The controversy over the interpretative issue—is Thomas Reid a perceptual direct realist?—has recently had channelled into it a host of imaginative ideas about what direct perception truly means. Paradoxically enough, it is the apparent contradiction at the heart of his view of perception which keeps teasing us to review our concepts: time and again, Reid stresses that the very idea of any mental intermediaries implies scepticism, yet, nevertheless insists that sensations are signs of objects. But if sensory signs are not (...) mental intermediaries, what are they? Hasn't Reid merely swapped the common ‘sensation’ for the notorious ‘idea’, ending up with indirect realism?1 Current imaginative strategies answer negatively: Reid's sensory sign does not contradict direct perception, and those who think otherwise merely fail to understand what it means. (shrink)

Drawing on remarks scattered through his writings, I argue that Leibniz has a highly distinctive and interesting theory of color. The central feature of the theory is the way in which it combines a nuanced subjectivism about color with a reductive approach of a sort usually associated with objectivist theories of color. After reconstructing Leibniz's theory and calling attention to some of its most notable attractions, I turn to the apparent incompatibility of its subjective and reductive components. I argue that (...) this apparent tension vanishes in light of his rejection of a widely accepted doctrine concerning the nature of bodies and their geometrical qualities. (shrink)