Este artigo explora a relação que Descartes estabelece com as noções de forma e de matéria do aristotelismo escolástico ao tratar da interação entre as substâncias nas correspondências com Elisabeth, Gassendi e Arnauld. Partindo do exemplo do peso utilizado por Descartes em diversas cartas, traça-se uma relação de identidade entre a noção de forma em Tomás de Aquino e de pensamento em Descartes, assim como se traça a crítica à noção de forma, entendida como qualidade oculta, para os corpos inanimados. (...) Por fim, explora-se a interpretação ocasionalista do sistema cartesiano e a relevância dos movimentos celestes para a explicação dos movimentos naturais em Tomás de Aquino.This paper deals with the relation that Descartes points between his system and concepts of matter and form from Aristotelian scholasticism. The resemblance arises when Descartes treats interaction among substances in correspondences with Elisabeth, Gassendi and Arnauld. Beginning with the example of the scholastic concept of weight, used many times by Descartes, this article traces an identity between concepts of form in Thomas Aquinas and of thought in Descartes, as well as traces his criticism on the concept of form, understood as hidden qualities, to inanimate bodies. Finally, this paper investigates Cartesian occasionalism as well as the importance of celestial movements for a better comprehension of nature in Thomas Aquinas. (shrink)

List of Illustrations Introduction 1 The Didactic and the Elegant: Some Thoughts on Scientific and Technological Illustrations in the Middle Ages and Renaissance 3 2 Temples of the Body and Temples of the Cosmos: Vision and Visualization in the Vesalian and Copernican Revolutions 40 3 Descartes’s Scientific Illustrations and ’la grande mecanique de la nature’ 86 4 Illustrating Chemistry 135 5 Representations of the Natural System in the Nineteenth Century 164 6 Visual Representation in Archaeology: Depicting the Missing-Link in Human (...) Origins 184 7 Towards an Epistemology of Scientific Illustration 215 8 Illustration and Inference 250 9 Visual Models and Scientific Judgment 269 10 Are Pictures Really Necessary? The Case of Sewall Wright’s ’Adaptive Landscapes’ 303 Bibliography 339 Notes on Contributors 373 Index 377. (shrink)

Arnold Cusmariu ABSTRACT: The Cogito formulation in Discourse on Method attributes properties to one conceptual category that belong to another. Correcting the error ends up defeating Descartes’ response to skepticism. His own creation, the Evil Genius, is to blame. Download PDF.

The aim of this thesis is to investigate the role that the imagination plays in the later philosophy of René Descartes. The thesis will look at two related questions: the status of the imagination as a mode of thought dependent on the body; the role of the imagination in object-perception. Throughout, the traditional view of Descartes as a Cartesian Dualist is rejected and a more holistic approach is taken towards the relationship between mind and body, in which Descartes’ claims that (...) the two make up a “substantial union” are taken seriously. Part One deals with the relationship between mind and body. I argue that Cartesian Dualism cannot account for the faculties of sensation and imagination, because they have a corporeal basis. However, the ‘union of mind and body’, Descartes’ device for explaining their interaction, can. I end Part One by identifying a problem with the paradigm case of mind-body interaction, object-perception. To determine the object of an idea there needs to be a mechanism to marry the two ingredients of perception: the innate ideas of geometry in the intellect, and ‘adventitious’ ideas of the object delivered by the senses. Otherwise we have no explanation for how the essentially ‘inward-looking’ intellect can apply its ideas to the essentially passive sensations. Part Two focuses on the imagination and the question of object-perception raised in Part One. I argue against the largely-held view in the secondary literature that, with the advent of the cogito, the imagination’s cognitive profile declined sharply. I argue that, in fact, the corporeal basis of the imagination places it beautifully to bridge the gap in object-perception, and that this is part of its role in all Descartes’ discussions on the topic. The other, related, role of the imagination is to conjure fictions and hypotheses, suiting it for scientific and epistemological endeavours. The fact that the imagination is not tied to what is present to the senses, even though it receives its original content from them, means that it can manipulate ideas of corporeal things; including the innate notions of extension, shape and motion so key to gaining a clear and distinct idea of matter. (shrink)

Descartes understood the subject matter of physics (or natural philosophy) to encompass the whole of nature, including living things. It therefore comprised not only nonvital phenomena, including those we would now denominate as physical, chemical, minerological, magnetic, and atmospheric; it also extended to the world of plants and animals, including the human animal (with the exception of those aspects of the human mind that Descartes assigned to solely to thinking substance: pure intellect and will). Descartes wrote extensively on physiology and (...) on the physiology and psychology of the senses. This chapter examines the notions of *physiology* and *psychology* in medical and natural philosophical works of Descartes' day; follows his efforts to bring physiology into his mechanistic idiom; considers the relation between physiology of the animal machine and psychological functions that yield functionally appropriate behavior; goes into his physiology and psychology of vision; and elaborates the tension in Descartes' works between his metaphysically supported micro-corpuscularism and his discussion of the animal machine as an organic unity comprising various functionally and teleologically characterized systems. The chapter draws on Descartes' works in both metaphysics and natural philosophy, including his Treatise on Man (originally published as L'Homme, 1664). (shrink)