This paper argues that Spinoza's notions of “conatus” and “power of acting” are derived by means of generalization from the notions of “force of motion” and “force of determination” that Spinoza discussed in his Principles of Cartesian Philosophy to account for interactions among bodies on the basis of their degrees of contrariety. I argue that in the Ethics, Spinoza's ontology entails that interactions must always be accounted for in terms of degrees of “agreement or disagreement in nature” among interacting things. (...) The notion of “power of acting” is used to express the extent to which a thing's conatus is aided or restrained by external causes on the basis of its degree of agreement or disagreement in nature with them. “Power of acting” generalizes the same approach and method of resolution at the basis of the notion of “force of determination” in order to account for causal interactions not only among the simplest bodies but also among more complex individuals. (shrink)

In this paper I examine the question whether Spinoza can account for the necessity of death. I argue that he cannot because within his ethical intellectualist system the subject cannot understand the cause of her death, since by understanding it renders it harmless. Then, I argue that Spinoza could not solve this difficulties because of deeper commitments of his system. At the end I draw a historical parallel to the problem from medieval philosophy.

Spinoza attributes mentality to all things existing in nature. He claims that each thing has a mind that perceives everything that happens in the body. Against this panpsychist background, it is unclear how consciousness relates to the nature of the mind. This study focuses on Spinoza’s account of the conscious mind and its operations. It builds on the hypothesis that Spinoza’s panpsychism can be interpreted as a self-consistent philosophical position. It aims at providing answers to the following questions: what is (...) consciousness, for Spinoza, and what are the causes that determine its presence in nature? How can human and non-human individuals be distinguished on account of their mentality? How can Spinoza conceive of the human mind as consisting entirely of conscious perceptions? And how, according to Spinoza’s mind-body parallelism, is the content of consciousness determined so that it reflects in thought the order and connection of the actions and passions of the body? To address these questions, I first determine what Spinoza’s notion of “consciousness” is and how he uses it. Then, I investigate whether he has a theory of recognition capable of accounting for specifically human behaviour and mentality. Further, I examine his description of memory and the way in which memory shapes the framework of human conscious thought. Finally, I look for an account of discursive reasoning, capable of explaining the existence of activities of the mind that, by operating on the content provided by memory, preserve themselves through time and change. (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)