La percepción clara y distinta es el elemento sobre el que se asienta la certeza metafísica de Descartes. Con todo, el planteamiento de los argumentos escépticos referidos a la duda metódica cartesiana ha evidenciado la necesidad de hallar una justificación al propio criterio de la percepción clara y distinta. Frente a los intentos basados en la indubitabilidad de la percepción o en la garantía surgida de la bondad divina, se defenderá una justificación alternativa pragmatista.

In this paper, I provide what I believe to be Descartes's own solution to the problem of the Cartesian Circle. As I argue, Descartes thinks he can have certain knowledge of the premises of the Third Meditation proof of God's existence and veracity (i.e., the 3M-Proof) without presupposing God's existence. The key, as Broughton (1984) once argued, is that the premises of the 3M-Proof are knowable by the natural light. The major objection to this "natural light" gambit is that Descartes (...) identifies the natural light with the faculty of clear and distinct perception, a faculty that cannot be known to be reliable in advance of the 3M-Proof. I explain that Descartes distinguishes between three kinds of clear and distinction perceptions depending on their source; the senses, the imagination, or the intellect. I claim that although the First Meditation is designed to cast doubt on the clear and distinct perceptions of the senses and of the imagination, it is not designed to cast doubt on the clear and distinct perceptions of the intellect. The "natural light" gambit relies on the assumption that the natural light, by which propositions can be certainly known without presupposing knowledge of God's existence, is to be identified with the faculty of *intellectual* clear and distinct perception. (shrink)

Name der Zeitschrift: Archiv für Geschichte der Philosophie Jahrgang: 96 Heft: 4 Seiten: 463-488.

Descartes holds that when you perceive something with perfect clarity, you are compelled to assent and cannot doubt. (This is a psychological claim.) Many commentators read him as endorsing Psychologism, according to which this compulsion is a matter of brute psychological force. I show that, in Descartes’s view, perfect clarity provides a reason for assent—indeed a perfect reason, which precludes any reason for doubt. (This is a normative claim.) Furthermore, advancing a view I call Rational Force, he holds that the (...) normative claim explains the psychological one: since your will is naturally responsive to reasons, you are compelled to assent because you have a perfect reason to assent. This coheres with his view that will is essentially active, self-determined, and free. The force that clarity exerts on the will is not the brute push of an efficient cause, but the rational pull of a final cause. (shrink)

La epistemología contemporánea sostiene la imagen de Descartes como un fundamentalista epistemológico clásico, apelando, para ello, a las certezas metafísicas y a la presunta deducción del resto de conocimiento a partir de dichos principios. Con todo, un examen más detallado del proyecto epistemológico cartesiano pone en cuestión esta interpretación. El presente artículo analiza el papel de la deducción y la certeza moral a fin de redefinir el fundamentalismo de Descartes en términos moderados.

In an attempt to explore the role of argumentation in scientific inquiry, I explore the conception of argument that appears fruitful in the light of the recent trends in the philosophy of science, away from logical empiricism, and toward a greater emphasis on change, disagreement, and history. I begin by contrasting typical instances philosopers’ theories of both empiricism and apriorism, with typical instances of scientists’ uses of these two attitudes, suggesting that such practice shows a judiciousness lacking in epistemological theory. (...) Then I examine at some length three important version of scientific judgement, namely Einstein's opportunism, Boltzmann's pluralism, and Huygens's eclecticism. I go on to discuss some recent work in the philosophy of science, exploring connections between the notion of judgment and Feyerabend's anarchism, Harold Brown's view of rationality, and Dudley Shapere's analysis of scientific change. All of this suggests a notion of argument in the sense of informallogic, and I examine some aspects of Galileo's work in its terms. (shrink)

Résumé Descartes a adopté envers le scepticisme une attitude que d’aucuns parmi ses adversaires ont jugée ambiguë voire coupable. Il a recouru à des arguments sceptiques pour mettre en œuvre son célèbre doute qu’il concevait néanmoins comme l’acte inaugural d’une philosophie en quête de certitude scientifique. Descartes rejetait ainsi la fin poursuivie par les sceptiques et entendait user du doute contre le doute. Cette stratégie fondée sur un scepticisme des moyens pour combattre la fin et l’esprit même du scepticisme s’est-elle (...) révélée pertinente? Richard Popkin a pensé que non, dans son histoire du scepticisme, et conclu à l’échec d’un Descartes « sceptique malgré lui ». Je me propose de nuancer cette thèse de manière significative, suggérant que Descartes, sceptique à un second degré, était bien conscient de la finitude de l’esprit humain et des limites assignables à la recherche de la vérité des choses telles qu’elles sont en soi. (shrink)

Descartes has a Clarity First epistemology: (i) Clarity is a primitive (indefinable) phenomenal quality: the appearance of truth. (ii) Clarity is prior to other qualities: obscurity, confusion, distinctness – are defined in terms of clarity; epistemic goods – reason to assent, rational inclination to assent, reliability, and knowledge – are explained by clarity. (This is the first of two companion entries; the sequel is called, "Descartes's Method for Achieving Knowledge.").

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)

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

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)

Descartes understood the subject matter of physics (or natural philosophy) to encompass the whole of nature, including living things. It therefore comprised not only nonvital phenomena, including those we would now denominate as physical, chemical, minerological, magnetic, and atmospheric; it also extended to the world of plants and animals, including the human animal (with the exception of those aspects of the human mind that Descartes assigned to solely to thinking substance: pure intellect and will). Descartes wrote extensively on physiology and (...) on the physiology and psychology of the senses. This chapter examines the notions of *physiology* and *psychology* in medical and natural philosophical works of Descartes' day; follows his efforts to bring physiology into his mechanistic idiom; considers the relation between physiology of the animal machine and psychological functions that yield functionally appropriate behavior; goes into his physiology and psychology of vision; and elaborates the tension in Descartes' works between his metaphysically supported micro-corpuscularism and his discussion of the animal machine as an organic unity comprising various functionally and teleologically characterized systems. The chapter draws on Descartes' works in both metaphysics and natural philosophy, including his Treatise on Man (originally published as L'Homme, 1664). (shrink)