In the _Meditations_ and related texts from the early 1640s, Descartes argues that the self can be correctly considered as either a mind or a human being, and that the self’s properties vary accordingly. For example, the self is simple considered as a mind, whereas the self is composite considered as a human being. Someone might object that it is unclear how merely considering the self in different ways blocks the conclusion that a single subject of predication—the self—is both simple (...) and composite, which is contradictory. In response to this objection, this paper develops a reading of Descartes’s various ways of considering the self. I argue that the best reading of Descartes’s qualified claims about the self, i.e., about the self _qua_ mind or the self qua human being, presupposes an account of the unqualified self, that is, of the self _simpliciter_. I argue that the self _simpliciter_ is not a mind, and that it is not a human being either. This result might suggest the pessimistic conclusion that Descartes’s view of the self is incoherent. To avoid this result, I introduce a new metaphysical account of the Cartesian self. On my view, the self is individuated by a unified mental life. The self is constituted by the beings that jointly produce this mental life, and derives its unity from it. (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)

Osobliwość takich doznań, jak ból, głód i pragnienie. Reliabilizm w drugiej części szóstej Medytacji Kartezjusza Artykuł omawia epistemiczny status cielesnych doznań takich, jak ból, głód i pragnienia, o których mowa w drugiej części szóstej Medytacji Kartezjusza. Argumentuję, że ów fragment stanowi integralny komponent epistemologicznego programu, który można znaleźć w Medytacjach. Na ogół widzi się Kartezjusza jako zwolennika infallibilizmu, internalizmu oraz fundacjonalizmu. Tymczasem w odniesieniu do wiedzy i przekonań opartych na doznaniach cielesnych przyjmuje on fallibilizm, eksternalizm i reliabilizm. Na rzecz tego (...) wniosku przemawia z jednej strony, analiza tego, czego naucza nas – według Kartezjusza – natura przez wrażenia bólu, głodu i pragnienia, z drugiej strony jego analiza błędów, którym podlega nasza natura, przeprowadzona przeze mnie z wykorzystaniem zaproponowanego przez Wilfrida Sellarsa podziału na logiczną przestrzeń rozumu oraz empiryczną przestrzeń przyczyn. (shrink)

The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning (...) in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body. (shrink)