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HISTORIAEl origen historico demostrado y mas aceptado situa el origen de la Masoneria en el siglo XIII, procediendo de los gremios de constructores medievales de catedrales. Este sitio web utiliza cookies propias y de terceros para mejorar su experiencia de usuario y recabar estadisticas de navegacion. In his slim new book The Philosopher, The Priest, and The Painter, Steven Nadler does not specifically set out to rescue Descartes from ridicule. Born in 1596 in the village of La Haye (which has since been renamed after its famous son), Descartes went on to attend, from age 10, one of the top Jesuit colleges in France. In the first meditation he resolves to discard all his beliefs that can be subjected to even the slightest doubt.
At the start of Meditation 2, however, Descartes arrives at a statement that he believes cannot be doubted. Psychologists, feminists, biologists, animal rights activists, and Al Gore have all lined up to denounce him.
The most famous image of Descartes has historically been attributed to the great Dutch portrait painter Frans Hals—but there is no record of their meeting, and by and large Hals stuck to painting his patrons, who were not thinkers but wealthy businessmen. In the age of Wikipedia, the traditional cradle-to-grave biography seems less and less appealing, and writers are twisting the genre into new and interesting shapes.
The most memorable images of philosophers not only reflect their personality but end up helping to shape the way that they are remembered by history. Nadler follows recent scholars such as Desmond Clarke in emphasizing Descartes’ role as a philosopher of the scientific revolution. Written in the first person, the six short meditations are constructed almost like a diary in which, over the course of six days, the narrator goes from doubting the certainty of even his most basic beliefs to, by the end, developing a deeper understanding of the nature of reality. His aim is to discover an irrefutable truth upon which he can build the foundations of his new philosophy. Even if all his other beliefs are completely false it must nevertheless be true that if he is able to think anything at all (that is, even think things which are false), then he must exist.

Philosophical contemporaries such as Thomas Hobbes and Antonie Arnauld responded to the Meditations with what appeared then, as now, like fatal objections. Philosophy, even more than most academic disciplines in the humanities, always runs the risk of getting stuck in arid conversations with itself.
These days, René Descartes, the 17th-century French thinker who is often tagged as the founder of modern philosophy, is a favorite punching bag. In philosophy, Descartes’ famous theory of mind-body dualism had been limping for centuries before Gilbert Ryle finally put it out of its misery in 1950. In the history of animal rights, Descartes is cast as a lead villain for his claim that animals were no more than sophisticated machines, incapable of feeling pain. However, in the case of The Philosopher, The Priest, and the Painter, it is a twist too far.
It’s hard to doubt that David Hume was the genial guy his French admirers called le bon David when his image is fixed as the half-amused, roly-poly fellow of this portrait. This helps explain why Descartes was so keen to establish the position for which he would be later ridiculed—that mind and body are distinct substances. Having thrown out his most basic beliefs (the testimony of his senses, the belief that he is not dreaming) and even those that seem harder to doubt (that all triangles are three-sided, that 2 plus 2 equals 4), Descartes despairs that there is nothing he can truly know for sure. If the subject is to reach out beyond the faculty corridors, it certainly needs more explainers of Nadler’s caliber. He was a brilliant mathematician and he wrote extensively on biology, optics, and cosmology. In investigating the story of the picture, he must tell at least three further stories—that of Descartes (the philosopher), Hals (the painter) and Augustijn Alsten Bloemaert (the priest who commissioned the painting). It is written in the first person, but it is not an account of a week in which Descartes actually sat down and worked out his philosophy. But, to really make an impact on a wider audience, we need philosophers who can spin a story too.

In science, his grand project was to replace the abstractions of Aristotelianism with a mechanistic picture of the universe that could be explained solely in terms of matter, motion, and impact. To combat the prevailing image of Schopenhauer as a misanthropic gloom-monger, Bryan Magee deliberately chose a sexier, Romantic picture of the philosopher for the cover of his biography.
His use of the first person has almost nothing to do with autobiography or self-revelation and everything to do with argument and persuasion. In philosophy his quest was for a point of absolute certainty, the solid foundation upon which he could build a new system of thought. Nadler seeks out the answers by reconstructing Descartes’ life in the Netherlands, where he wrote and published many of his major works.
It’s not surprising that after introducing the priest and the painter as major protagonists, Nadler is forced to abandon them until their brief cameos at the end.
De ahi que sus simbolos sean los instrumentos que estos utilizaban: la escuadra, el compas, el nivel, el mazo, el cincel, la plomada y un largo etcetera. The cliché about Descartes is that he asked the right questions (What can we know for sure, and by what method can we find it out?) but gave the wrong answers.
That might not sound like much, but when they were first published Descartes’ ideas landed like an explosion. Somos una logia mixta y trabajamos en el Rito Frances Moderno.La Masoneria en Barcelona esta renaciendo desde hace 30 anos tras el exterminio sufrido en los 40 anos de dictadura.

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