Mathematics for Hume is the exemplary field of demonstrative knowledge. Ideally, this knowledge is a priori as it arises only from the comparison of ideas without any further empirical input; it is certain because demonstration consist of steps that are intuitively evident and infallible; and it is also necessary because the possibility of its falsity is inconceivable as it would imply a contradiction. But this is only the ideal, because demonstrative sciences are human enterprises and as such they are just (...) as fallible as their human practitioners. According to the reading suggested here, Hume develops a radical sceptical challenge for mathematics, and thereby he undermines the knowledge claims associated with demonstrative reasoning. But Hume does not stop there: he also offers resources for a sceptical solution to this challenge, one that appeals crucially to social practices, and sketches the social genealogy of a community-wide mathematical certainty. While explaining this process, he relies on the conceptual resources of his faculty psychology that helps him to distinguish between the metaphysics and practices of mathematical knowledge. His account explains why we have reasons to be dubious about our reasoning capacities, and also how human nature and sociability offers some remedy from these epistemic adversities. (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)

Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

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)

The Title Principle is seen by a number of commentators as crucial to Hume’s resolution of skeptical doubts in THN 1.4.7, thus providing an answer to Kemp Smith’s (1941) famous worry regarding the tension between Hume’s skepticism and his naturalism. However, I will argue that in the Enquiry, Hume rejects both the Title Principle and the role of the passions in his epistemology. Those who think that neither the Title Principle nor the passions play a significant role in THN 1.4.7 (...) will likely take this as grist for their mills. But for those who endorse such interpretations, my argument presents an interpretive burden to provide some explanation as to why Hume might have become dissatisfied with this epistemic framework, abandoning it in his later work. Having raised this interpretive burden, my paper also seeks to bear it by providing such an explanation. (shrink)

A standard interpretation of Hume’s naturalism is that it paved the way for a scientistic and ‘disenchanted’ conception of the world. My aim in this paper is to show that this is a restrictive reading of Hume, and it obscures a different and profitable interpretation of what Humean naturalism amounts to. The standard interpretation implies that Hume’s ‘science of human nature’ was a reductive investigation into our psychology. But, as Hume explains, the subject matter of this science is not restricted (...) to introspectively accessible mental content and incorporates our social nature and interpersonal experience. Illuminating the science of human nature has implications for how we understand what Hume means by ‘experience’ and thus how we understand the context of his epistemological investigations. I examine these in turn and argue overall that Hume’s naturalism and his science of man do not simply anticipate a disenchanted conception of the world. (shrink)

This paper attempts to shed light on three sets of issues that bear directly on our understanding of Locke and Kant. The first is whether Kant believes Locke merely anticipates his distinction between analytic and synthetic judgments or also believes Locke anticipates his notion of synthetic a priori cognition. The second is what should we as readers of Kant and Locke should think about Kant’s view whatever it turns out to be, and the third is the nature of Kant’s justification (...) for the comparison he draws between his philosophy and Locke’s. I argue (1) that Kant believes Locke anticipates both the analytic-synthetic distinction and Kant’s notion of synthetic a priori cognition, (2) that the best justification for Kant’s claim draws on Locke’s distinction between trifling and instructive knowledge, (3) that the arguments against this claim developed by Carson, Allison, and Newman fail to undermine it, and (4) that Kant’s own justification for his claim is quite different from what many commentators have thought it was (or should have been). (shrink)

Interpreters have found it exceedingly difficult to understand how Hume could be right in claiming that his two definitions of ‘cause’ are essentially the same. As J. A. Robinson points out, the definitions do not even seem to be extensionally equivalent. Don Garrett offers an influential solution to this interpretative problem, one that attributes to Hume the reliance on an ideal observer. I argue that the theoretical need for an ideal observer stems from an idealized concept of definition, which many (...) interpreters, including Garrett, attribute to Hume. I argue that this idealized concept of definition indeed demands an unlimited or infinite ideal observer. But there is substantial textual evidence indicating that Hume disallows the employment of idealizations in general in the sciences. Thus Hume would reject the idealized concept of definition and its corresponding ideal observer. I then put forward an expert-relative reading of Hume’s definitions of ‘cause’, which also renders both definitions extensionally equivalent. On the expert-relative reading, the meaning of ‘cause’ changes with better observations and experiments, but it also allows Humean definitions to play important roles within our normative practices. Finally, I consider and reject Henry Allison’s argument that idealized definitions and their corresponding infinite minds are necessary for expert reflection on the limitations of current science. (shrink)

Eric Watkins has argued on philosophical, textual, and historical grounds that Kant’s account of causation in the first Critique should not be read as an attempt to refute Hume’s account of causation. In this paper, I challenge the arguments for Watkins’ claim. Specifically, I argue (1) that Kant’s philosophical commitments, even on Watkins’ reading, are not obvious obstacles to refuting Hume, (2) that textual evidence from the “Disciple of Pure Reason” suggests Kant conceived of his account of causation as such (...) a refutation, and (3) that none of Hume’s early German critics provided responses to this account that would have satisfied Kant. Watkins’ reading of Kant’s account of causation is thus more compatible with traditional views about Kant’s relationship to Hume than Watkins believes. (shrink)

This paper addresses a number of closely related questions concerning Kant's model of intentionality, and his conceptions of unity and of magnitude [Gröβe]. These questions are important because they shed light on three issues which are central to the Critical system, and which connect directly to the recent analytic literature on perception: the issues are conceptualism, the status of the imagination, and perceptual atomism. In Section 1, I provide a sketch of the exegetical and philosophical problems raised by Kant's views (...) on these issues. I then develop, in Section 2, a detailed analysis of Kant's theory of perception as elaborated in both the Critique of Pure Reason and the Critique of Judgment; I show how this analysis provides a preliminary framework for resolving the difficulties raised in Section 1. In Section 3, I extend my analysis of Kant's position by considering a specific test case: the Axioms of Intuition. I contend that one way to make sense of Kant's argument is by juxtaposing it with Russell's response to Bradley's regress; I focus in particular on the concept of ‘unity’. Finally, I offer, in Section 4, a philosophical assessment of the position attributed to Kant in Sections 2 and 3. I argue that, while Kant's account has significant strengths, a number of key areas remain underdeveloped; I suggest that the phenomenological tradition may be read as attempting to fill precisely those gaps. (shrink)

In his discussion of our idea of time in the Treatise, Hume makes the perplexing claim that unchanging objects cannot be said to endure. While Hume is targeting the Newtonian conception of absolute time, it is not at all clear how his denial that unchanging objects are in time fits with this target. Moreover, Hume diagnoses our belief that unchanging objects endure as the product of a psychological fiction, but his account of this fiction is also riddled with puzzling claims (...) about our experience of unchanging objects. In this paper, we argue that Hume’s claims are a lot less baffling and indeed, much more sophisticated than they appear. We do so by considering his arguments as a response to Locke’s specific approach to the concept of absolute time. (shrink)

Hume’s account of contrariety in Book I of the Treatise poses several interpretive puzzles. I consider each in turn and offer a novel interpretation of contrariety based on Hume’s discussion of the passions. That Book II and Book I form a complete chain of reasoning suggests that the way in which passions are related is analogous to the way in which ideas are related in the understanding. I argue that Hume identifies three species of empirical contrariety in Book II: contraries, (...) oppositions, and contradictions. All three species help clarify Hume’s remarks concerning contrariety in Book I. I further identify a second genus I call logical contrariety by drawing on Hume’s discussion of fictitious duration and distance. (shrink)

In the conclusion to the first book of the Treatise, Hume's skeptical reflections have plunged him into melancholy. He then proceeds through a complex series of stages, resulting in renewed interest in philosophy. Interpreters have struggled to explain the connection between the stages. I argue that Hume's repeated invocation of the four humors of ancient and medieval medicine explains the succession, and sheds a new light on the significance of skepticism. The humoral context not only reveals that Hume conceives of (...) skepticism primarily as a temperament, not a philosophical view or system. It also resolves a puzzle about how Hume can view skepticism as both an illness and a cure. The skeptical temperament can, depending on its degree of predominance, either contribute to or upset the balance of temperaments required for proper mental functioning. (shrink)

This essay gives a new interpretation of Hume's second thoughts about minds in the Appendix, based on a new interpretation of his view of composition. In Book 1 of the Treatise, Hume argued that, as far as we can conceive it, a mind is a whole composed by all its perceptions. But—this essay argues—he also held that several perceptions form a whole only if the mind to which they belong supplies a “connexion” among them. In order to do so, it (...) must contain a further perception or perceptions. But when the perceptions in question are all of those belonging to a given mind—as in the section “Of personal identity” and the Appendix—there cannot be a further perception in that mind, and so those perceptions do not form a whole. Hence, Hume's views were inconsistent. This essay argues that, unlike most others, this interpretation explains his retreat to skepticism in the Appendix. (shrink)

This is the original, longer draft for my entry on Hume in the 'The Routledge Hand- book of Philosophy of Imagination', edited by Amy Kind and published by Routledge in 2016 (see the separate entry). — Please always cite the Routledge version, unless there are passages concerned that did not make it into the Handbook for reasons of length. — -/- This chapter overviews Hume’s thoughts on the nature and the role of imagining, with an almost exclusive focus on the (...) first book of his Treatise of Human Nature. Over the course of this text, Hume draws and discusses three important distinctions among our conscious mental episodes (or what he calls ‘perceptions’): (i) between impressions (including perceptual experiences) and ideas (including recollections, imaginings and occurrent beliefs); (ii) between ideas of the memory and ideas of the imagination; and (iii), among the ideas of the imagination, between ideas of the judgement (i.e. occurrent beliefs) and ideas of the fancy (i.e. imaginings). I discuss each distinction in turn, also in connection to contemporary views on imagining. In addition, I briefly consider Hume’s views on the imagination as a faculty aimed at the production of ideas, as well as on the role that imagining plays in the wider context of our mental lives, notably in the acquisition of modal knowledge and in the comprehension of, and resistance to, stories and opinions that we take to be false or fictional. (shrink)

in the treatise, hume claims to identify many “fictions of the imagination” among both “vulgar” and philosophical beliefs. To name just a few, these include the fiction of one aggregate composed of many parts,1 the fiction of a material object’s identity through change, and the fiction of a human mind’s identity through change and interruption in its existence. Hume claims that these fictions and others like them are somehow defective: in his words, they are “improper,” “inexact,” or not “strict”. I (...) will argue that this claim conflicts with other commitments.. (shrink)

Hume’s claim that we project necessity onto objects we take to be causally related has been influential in contemporary discussions of modality, inspiring deflationary accounts of our modal commitments. Hume is commonly understood as holding that modal projection explains our judging that an effect must follow its cause. This misunderstands the role of projection in Hume’s discussions of causation and causal judgement. Projection is a diagnosis of a distinctively philosophical confusion: the commitment to mind-independent necessary connections. In arguing for this, (...) I provide an account of the psychological process that, in Hume’s view, underlies projection. This account resolves problems with Hume’s projectivism identified by his commentators. (shrink)

This paper will make the case that we can find in Kant’s Second Analogy a substantive response to Hume’s argument on induction. This response is substantive insofar as it does not merely consist in independently arguing for the opposite conclusion, but rather, it identifies and exploits a gap in this argument. More specifically, Hume misses the possibility of justifying the uniformity of nature as a synthetic a priori proposition, which Kant looks to establish in the Second Analogy. Note that the (...) focus on the paper is on Kant’s identification of the form that a solution to Hume’s inductive scepticism must take. In making this point, my paper will look to establish two lemmas: Kant identifies synthetic a priori judgments as a means of justifying metaphysical knowledge in a way that circumvents Hume’s dichotomy between matters of fact and relations of ideas; the Second Analogy looks to establish the uniformity of nature of as a synthetic a priori proposition. However, my paper generally abstains from the question of the tenability of Kant’s argument in the Second Analogy. Doing justice to this latter discussion would require more space than I am able to offer here. My paper therefore has a conditional bearing on the philosophical issue of inductive scepticism. If one believes Kant’s Second Analogy to be philosophically cogent, then Kant offers a successful justification of induction against Hume’s scepticism. If not, then at least one can still admire Kant’s identification of the gap in Hume’s argument, which, to a degree, can be exploited independently of Kant’s system. (shrink)

In his brief treatment of memory, Hume characterizes memory using two kinds of criteria: ideas’ phenomenal character and their correspondence to the past experiences from which they derived. These criteria have seemed so perplexing to interpreters, both individually and jointly, that Hume’s account of memory is commonly considered one of the weakest parts of his philosophical system. This paper defends Hume’s criteria by showing that they achieve two theoretical aims: a scientific classification of ideas and a definition of ‘memory.’ In (...) particular, I argue that Hume’s definition of ‘memory’ is cogent in light of Putnamian considerations about definitions. (shrink)

The sociology of art as synthesized by Arnold Hauser is based on a theory of knowledge and articulates the cognitive role of art. In a brief analysis, this paper elaborates on the sources of this epistemological enterprise. The pedigree of Hauser’s main thoughts was oriented towards a Kantian and Marxist framework, respectively. As a Kantian, he tried to take into account the philosophical consequences of two (or even more) different sources of cognition that are equal in value, correlative and necessarily (...) cooperating. Giving exclusive priority to only one of these leads to classical philosophical errors such as psychologism and intellectualism. As a Marxist, Hauser was anti-dogmatic and anti-deterministic, because he adopted an interpretive-hermeneutical meaning of Marxism and considered it an aid against distorting tendencies in our thinking. His basic insight that the different sources of value-equal and cooperating cognitive layers are in an everyday-life perspective intertwined, so that a kind of reservatio mentalis is needed to methodically separate them for the sake of better understanding, makes him a distant relative of classical phenomenology. This web of epistemological investigations is what I call the multilayer theory of knowledge. (shrink)

RESUMO No Livro I, parte IV, do "Tratado da natureza humana", Hume desenvolve aquilo que vamos chamar de lógica da ficção. Não se trata de um simples erro da imaginação enquanto fantasia, mas de uma propensão a criar ideias, entidades e objetos a partir das percepções presentes na mente. O que resulta daí é um sentido rico e novo de ficção que permite a Hume desenvolver uma história natural da filosofia, descrevendo a gênese inevitável de conceitos metafísicos. Partindo de uma (...) inspiração kantiana, iremos abordar esse tema ressaltando as semelhanças e diferenças entre as ficções naturais e a ilusão transcendental. ABSTRACT In Book I, part IV, of the "Treatise of Human Nature", Hume develops what we will call logic of fiction. It is not the case of a mere error of imagination as fancy, but a tendency to feign ideas, entities and objects from the perceptions in the mind. The result is a rich and new sense of fiction that allows Hume to establish a natural history of Philosophy, describing the unavoidable genesis of metaphysical concepts. From a Kantian point of view, we will approach this subject by highlighting the similarities as well as the differences between the natural fictions and the transcendental illusion. (shrink)