The first half of this review article on Locke on primary and secondary qualities leads up to a fairly straightforward reading of what Locke says about the distinction in Essay II.viii, one that, in its general outlines, represents a sympathetic understanding of Locke’s discussion. The second half of the paper turns to consider a few of the ways in which interpreting Locke on primary and secondary qualities has proven more complicated. Here we take up what is sometimes called the Berkeleyan (...) interpretation of Locke, the understanding of Locke’s resemblance thesis, and Locke’s views of qualities and their relationship to powers. (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)

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)

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)

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)