Reid offers an under-appreciated account of the primary/secondary quality distinction. He gives sound reasons for rejecting the views of Locke, Boyle, Galileo and others, and presents a better alternative, according to which the distinction is epistemic rather than metaphysical. Primary qualities, for Reid, are qualities whose intrinsic natures can be known through sensation. Secondary qualities, on the other hand, are unknown causes of sensations. Some may object that Reid's view is internally inconsistent, or unacceptably relativistic. However, a deeper understanding shows (...) that it is consistent, and relative only to normal humans. To acquire this deeper understanding, one must also explore the nature of dispositions, Reid's rejection of the theory of ideas, his distinction between sensation and perception, and his distinction between natural and acquired perceptions. (shrink)

John Locke’s distinction between primary and secondary qualities of objects has meet resistance. In this paper I bypass the traditional critiques of the distinction and instead concentrate on two specific counterexamples to the distinction: Killer yellow and the puzzle of multiple dispositions. One can accommodate these puzzles, I argue, by adopting Thomas Reid’s version of the primary/secondary quality distinction, where the distinction is founded upon conceptual grounds. The primary/secondary quality distinction is epistemic rather than metaphysical. A consequence of Reid’s primary/ (...) secondary quality distinction is that one must deny the original version of Molyneux’s question, while one must affirm an amended version of it. I show that these two answers to Molyneux’s question are not at odds with current empirical research. (shrink)

Central to the contemporary dispute over 'naturalizing epistemology' is the question of the continuity of epistemology with science, i.e., how far purely descriptive, psychological matters can or should inform the traditional evaluative epistemological enterprise. Thus all parties tend to agree that the distinction between psychology and epistemology corresponds to a firm fact/value distinction. This is something Reid denies with respect to the first principles of common sense: while insisting on the continuity of epistemology with the rest of science, he does (...) not wish to derive an 'ought' from an 'is', nor to reduce the epistemological to the psychological. His view is that the first principles are constitutive principles, hence that they are simultaneously descriptive and prescriptive, and thus that with regard to them there is in this sense simply no fact/value gap to be bridged. (shrink)

The paper focuses on Reid's unique epistemological distinction between the primary and the secondary qualities and examines it in relation to other facets of his philosophy: his stance vis-à-vis the scientific inquiries of secondary qualities; his aesthetics; his analysis of the perception of the primary quality of hardness; his theory of learning. An inquiry into the primary/secondary distinction which takes into account such a broad context will reveal it to be far more sophisticated, dynamic and flexible than an analysis of (...) the distinction which solely takes into consideration the passages in which the Scottish philosopher directly and straightforwardly introduces it. (shrink)

Reid's discernment between a ‘relative’ and a ‘distinct’ conception plays a significant role in his theory of secondary and primary qualities and in his postulations on ‘instinctive’ and ‘rational’ aesthetic perceptions. However, relative conceptions and, hence, the relative/distinct conception discernment, are absent from one model of aesthetic perception which Reid endorses, as well as from his theory of ‘moral approbation’. This paper aims (1) to explore the importance of Reid's relative/distinct discernment for the conception of qualities and aesthetic features and (...) (2) to point out and explain the significance of a different model of conception, which excludes relative conception, embraced by Reid for a certain context of aesthetic perception and for moral approbation. (shrink)