Abstract

The theory of evidence makes us understand knowledge from its most obscure side, even if, on the contrary, strangeness comes here from the side of light: as a cognitive archetype, according to Fernando Gil, light is universally “the natural substance of the true”. The perceptive conditions of evidence’s making appeal to vision, as well as its metaphors. The subject’s feelings of satisfaction before the discovery of truth are a consequence of a desire towards the true, which appears as a shine, a lighting, even as a vibration. In Fernando Gil’s thought, evidence is a mysterious presence. It is expressed by the Freudian concept of unheimlich – the Uncanny. This concept means evidence’s own efficiency, for it connects the subject to the external world, plainly and apodictically. Also, the uncanny is a symbol of instances where reality and unreality are mixed together, according to Freud: this “uncanny” opens a way to a cognitive excess, allowing us a sharp look into a possible and true reality.