Philosophy and Memory Traces defends two theories of autobiographical memory. One is a bewildering historical view of memories as dynamic patterns in fleeting animal spirits, nervous fluids which rummaged through the pores of brain and body. The other is new connectionism, in which memories are 'stored' only superpositionally, and reconstructed rather than reproduced. Both models, argues John Sutton, depart from static archival metaphors by employing distributed representation, which brings interference and confusion between memory traces. Both raise urgent issues about control (...) of the personal past, and about relations between self and body. Sutton demonstrates the role of bizarre body fluids in moral physiology, as philosophers from Descartes and Locke to Coleridge struggled to control their own innards and impose cognitive discipline on 'the phantasmal chaos of association'. Going on to defend connectionism against Fodor and critics of passive mental representations, he shows how problems of the self are implicated in cognitive science. (shrink)

The article defines the problem of the nature of ideas in Descartes’s philosophy according to the ontology of substances. First, it illuminates Descartes’s relation to antecedent theories of ideas (as platonic forms or as corporal images) and demonstrates that, in opposition to them, Descartes conceives ideas as modes of thinking substance. Then, it develops two possible explanations of his theory. The first one understands an idea as a complex consisting of perception and its necessary internal object, which enables the representation (...) of external objects. The second one understands it as an act with intrinsic representative structure. By using Arnauld’s analysis of Descartes’s texts, it demonstrates that in accordance with the second model, an idea is a singular mode of thinking substance, which should at the same time be understood as an act of mind and as a representation of objects. (shrink)

Descartes developed an elaborate theory of animal physiology that he used to explain functionally organized, situationally adapted behavior in both human and nonhuman animals. Although he restricted true mentality to the human soul, I argue that he developed a purely mechanistic (or material) ‘psychology’ of sensory, motor, and low-level cognitive functions. In effect, he sought to mechanize the offices of the Aristotelian sensitive soul. He described the basic mechanisms in the Treatise on man, which he summarized in the Discourse. However, (...) the Passions of the soul contains his most ambitious claims for purely material brain processes. These claims arise in abstract discussions of the functions of the passions and in illustrations of those functions. Accordingly, after providing an intellectual context for Descartes’s theory of the passions, especially by comparison with that of Tho- mas Aquinas, I examine its ‘machine psychology’, including the role of habituation and association. I contend that Descartes put forth what may reasonably be called a ‘psychology’ of the unensouled animal body and, correspondingly, of the human body when the soul does not intervene. He thus conceptually distinguished a mechanistically explicable sensory and motor psychology, common to nonhuman and human animals, from true mentality involving higher cognition and volition and requiring (in his view) an immaterial mind. (shrink)

L’Homme presents what has been termed Descartes’ “physiological psychology”. It envisions and seeks to explain how the brain and nerves might yield situationally appropriate behavior through mechanical means. On occasion in the past 150 years, this aim has been recognized, described, and praised. Still, acknowledgement of this aspect of Descartes’ writing has been spotty in histories of neuroscience and histories of psychology. In recent years, there has been something of a resurgence. This chapter argues that, in seeking to explain psychological (...) functions such as sense perception, attention, memory, and emotional response, Descartes ascribed a range of active functions to the brain acting on its own (independently of mind). (shrink)

L’imagination joue un rôle crucial et pourtant équivoque dans la théorie des passions de Descartes ainsi que dans celle de Hobbes. En dépit de sa réduction de l’imagination au corps, Descartes explique l’affectivité de l’âme comme le résultat complexe de l’interdépendance de la pensée et de l’imagination. Hobbes, d’un autre côté, réfute tout dualisme entre passions corporelles et volonté ; toutefois, il décrit les passions de l’esprit comme causées par une imagination « mentale » qui regarde au possible et à (...) l’avenir. Cette contribution étudie les ramifications d’une telle « pensée imaginative » dans les anthropologies morales de Descartes et de Hobbes. (shrink)

As the word “optics” was understood from antiquity into and beyond the early modern period, it did not mean simply the physics and geometry of light, but meant the “theory of vision” and included what we should now call physiological and psychological aspects. From antiquity, these aspects were subject to geometrical analysis. Accordingly, the geometry of visual experience has long been an object of investigation. This chapter examines accounts of size and distance perception in antiquity (Euclid and Ptolemy) and the (...) Middle Ages (Ibn al-Haytham), before turning to "natural geometry" in Kepler and Descartes. It finds a purely mechanical realization of natural geometry in Descartes (primarily in his L'Homme, 1664), in which he conceives states of the visual system as varying in accordance with distance, much as his geometrical compasses vary their spatial relations in accordance with geometrical proportions. This reading challenges the notion that a two-dimensional sensation (without three-dimensional phenomenality) was universally accepted prior to the nineteenth century by positing a direct psychophysiological account of the experience of distance in Descartes. It thereby challenges the interpretations of Descartes on natural geometry of George Berkeley, Nancy Maull, Margaret Wilson, Erwin Panofsky, and Jonathan Crary. (shrink)