In these pages, we expose the main traits of the doctrine of providence of Saint Albert the Great, according to his systematic works, mainly his Summa of Theology. His discussion follows clearly the guidelines of the Summa of Alexander of Hales, in order to delve into the set of problems faced by theological tradition over the centuries. Albert also restates the reflections of different authors like Boethius or Saint John of Damascus and he gives his personal solution to the complex (...) questions of providence, destiny and contingency of the world. (shrink)

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)

The film A Serious Man cinematically deconstructs the life of a mid-twentieth century, mid-western American physics professor named Larry Gopnik. As it happens, Larry is up for tenure with a wife who is about to leave him, an unemployed brother who sleeps on his couch, and two self-obsessed teenage children. The film presents a Job-like theodicy in which the mysteries of quantum physics are haunted both by questions of good and evil as well as the spectre of an un-named God, (...) reverently referred to as Hashem. The following paper examines the broader set of philosophical, theological and ethical concerns which arise from the film’s themes, using it to illustrate those concerns. Just as Newtonian physics underwrote Kant’s evocation of the image of starry skies above and moral law within, quantum physics underwrites a new set of ethical anxieties, which the film narrates as a key facet of contemporary western culture’s postmodern re-enchantment. Although some, such as Slavoj Zizek, see this as a positively charged opportunity to rethink metaphysics and ethics, the film leaves the audience with more sinister conclusions. (shrink)

This dissertation offers a new and comprehensive analysis of Abū Naṣr al-Fārābī's cosmology by focusing on various important issues that have been largely neglected by the modern scholarship. It provides an examination of the physical, metaphysical, and astronomical aspects of al-Fārābī's cosmology by adopting a multidisciplinary approach that takes into account the history of philosophy and the history of astronomy. Accordingly, my dissertation explores how al-Fārābī attempted to reconcile features of Ptolemaic astronomy with Aristotelian and Neoplatonic theories, an endeavor which (...) resulted in the formulation of innovative cosmological ideas. Chapters I and II provide background information on al-Fārābī's activity as a commentator and his relation to the Greek commentatorial tradition and assess the relevant primary sources. In addition, they examine al-Fārābī's approach to cosmology and his scientific method in terms of both the Ptolemaic astronomical tradition and the Aristotelian corpus. Chapter III addresses problems related to the structure of al-Fārābī's cosmology, especially the origin of his ennadic cosmological model and his spherology. Particular attention is devoted to the question of how Aristotle's unmoved movers and Ptolemy's astronomical theories are reconciled. Chapters IV, V, and VI analyze the place of celestial matter, intellect, and motion respectively in al-Fārābī's cosmology and attempt to redefine the second teacher's relation to the various trends of Greek philosophy. The study stresses al-Fārābī's connection with the Neoplatonic and Peripatetic currents, particularly with thinkers such as Alexander of Aphrod. (shrink)