ABSTRACTHume is not often cited as a philosopher who posited a solution to the Problem of Other Minds. He instead seems to assume the belief in other minds in his moral philosophy without justification. However, Hume needs to explain how we experience and respond to others’ affections, and hence generate moral sentiments, given how central the latter are to his moral theory. Two recent interpretations of Hume’s solution to the Problem are the Wittgensteinian Interpretation, and the Simulation Theory Interpretation. Both (...) focus on the concept of sympathy as a solution to the Problem, claiming that, for Hume, sympathy produces the belief in other minds. This paper critically examines these two interpretations and offers an alternative called ‘the Analogical Argument Interpretation’, which reconstructs Hume’s version of an analogical argument carried out not by our rational faculty of mind but by custom and imagination. On this interpretation, Hume does not think that sympathy generates the belief in other mi... (shrink)

If one looks for the notion of conscience in Hume, there appears to be a contrast between the loose use of it that can be found in his History of England, and the stricter use of it Hume makes in his philosophical works. It is my belief that, notwithstanding the problems Hume’s philosophy raises for a notion such as conscience, it is possible to frame a positive Humean explanation of it. I want to suggest that, far from corresponding to a (...) mental power or to a faculty of some sort, conscience for Hume can be understood as a reflective form of self-surveying. This becomes apparent if the discussion about conscience as presented in A Treatise of Human Nature is integrated with other notions Hume introduces in An Enquiry concerning the Principles of Morals when discussing the case of the ‘sensible knave’, such as those of inward peace of mind, consciousness of integrity, and reflection on one’s own conduct. To further explicate my line of argument, I shall also contrast Hume’s conclusions with some arguments presented by other authors in this regard, such as Bernard Mandeville and Joseph Butler. (shrink)

The idea that the phenomenon of morality and, consequently, our ability to distinguish between vice and virtue can be explained by sympathy has been challenged as a highly controversial hypothesis, since sympathy appears to be easily influenced by proximity and selective, and would therefore seem incompatible with the possibility of taking an impartial, objective point of view. We intend to show that even a sentimentalist moral perspective such as the ‘Humean’ one, which places empathy (or ‘sympathy’, as Hume calls it) (...) at the core of morality, is capable of accounting for and justifying moral responsibility to future generations. Moreover, if we consider things from a Humean perspective, it is immoral not only to harm future generations, but also not to care at all about the extinction of the human species. For in the former case, we perform actions that cause misery, pain and suffering, whilst in the latter, we are not at all concerned about the welfare (i.e., happiness) of possible people who may, in the near future, come into the world and have a life worth or very much worth living. That is, in both cases, we show no ability to empathize with the possible people who will or may be born tomorrow. (shrink)

Alec Hyslop defends a (modified) version of the traditional analogical inference to other minds and rejects alternatives, but only after subjecting each of...

In this paper, I join the so-called voluntarism debate on Descartes’s theory of will and judgment, arguing for an indirect doxastic voluntarism reading of Descartes, as opposed to a classic, or direct doxastic voluntarism. More specifically, I examine the question whether Descartes thinks the will can have a direct and full control over one’s suspension of judgment. Descartes was a doxastic voluntarist, maintaining that the will has some kind of control over one’s doxastic states, such as belief and doubt. According (...) to a long-held reading, the control that the will has over doxastic states in Descartes’s theory is direct; the doxastic states are affected by the mere act of will. This reading is called direct doxastic voluntarism (DDV), or direct voluntarism (DV) for short, and it states that we are capable of assenting, rejecting and suspending a judgment based only on our will to do so. Thus, these actions would be utterly and merely volitional. DV can be divided into two further positions, direct positive voluntarism (+DV) and direct negative voluntarism (-DV). Direct positive voluntarism deals with the act of forming judgments, maintaining that one can accept or deny a proposition wilfully and either merely believe or not believe something voluntarily. Direct negative voluntarism deals with the suspension of judgment, maintaining that it can likewise be accomplished by a simple act of will. However, I support an alternate account of Descartes’s voluntarism, which is called indirect doxastic voluntarism (IDV), or indirect voluntarism (IV) for short. By this account, the will is capable of affecting a doxastic state indirectly by making one concentrate on essential tasks for forming that state, such as gathering up and paying attention to strong reasons and evidence. IV is also possible to divide into indirect positive voluntarism (+IV) and indirect negative voluntarism (-IV). Per indirect positive voluntarism the will needs to pay attention to reasons for accepting or denying some proposition. Likewise, by indirect negative voluntarism, in order to suspend judgment the will needs to direct this attention to the reasons for doubt. By attending to these reasons, the will also comes face-to-face with its own freedom. This feeling of freedom can be described as affectivity of the reasons for belief (assent) and doubt (suspension). (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)