The ArugmentThis essay answers a single question: what was Robert Hooke, the Royal Society's curator of experiments, doing in his well-known 1665 work,Micrographia?Hooke was articulating a “universal cure of the mind” capable of bringing about a “reformation in Philosophy,” a change in philosophy's interpretive practices and organization. The work explicated the interpretive and political foundations for a community of optical instrument users coextensive with the struggling Royal Society. Standard observational practices would overcome the problem of using nonstandard instruments, while inherent (...) inrepresentation– the interpretive practice championed in the text – were important theological and political meanings. Hooke's kind of experimental philosophy undermined the claims made by “atheists” and “enthusiasts” – the enemies of the restored church and state – while also producing useful knowledge. Equally important, Hooke modeled the community described inMicrographiaupon the classicalres publica, but his community made important concessions to Restoration political realities, especially the growing role of commercial or transactional relationships. (shrink)

Many educators persist in opposing art to intellect. This is incompatible with modern understandings of the interdependence of cognition and feeling. It also causes neglect of the value of art as one medium for presenting and exploring ideas. Historical examples add weight to the point by showing the richness of thought that has often informed visual art. The educational waste and cultural damage consequent on neglecting this aspect of art is indicated and remedial approaches are suggested.

The comparison of Thomas Aquinas’ Summa Theologiae with the architecture of a cathedral is not new. We find it in 1850 in Karl Werner’s System der christlichen Ethik (1850, 47), and in 1860 the German architect Gottfried Semper writes in the preface to his two-volume manual Style in the Technical and Tectonic Arts: art... appears isolated and relegated to a field especially marked out for it. The opposite was true in antiquity, where philosophy held sway over this field as well. (...) Philosophy was seen as an artist herself and a guide to the other arts. But in growing old, she turned to analysis and devised dead categories instead of living analogies. In just the same way, Gothic architecture was the.. (shrink)

The ArgumentThis article compares the corresponding effects in science and art of a change in the intuition of time at the beginning of this century. McTaggart's distinction between linear time and tense time is applied to the question of whether linear perspective requires a notion of time as succession. It is argued that the problem of self-representation is a basic problem for this kind of uniform space-time because of the contradiction between this model's need for a privileged point of view (...) and its simultaneous denial of such a possibility. (shrink)