Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

There is a well-documented paradigm-shift in eighteenth century Jesuit philosophy and science, at the very least in Central Europe: traditional scholastic version(s) of Aristotelianism were replaced by early modern rationalism (Wolff's systematisation of Leibnizian philosophy) and early modern science and mathematics. In the field of probability, this meant that the traditional Jesuit engagement with probability, uncertainty, and truthlikeness (in particular, as applied to moral theology) could translate into mathematical language, and can be analysed against the background of the accounts of (...) probability, pre-mathematical Jesuit logic, Wolff's conceptual analysis, and Bernoullian mathematisation. The works of two Jesuit philosophers, Berthold Hauser and Sigismund Storchenau, can be related to this context. The core of their logic of (epistemic) probability is the account of negation (or ‘contradiction’) and implication (or ‘argument’), in particular, the algorithms for computing the reliability of one piece of evidence when compared to the respective counter-evidence and for computing the probability of a conclusion given the probability of its premises. (shrink)

It is necessarily true that water is H2O, but it is a contingent fact that there is any water at all. Water therefore seems ill suited to ground the necessary truth that water is H2O. One view traditionally attributed to Scotus and Henry of Ghent was that while water is contingent, the essence of water is necessary; hence, the essence of water can ground the so-called eternal truth that water is H2O. Francisco Suárez rejects this view on the grounds that (...) it contradicts the Christian doctrine of creation, according to which everything other than God was contingently created in time. Suárez’s own view of the eternal truths has proven elusive to commentators, but I argue that Suárez ultimately endorses a version of the view he rejects: essences ground the eternal truths. But this raises several puzzles: how is Suárez’s view distinct from the views traditionally ascribed to Scotus and Henry? How does Suárez’s view escape the argument from creation, which Suárez raises against his opponents? I argue that Suárez distinguishes between his view and his opponents’ view by saying that essences have “extrinsic being,” whereas his opponents claim that essences have “intrinsic being.” The distinction between intrinsic and extrinsic being has not received much attention, but I argue that it marks an important fault line in scholastic thinking about the ontological status of non-existents. I argue that the notion of extrinsic being can be explicated in terms of ontological pluralism and grounding. The notion of extrinsic being helps differentiate Suárez’s view from his Scotistic and Henrician opponents, and it allows Suárez to respond to the creation argument he raises against his opponents. On my reading, Suárez’s solution to the problem of eternal truths turns out to be both highly original and philosophically satisfying. (shrink)

This paper examines Spinoza’s view on the consistency of mental representation. First, I argue that he departs from Scholastic tradition by arguing that all mental states—whether desires, intentions, beliefs, perceptions, entertainings, etc.—must be logically consistent. Second, I argue that his endorsement of this view is motivated by key Spinozistic doctrines, most importantly the doctrine that all acts of thought represent what could follow from God’s nature. Finally, I argue that Spinoza’s view that all mental representation is consistent pushes him to (...) a linguistic account of contradiction. (shrink)

For Francisco Suárez, beings of reason are non-existent objects that we can think about, objects like goat-stags and round squares. The first section of the fifty-fourth of Suárez’s Metaphysical Disputations is about the ontological status of beings of reason. Suárez’s view has been the subject of disagreement in the literature because he sometimes says that there are beings of reason, and he sometimes says there are not. In this paper, I argue for and explain an ontological pluralist reading of Suárez. (...) Ontological pluralism is the claim that there is more than one way of being. I distinguish between two varieties of ontological pluralism, strict and non-strict, and argue that Suárez endorsed the latter. In the contemporary literature, it is sometimes alleged that ontological pluralism is an idle hypothesis, unintelligible or philosophically vacuous. I argue that Suárez has a response to this objection in his argument against ontological monism. (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)