative model of image formation developed in a sixteenth-century practical and mixed mathematical tradition which was not interested in questioning philosophical assumptions on the nature of light. (shrink)