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Presents a perspective on the study of early modern science. This title examines science in the context of the baroque, analyzes the tensions, paradoxes, and compromises that shaped the New Science of the seventeenth century and enabled its spectacular success.
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. ​
In post-1991 Macedonia, Barok furniture came to represent affluence and success during a period of transition to a new market economy. This furniture marked the beginning of a larger Baroque style that influenced not only interior decorations in people’s homes but also architecture and public spaces. By tracing the signifier Baroque, the book examines the reconfiguration of hierarchical relations among (ethnic) groups, genders, and countries in a transnational context. Investigating how Baroque has come to signify larger social processes and transformations in the current rebranding of the country, the book reveals the close link between aesthetics and politics, and how ethno-national conflicts are reflected in visually appealing ornamentation.
"If a science has to be supported by fraudulent means, let it perish. " With these words of Kepler, Agassi plunges into the actual troubles and glories of science (321). The SOciology of science is no foreign intruder upon scientific knowledge in these essays, for we see clearly how Agassi transforms the tired internalistJexternalist debate about the causal influences in the history of science. The social character of the entire intertwined epistemological and practical natures of the sciences is intrinsic to science and itself split: the internal sociology within science, the external sociology of the social setting without. Agassi sees these social matters in the small as well as the large: from the details of scientific communication, changing publishing as he thinks to 'on-demand' centralism with less waste (Ch. 12), to the colossal tension of romanticism and rationality in the sweep of historical cultures. Agassi is a moral and political philosopher of science, defending, dis turbing, comprehending, criticizing. For him, science in a society requires confrontation, again and again, with issues of autonomy vs. legitimation as the central problem of democracy. And furthermore, devotion to science, pace Popper, Polanyi, and Weber, carries preoccupational dangers: Popper's elitist rooting out of 'pseudo-science', Weber's hard-working obsessive . com mitment to science. See Agassi's Weberian gloss on the social psychology of science in his provocative 'picture of the scientist as maniac' (437).
"Legend is overdue for replacement, and an adequate replacement must attend to the process of science as carefully as Hull has done. I share his vision of a serious account of the social and intellectual dynamics of science that will avoid both the rosy blur of Legend and the facile charms of relativism. . . . Because of [Hull's] deep concern with the ways in which research is actually done, Science as a Process begins an important project in the study of science. It is one of a distinguished series of books, which Hull himself edits."—Philip Kitcher, Nature "In Science as a Process, [David Hull] argues that the tension between cooperation and competition is exactly what makes science so successful. . . . Hull takes an unusual approach to his subject. He applies the rules of evolution in nature to the evolution of science, arguing that the same kinds of forces responsible for shaping the rise and demise of species also act on the development of scientific ideas."—Natalie Angier, New York Times Book Review "By far the most professional and thorough case in favour of an evolutionary philosophy of science ever to have been made. It contains excellent short histories of evolutionary biology and of systematics (the science of classifying living things); an important and original account of modern systematic controversy; a counter-attack against the philosophical critics of evolutionary philosophy; social-psychological evidence, collected by Hull himself, to show that science does have the character demanded by his philosophy; and a philosophical analysis of evolution which is general enough to apply to both biological and historical change."—Mark Ridley, Times Literary Supplement "Hull is primarily interested in how social interactions within the scientific community can help or hinder the process by which new theories and techniques get accepted. . . . The claim that science is a process for selecting out the best new ideas is not a new one, but Hull tells us exactly how scientists go about it, and he is prepared to accept that at least to some extent, the social activities of the scientists promoting a new idea can affect its chances of being accepted."—Peter J. Bowler, Archives of Natural History "I have been doing philosophy of science now for twenty-five years, and whilst I would never have claimed that I knew everything, I felt that I had a really good handle on the nature of science, Again and again, Hull was able to show me just how incomplete my understanding was. . . . Moreover, [Science as a Process] is one of the most compulsively readable books that I have ever encountered."—Michael Ruse, Biology and Philosophy
The fullest and most complete survey of the development of science in the eighteenth century.
"David Castillo takes us on a tour of some horrific materials that have rarely been considered together. He sheds a fantastical new light on the baroque." ---Anthony J. Cascardi, University of California Berkeley "Baroque Horrors is a textual archeologist's dream, scavenged from obscure chronicles, manuals, minor histories, and lesser-known works of major artists. Castillo finds tales of mutilation, mutation, monstrosity, murder, and mayhem, and delivers them to us with an inimitable flair for the sensational that nonetheless rejects sensationalism because it remains so grounded in historical fact." ---William Egginton, Johns Hopkins University "Baroque Horrors is a major contribution to baroque ideology, as well as an exploration of the grotesque, the horrible, the fantastic. Castillo organizes his monograph around the motif of curiosity, refuting the belief that Spain is a country incapable of organized scientific inquiry." ---David Foster, Arizona State University Baroque Horrors turns the current cultural and political conversation from the familiar narrative patterns and self-justifying allegories of abjection to a dialogue on the history of our modern fears and their monstrous offspring. When life and death are severed from nature and history, "reality" and "authenticity" may be experienced as spectator sports and staged attractions, as in the "real lives" captured by reality TV and the "authentic cadavers" displayed around the world in the Body Worlds exhibitions. Rather than thinking of virtual reality and staged authenticity as recent developments of the postmodern age, Castillo looks back to the Spanish baroque period in search for the roots of the commodification of nature and the horror vacui that accompanies it. Aimed at specialists, students, and readers of early modern literature and culture in the Spanish and Anglophone traditions as well as anyone interested in horror fantasy, Baroque Horrors offers new ways to rethink broad questions of intellectual and political history and relate them to the modern age. David Castillo is Associate Professor and Director of Graduate Studies in the Department of Romance Languages and Literatures at the University at Buffalo, SUNY. Jacket art: Frederick Ruysch's anatomical diorama. Engraving reproduction "drawn from life" by Cornelius Huyberts. Image from the Zymoglyphic Museum.
This volume considers contingency as a historical category resulting from the combination of various intellectual elements – epistemological, philosophical, material, as well as theological and, broadly speaking, intellectual. With contributions ranging from fields as diverse as the histories of physics, astronomy, astrology, medicine, mechanics, physiology, and natural philosophy, it explores the transformation of the notion of contingency across the late-medieval, Renaissance, and the early modern period. Underpinned by a necessitated vision of nature, seventeenth century mechanism widely identified apparent natural irregularities with the epistemological limits of a certain explanatory framework. However, this picture was preceded by, and in fact emerged from, a widespread characterization of contingency as an ontological trait of nature, typical of late-Scholastic and Renaissance science. On these bases, this volume shows how epistemological categories, which are preconditions of knowledge as “historically-situated a priori” and, seemingly, self-evident, are ultimately rooted in time. Contingency is intrinsic to scientific practice. Whether observing the behaviour of a photon, diagnosing a patient, or calculating the orbit of a distant planet, scientists face the unavoidable challenge of dealing with data that differ from their models and expectations. However, epistemological categories are not fixed in time. Indeed, there is something fundamentally different in the way an Aristotelian natural philosopher defined a wonder or a “monstrous” birth as “contingent”, a modern scientist defines the unexpected result of an experiment, and a quantum physicist the behavior of a photon. Although to each inquirer these instances appeared self-evidently contingent, each also employs the concept differently.
Science and Catholicism in Argentina (1750–1960) is the first comprehensive study on the relationship between science and religion in a Spanish-speaking country with a Catholic majority and a "Latin" pattern of secularisation. The text takes the reader from Jesuit missionary science in colonial times, through the conflict-ridden 19th century, to the Catholic revival of the 1930s in Argentina. The diverse interactions between science and religion revealed in this analysis can be organised in terms of their dynamic of secularisation. The indissoluble identification of science and the secular, which operated at rhetorical and institutional levels among the liberal elite and the socialists in the 19th century, lost part of its force with the emergence of Catholic scientists in the course of the 20th century. In agreement with current views that deny science the role as the driving force of secularisation, this historical study concludes that it was the process of secularisation that shaped the interplay between religion and science, not the other way around.
Deals with the philosophical implications of natural science in the various humanistic disciplines during the 17th, 18th, and 19th centuries. Remarkable in combining and relating numerous disparate disciplines in the arts and sciences.