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Science in the Age of Baroque; Contents; Chapter 1: Baroque Modes and the Production of Knowledge; Introduction: The Great Opposition; The Papers 2 : Shades of Baroque; Conclusion: Dilemmas and Anxieties; Notes; References; Part I: Order; Chapter 2: What Was the Relation of Baroque Culture to the Trajectory of Early Modern Natural Philosophy?; Introduction: Thinking About "Baroque Science"; Constructing the Category of Natural Philosophy-Natural Philosophising as Culture and Process
Phases and Stages in the 'Scientific Revolution' Seen as an Unfolding Process in the Field of Natural PhilosophisingThe Dynamics and Rules of Natural Philosophical Contestation During the 'Crisis Within a Crisis' Phase; Articulation on Subordinate Disciplines: Grammar and Specific Utterance; Find or Steal Discoveries, Novelties or Facts, Including Experimental Ones; Bend or Brake Aristotle's Rules About Mathematics and Natural Philosophy: The Gambit of 'Physico-mathematics'; "Hot Spots" of Articulation Contest: Additional Causes and Effects of a Field in Crisis
The Mechanics of Responding to 'Outside' Challenges and OpportunitiesRecruitment of Baroque Behaviours, Norms and Identities?; An Additional, Surprising, Conjectural Finding; Conclusion; References; Chapter 3: "Bent and Directed Towards Him": A Stylistic Analysis of Kircher's Sunflower Clock; Kircher's Sunflower Clock Reassessed; The Baroque Style; The Problem of Style; The Baroque Problem; A Stylistic Analysis; Clocks; Magnetism; Sunflowers; A Baroque Instrument; Conclusion; References; Chapter 4: From Divine Order to Human Approximation: Mathematics in Baroque Science; Kepler and Newton
Kepler and PerfectionNewton and the Moving Aphelia; Kepler's ISL; The ISL After Kepler; Newton's ISL; Conclusion; References; Part II: Vision; Chapter 5: "The Quality of Nothing:" Shakespearean Mirrors and Kepler's Visual Economy of Science; Introduction; Shakespearean Mirrors and the End of Renaissance Science; Kepler's Astronomical Speculations, Aristotelian Metabasis and Renaissance Imagination; Keplerian Shadows on a Wall; Towards Baroque Modes of Observation; References; Chapter 6: Agostino Scilla: A Baroque Painter in Pursuit of Science; Introduction; The Making of a Learned Painter
From Messina to RomeThe Genesis of a Scientific Conversation; Seeing Fossils Like a Painter; References; Chapter 7: What Exactly Was Torricelli's "Barometer?"; Introduction; "Torricelli's Barometer:" The Extant Sources; Rethinking Torricelli's Esperienza of 1644; Torricelli's Mercury Esperienza as Baroque Performance; Conclusion; References; Chapter 8: William Harvey and the Way of the Artisan; Introduction; Harvey's Way of Inquiry; The Problem of Inquiry; The Priority of Experience; The Way of the Artisan; The Particular; Apprenticeship and Experience; Artisans and Trust
William Harvey and the Way of the Artisan
1. Ofer Gal and Raz Chen Morris: Baroque Modes and the Production of Knowledge -- A. Order -- 2. John Schuster: What Was the Relation of Baroque Culture to the Trajectory of Early Modern Natural Philosophy? -- 3. Koen Vermeir: “Bent And Directed Towards Him:” A Baroque Perspective on Kircher’s Sunflower Clock -- 4. Ofer Gal: From Divine Order to Human Approximation: Mathematics in Baroque Science -- B. Vision -- 5. Raz Chen-Morris: “The Quality of Nothing,” Or Kepler's Visual Economy of Science -- 6. Paula Findlen: Agostino Scilla: A Baroque Painter in Pursuit of Science -- 7. J.B. Shank: What Exactly Was “Torricelli’s Barometer?” -- 8. Alan Salter: William Harvey and the Way of the Artisan -- C. Excess -- 9. John Gascoigne: Crossing the Pillars of Hercules: Francis Bacon, the Scientific Revolution and the New World -- 10. Nicholas Dew: The Hive and the Pendulum: Universal Metrology and Baroque Science.-11. Victor Boantza: Chymical Philosophy and Boyle’s Incongruous Philosophical Chymistry.-12 Rivka Feldhay: The Simulation of Nature and the Dissimulation of the Law on a Baroque Stage: Galileo and the Church Revisited.
This volume examines the New Science of the 17th century in the context of Baroque culture, analysing its emergence as an integral part of the high culture of the period. The collected essays explore themes common to the new practices of knowledge production and the rapidly changing culture surrounding them, as well as the obsessions, anxieties and aspirations they share, such as the foundations of order, the power and peril of mediation and the conflation of the natural and the artificial. The essays also take on the historiographical issues involved: the characterization of culture in general and culture of knowledge in particular; the use of generalizations like ‘Baroque’ and the status of such categories; and the role of these in untangling the historical complexities of the tumultuous 17th century. The canonical protagonists of the ‘Scientific Revolution’ are considered, and so are some obscure and suppressed figures: Galileo side by side with Scheiner;Torricelli together with Kircher; Newton as well as Scilla. The coupling of Baroque and Science defies both the still-triumphalist historiographies of the Scientific Revolution and the slight embarrassment that the Baroque represents for most cultural-national histories of Western Europe. It signals a methodological interest in tensions and dilemmas rather than self-affirming narratives of success and failure, and provides an opportunity for reflective critique of our historical categories which is valuable in its own right.
