ABSTRACT“The first meaning of true and false”, writes Spinoza in a neglected passage of the Metaphysical Thoughts, “seems to have had its origin in stories”. Ideas are true when they “show” us things as they are; they are false when they do not, when they are fictional. In this essay, I argue that what appears at first sight to be a simple assertion of a correspondence theory of truth in fact opens onto broad historical transformations in the nature of meaning (...) that reshaped the very atmosphere of truth: the emergence of a new kind of fictionality, transformations in the sense of logical interpretation, and ultimately transformations in the structures and sources of the natural light, that “clarity” which constitutes for Spinoza, as for Descartes, an indispensable criterion for certainty. (shrink)

When we examine the history of astronomy up to the end of the seventeenth century by considering the relation between mathematical astronomy and natural philosophy, it has been argued that there were two groups of philosophers and astronomers: instrumentalists and realists. However, this classification is deficient when we consider attitudes toward the explanatory power of mathematics in determining astronomical theories. I offer the solution of dividing realists into two subcategories—mathematical realists and physical realists. Mathematical realists include those who thought mathematics (...) could provide the real motions of celestial bodies. The physical realists, who include Ibn Rushd (Averroës), believed mathematics could not provide us with the real structure of the heavens. To avoid contradictions between the physical and mathematical models, the physical realists held that a mathematical model of the heavens should be designed by considering physics. I argue, in this article, that Francis Bacon can be considered a physical realist. (shrink)

In this paper, we explore the conception of nature as a book in Francis Bacon. On the one hand, using this image and confronting the reading of the book of nature and the reading of the books of established authors, Bacon contrasts two completely different ways of the natural philosophy: the Interpretation of Nature in contrast to the Anticipation of the Mind. On the other hand, by considering the revealed book and the book of creatures, Bacon contends for the specificity (...) of the scientific investigation of nature and its relative autonomy in relation to the sphere of religion, although he indicates the character of continuity and complementation of the two books of the same authorship. (shrink)

. The purpose of this paper is to assess Bacon’s proclamation of the novelty of his Novum Organum. We argue that in the Novum Organum, Bacon reshapes the traditional representation of logic as providing tools for the building of philosophical discourse. For he refuses both an understanding of logic in terms of an ars disserendi, and an approach to philosophy in terms of a discourse of a certain type of necessity and universality. How can Bacon articulate a logic, that is, (...) a set of rules with formal features, on the basis of a distrust of the paradigm of discourse? This seemingly paradoxical definition of logic follows from Bacon’s rejection of the conception of the scientific reasoning provided by the Organon. It also stems from his reworking of Aristotle’s semiotics, in an effort to deal with the gap between what reality consists in and what the mind perceives of it. (shrink)

Resumen En las siguientes páginas adoptaremos la perspectiva que concibe la reforma de las ciencias de Francis Bacon como un método terapéutico del cultivo de las facultades intelectuales. Ampliaremos la perspectiva de esta línea de investigación del pensamiento baconiano con la distinción de tres terapias renacentistas del alma : la terapia de Eros, sostenida por filósofos platónicos del Renacimiento; la terapia del escepticismo, propuesta por Michel de Montaigne, y la terapia del propio Bacon, tal y como se encuentra en su (...) The Advancement of Learning y en el libro I del Novum organum. Describiremos cada una de estas teorías, expondremos sus principales propuestas filosóficas y exploraremos cómo se oponen entre sí. Por último, con la comparación de estas tres terapias renacentistas del alma buscamos lograr una mejor comprensión del nuevo método de Bacon para el conocimiento humano, dentro de sus propios contextos intelectuales.In the following pages we view Francis Bacon's Reform of sciences as a therapeutic method for the improvement of the intellectual faculties. We broaden the scope of this interpretive line of Bacon's thought by distinguishing three competing therapies of the soul during the Renaissance : the Therapy of Eros, maintained by Renaissance platonic philosophers; the Therapy of skepticism, proposed by Michel de Montaigne, and the Therapy of Bacon himself, as stated in his The Advancement of Learning as well as in the Novum organum, Book I. We describe each of these theories, showing their main philosophical tenets and how they oppose to each other. Finally, by comparing these three Renaissance therapies of the soul we aim to achieve a better comprehension of Bacon's new method for human knowledge in its own intellectual contexts. (shrink)

Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artifacts—manufactured objects worth commissioning, collecting, and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, (...) colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades.” Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records. (shrink)