This chapter investigates Spinoza's conception of reason, focusing on (i) the difference between reason and the imagination, and (ii) the difference between reason and intuitive knowledge. The central interpretive debate this chapter considers is about the scope of rational cognition. Some commentators have argued that it is only possible to have rational cognition of properties that are universally shared, whereas intuitive knowledge may grasp the essences of particular individuals. Another prominent interpretation is that reason differs from intuition only in virtue (...) of its form or manner of apprehension, and not in virtue of the content or ideas it apprehends. However, authors on both sides of the debate have held that reason is incapable of grasping singular things. After summarizing the debate, this chapter presents an argument that Spinozan reason is not blind to particulars: it is (at least sometimes) capable of grasping the causal structure that characterizes an individual. (shrink)

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

Spinoza did not write a treatise on architecture, but I would like to consider what he might have said in it if he did. Spinoza makes few remarks about architecture, and these remarks do not appear...

In Spinoza’s substance monism, radically different attributes constitute the essence of one and the same substance qua a strongly unified whole. Showing how this is possible poses a formidable Cartesian challenge to Spinoza’s metaphysics. In this paper I suggest a reconstruction of Spinoza’s notion of substance that meets this challenge and explains a major feature of this notion. I then show how this reconstruction can be used to resolve two fundamental problems of the Cartesian framework that pertain to Spinoza’s metaphysics. (...) On this basis, I then explain two further major features of Spinoza’s notion of substance. While my suggested reconstruction has all these advantages and accords well with Spinoza’s conceptual framework, it goes beyond what he explicitly says concerning substance monism. It is in the spirit of his metaphysical framework rather than in its letter. Thus, all I intend to show is that Spinoza has the conceptual resources for coming to terms with some of the deep problems that beset his metaphysics. (shrink)

This paper examines the coherence of Spinoza’s combined account of freedom, reason, and the affects and its applicability to real humans in the context of the perfectly free man Spinoza discusses towards the end of part 4 of the Ethics. On the standard reading, the perfectly free man forms the model of human nature and thus the goal to which real humans should aspire. A recently proposed non-standard reading, however, posits that the perfectly free man should not be considered the (...) model of human nature. Consolidating FRA into a system of ten theses and outlining their intricate interconnections, I argue that under both the standard and non-standard readings of Spinoza’s perfectly free man, FRA founders when applied to real humans. While it is no big news that FRA may face deep problems when applied to real humans, the paper is innovative: in the specific tensions in FRA it exposes; in the strategy deployed to expose the latter; and in showing that a recent non-standard approach to resolving these tensions is unsuccessful. Depending on the specific reading of FRA that I suggest, my critical conclusions may not apply to every reading of FRA. They nonetheless pose a serious challenge to similar readings prominent within the literature. (shrink)

El presente trabajo es un intento por repensar el modo en que ha sido interpretada la primera parte de la Ética de Baruch Spinoza por la tradición. Fundamentalmente, busca alejarse de las interpretaciones que llamamos “ontológicas” -que sostienen que las distinciones conceptuales allí postuladas refieren a diferentes ámbitos de lo real-, para defender una lectura que tenga al factor gnoseológico como principio explicativo de tales distinciones. Se intentará mostrar que mediante esta hipótesis de lectura se accede a aquello que nos (...) parece ser el más auténtico espíritu spinozista: aquel donde la multiplicidad de las perspectivas del conocimiento humano se vuelve coherente con la más absoluta univocidad de lo real. (shrink)

The objective of this doctoral dissertation is to interpret the explanation of akrasia that the Dutch philosopher Benedictus Spinoza (1632-1677) gives in his work The Ethics. One is said to act acratically when one intentionally performs an action that one judges to be worse than another action which one believes one might perform instead. In order to interpret Spinoza’s explanation of akrasia, a large part of this dissertation investigates Spinoza’s theory of emotion. The first chapter is introductory and outlines Spinoza’s (...) categorisation of mental states and his conception of the relation between the mind and the body. The second chapter deals with Spinoza’s epistemology and the relation between cognitive mental states and states of the brain. The third chapter argues that Spinoza holds that emotions are non-cognitive mental states that are caused by cognitive mental states. The fourth chapter interprets Spinoza’s discussion of the emotions of Joy and Sadness insofar as they are mental states. The fifth chapter suggests that when Spinoza says that the power of our body is increased or decreased when we are joyful or sad, he means that when we are joyful or sad then, at the same time, our heart and perhaps the organs of our digestive system are affected in such a way that our bodily health is increased or decreased. The sixth chapter points to three problems that concern Spinoza’s definitions of the psychophysical states of pleasure, pain, cheerfulness and melancholy, and offers slightly altered definitions of these states. The seventh chapter interprets the various aspects of Spinoza’s conception of the emotion of Desire, both insofar as it is a state of the mind and insofar it is a state of the body, as well as the relation between the emotion of Desire and man’s striving for self-preservation. The eighth chapter discusses what Spinoza writes on the strength of emotions and the way in which we make value judgments in order to finally interpret why it is, according to Spinoza, that ‘we so often see the better for ourselves but follow the worse’. (shrink)

Adequate and inadequate ideas play a central role in Spinoza’s system. A number of recent commentators have suggested that the internality or externality of an idea’s immediate cause is a necessary and sufficient condition of the idea’s adequacy or inadequacy, respectively. I show that this thesis is subject to counterexample and briefly explore the significance of this critique for recent interpretations. I offer an alternative interpretation on which adequate and inadequate ideas are characterized by the manner in which they grasp (...) their objects. Adequate ideas conceive of their objects as following from God. Inadequate ideas conceive of their objects as affecting the body at a time and place. (shrink)

In this paper, through a close reading of Spinoza's use of common notions I argue for the role of experiential and experimental knowledge in Spinoza's epistemology.

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)