Isaac Beeckman On Matter And Motion

"Historians of science and the philosophy of science find the substance and stance of Isaac Beeckman's thought highly interesting, for it represented an early attempt to develop a comprehensive picture of the world by means of mechanistic theory, that is, forces acting upon one another. Besides possibly influencing Descartes, this view broke away from medieval religious assumptions and belief in occult forces. Berkel teases out Beeckman's evolving approach to nature by means of his extensive journals, explaining the leading concept of "picturability." Beeckman supplied a stepping stone (one still not widely appreciated) on the path that led to the scientific revolution"--

This book examines the life and works of Santorio Santori and his impact on the history of medicine and natural philosophy. Reputed as the father of experimental medicine and procedures, he is also known for his invention of numerous scientific instruments, including early precision medical devices (pulsimeters, hygrometers, thermometers, anemometers), as well as clinical and surgical tools. The chapters in this volume explore Santorio’s legacy through the seventeenth and eighteenth centuries. They highlight the role played by medical practitioners such as Santorio in the development of corpuscularian ideas, central to the ‘new science’ of the period, and place new emphasis on the role of the life sciences, chemistry and medicine in encouraging new forms of experimentation and instrument-making. Chapters 1 and 2 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Richard Baxter, one of the most famous Puritans of the seventeenth century, is generally known as a writer of practical and devotional literature. But he also excelled in knowledge of medieval and early modern scholastic theology, and was conversant with a wide variety of seventeenth-century philosophies. Baxter was among the early English polemicists who wrote against the mechanical philosophy of René Descartes and Pierre Gassendi in the years immediately following the establishment of the Royal Society. At the same time, he was friends with Robert Boyle and Matthew Hale, corresponded with Joseph Glanvill, and engaged in philosophical controversy with Henry More. In this book, David Sytsma presents a chronological and thematic account of Baxter's relation to the people and concepts involved in the rise of mechanical philosophy in late-seventeenth-century England. Drawing on largely unexamined works, including Baxter's Methodus Theologiae Christianae (1681) and manuscript treatises and correspondence, Sytsma discusses Baxter's response to mechanical philosophers on the nature of substance, laws of motion, the soul, and ethics. Analysis of these topics is framed by a consideration of the growth of Christian Epicureanism in England, Baxter's overall approach to reason and philosophy, and his attempt to understand creation as an analogical reflection of God's power, wisdom, and goodness, or vestigia Trinitatis. Baxter's views on reason, analogical knowledge of God, and vestigia Trinitatis draw on medieval precedents and directly inform a largely hostile, though partially accommodating, response to mechanical philosophy.

Bilingual Europe makes clear that Latin played an important role in European culture for a much longer period than we thought and it explores how and why this was so.

This book discusses the intersection of the great military and intellectual disruptions of the mid-seventeenth century. It examines how the Thirty Years' War scattered representatives of Ramism from central Europe into old and new institutions, especially into the northwest, the Dutch Republic, and England.

In this first book-length treatment of Descartes' important and influential natural philosophy, Daniel Garber is principally concerned with Descartes' accounts of matter and motion—the joint between Descartes' philosophical and scientific interests. These accounts constitute the point at which the metaphysical doctrines on God, the soul, and body, developed in writings like the Meditations, give rise to physical conclusions regarding atoms, vacua, and the laws that matter in motion must obey. Garber achieves a philosophically rigorous reading of Descartes that is sensitive to the historical and intellectual context in which he wrote. What emerges is a novel view of this familiar figure, at once unexpected and truer to the historical Descartes. The book begins with a discussion of Descartes' intellectual development and the larger project that frames his natural philosophy, the complete reform of all the sciences. After this introduction Garber thoroughly examines various aspects of Descartes' physics: the notion of body and its identification with extension; Descartes' rejection of the substantial forms of the scholastics; his relation to the atomistic tradition of atoms and the void; the concept of motion and the laws of motion, including Descartes' conservation principle, his laws of the persistence of motion, and his collision law; and the grounding of his laws in God.

Number 10 Sound: The Musical Way 10 the Scientific Revolution is a collection of twelve essays by writers from the fields of musicology and the history of science. The essays show the idea of music held by Euro th pean intellectuals who lived from the second half of the 15 century to the th early 17 : physicians (e. g. Marsilio Ficino), scholars of musical theory (e. g. Gioseffo Zarlino, Vincenzo Galilei), natural philosophers (e. g. Fran cis Bacon, Isaac Beeckman, Marin Mersenne), astronomers and mathema ticians (e. g. Johannes Kepler, Galileo Galilei ). Together with other people of the time, whom the Reader will meet in the course of the book, these intellectuals share an idea of music that is far removed from the way it is commonly conceived nowadays: it is the idea of music as a science whose object-musical sound--can be quantified and demonstrated, or enquired into experimentally with the methods and instruments of modem scientific enquiry. In this conception, music to be heard is a complex, variable structure based on few simple elements--e. g. musical intervals-, com bined according to rules and criteria which vary along with the different ages. However, the varieties of music created by men would not exist if they were not based on certain musical models--e. g. the consonances-, which exist in the mind of God or are hidden in the womb of Nature, which man discovers and demonstrates, and finally translates into the lan guage of sounds.