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)

In this paper I examine the question whether Spinoza can account for the necessity of death. I argue that he cannot because within his ethical intellectualist system the subject cannot understand the cause of her death, since by understanding it renders it harmless. Then, I argue that Spinoza could not solve this difficulties because of deeper commitments of his system. At the end I draw a historical parallel to the problem from medieval philosophy.

In this paper, I examine Spinoza's 'model of human nature' in the Ethics, and especially his notion of the 'free man'. I argue that, contrary to usual interpretations, the free man is not an individual without passions and inadequate ideas but rather an individual who is able consistently to live according to the guidance of reason. Therefore, it is not an impossible and unattainable ideal or incoherent concept, as has often been claimed, but a very realizable goal for the achievement (...) of human well-being. (shrink)

Baruch Spinoza, the 17th century philosopher best known for his metaphysical rigor and the radical heterodoxy of his conception of God as Nature, did not say much about children or childhood. Nevertheless, his few mentions of children in his masterpiece, the Ethics, raise fascinating questions of autarky, rationality and mind-body relations as they are perceived in the contrast between children and adults. Generally, philosophical theories of childhood benefit greatly from a strong metaphysical foundation. Spinoza’s philosophy, which has recently been gaining (...) considerable attention by contemporary neuroscientists and psychologists, can serve as stable and fertile ground for developing a strong philosophy of childhood. In this paper I address the Spinozistic conception of a flourishing, happy human and the way this understanding of human excellence reflects on his understanding of children and childhood. I argue that the use of Spinozistic concepts can be valuable in the analysis of children and childhood—especially essence, striving to persevere in being, and the nature of the imagination. Spinoza’s epistemology can explain the unique rationality of children, and provide a metaphysical basis for normative behavior. Moreover, it can help us as caregivers better understand and empathize with children, by explaining the similarities and differences between children and adults. (shrink)