The interpretation of Isaac Newton's texts has sparked controversy to this day. One of the most heated debates relates to the action between two bodies distant from each other (the gravitational attraction), and to what extent Newton involved God in this case. Practically, most of the papers discuss four types of gravitational attractions in the case of remote bodies: direct distance action as intrinsic property of bodies in epicurean sense; direct remote action divinely mediated by God; remote action mediated by (...) a material ether; or remote action mediated by an immaterial ether. The purpose of this paper is to argue that Newton categorically rejected the types of direct action as the intrinsic property of bodies, and remote action mediated by a material ether. Concerning the other two types of action, direct through divine intervention and mediated through an immaterial environment, Newton has repeatedly stated that he does not know the exact cause of gravity, but in both cases, he has directly involved God, directly in the first case and as the primary cause (the environment/ether being the secondary cause) in immaterial mediated action. But since recognition of direct distance action could have given some credit to those who thought gravity could be essential to matter, and hence to atheism, Newton never openly acknowledged the possibility of such an idea. -/- Keywords: Isaac Newton, action at a distance, God, gravity, gravity law, gravitation -/- CONTENTS -/- Abstract Introduction Principia Correspondence with Richard Bentley Queries in Opticks Conclusions Bibliography -/- ISBN 978-606-033-201-5, DOI: 10.58679/TW14959. (shrink)

Newton’s Opticks was in no way directed at artists, but the great prestige of its author, as well as its proposal of possible principles of color-harmony, and its establishment of the circle as the most graphic format for illustrating color-relationships, ensured the book a place in the repertory of coloristic art-theory from the eighteenth century until the present day. And, although it was implicit rather than explicit in the Opticks, the idea of complementarity continued to fascinate painters well into the (...) twentieth century. But in painting, the long-standing focus on chiaroscuro as the essential basis of pictorial structure inhibited the acceptance of the notion that colors are inherent in light alone; and Newton’s theory failed to make much headway against the traditional Aristotelianism, which was revived most eloquently by Goethe at the close of the eighteenth century. It was only two centuries later, in the new light-based art of holography, that the Opticks again became a text to conjure with. (shrink)

Physical cosmology purports to establish precise and testable claims about the origin of the universe. Thus, cosmology bears directly on traditional metaphysical claims -- in particular, claims about whether the universe has a creator (i.e. God). What is the upshot of cosmology for the claims of theism? Does big-bang cosmology support theism? Do recent developments in quantum and string cosmology undermine theism? We discuss the relations between physical cosmology to theism from both historical and systematic points of view.

Some classic historical vignettes depict scientists achieving breakthroughs without effort: Archimedes grasping the principles of buoyancy while bathing, Galileo Galilei discovering the isochrony of the pendulum while sitting in a cathedral, James Watt noticing the motive power of steam while passing time in a kitchen, Alexander Fleming finding penicillin in Petri dishes that he had omitted to clean before going on holiday. These stories suggest that, to establish important findings in science, hard work is not always necessary. In this article, (...) I suggest that such stories capture an important aspect of scientific.. (shrink)