This paper aims to show that the seventeenth-century conception of mechanics as the science of particles in motion founded on universal laws of motion owes much to the employment of a new conceptual resource – the physics of motion developed within optics. The optical analysis of reflection was dynamically interpreted through the mechanical analogy of rebound. The kinematical and dynamical principles so employed became directly applicable to natural phenomena after the eventual transformation of light's ontological status from that of an (...) Aristotelian ‘quality’ to a corpuscular phenomenon, engendered by the rise of atomism during the first half of the seventeenth century. The mechanization of light led to a conceptual shift from the analogical employment of dynamical principles in the physical interpretation of reflection to the mechanical generalization of optical principles – the direct application of kinematical and dynamical principles of reflection to mechanical collisions. This first part of the paper traces out the first conceptual shift from Aristotle's original analogy of reflection as rebound to its full concretization. A second part will trace out the second conceptual shift, from the full concretization of this analogy to the axiomatization of already generalized kinematical and dynamical principles of reflection into laws of nature and of motion. (shrink)

The work of Robert Hooke on acoustics and music theory is a larger subject than might seem the case from studies of his career so far available. First, there are his experiments for the Royal Society which can be defined as purely acoustical, which anticipate later experiments performed by men such as J. Sauveur and E. Chladni. Second, there are passages in many of his writings which by extensive use of musical analogy attempt to account for all physical phenomena of (...) the universe, which operates on the principles of ‘harmony’ and ‘dissonance’. It is in this context that the hitherto unpublished manuscript presented at the end of this paper should be considered. This essay, which combines both the older tradition of the ‘praise of music’ and the newer consideration of the physical nature of musical sound, illustrates a particular aspect of Hooke's thought which exercised a profound influence on all his studies. (shrink)