In the first part of the paper, I’ll rehearse an argument that perceiving that we see and hear isn’t a special case of perception in Aristotle but is rather a necessary condition for any perception whatsoever: the turning of one’s attention to the affection of the sense organs. In the second part of the paper, I’ll consider the thesis that the activity of the active intellect is analogous to perceiving that we see and hear.

Both literalism, the view that mathematical objects simply exist in the empirical world, and fictionalism, the view that mathematical objects do not exist but are rather harmless fictions, have been both ascribed to Aristotle. The ascription of literalism to Aristotle, however, commits Aristotle to the unattractive view that mathematics studies but a small fragment of the physical world; and there is evidence that Aristotle would deny the literalist position that mathematical objects are perceivable. The ascription of fictionalism also faces a (...) difficult challenge: there is evidence that Aristotle would deny the fictionalist position that mathematics is false. I argue that, in Aristotle's view, the fiction of mathematics is not to treat what does not exist as if existing but to treat mathematical objects with an ontological status they lack. This form of fictionalism is consistent with holding that mathematics is true. (shrink)

I explain what Aristotle means when, after puzzling about the matter of motion in incomplete animals (those without sight, smell, hearing), he suggests in De Anima III 11.433b31–434a5 that just as incomplete animals are moved indeterminately, desire and phantasia are present in those animals, but present indeterminately. I argue that self-motion and its directing faculties in incomplete animals differ in degree but not in kind from those of complete animals. I examine how an object of desire differs for an incomplete (...) animal. Using a comparison with Aristotle’s account of recollection, especially in unfavorable circumstances, I describe indeterminate self-motion. Finally, I discuss implications for our understanding of Aristotle’s accounts of the faculties of the soul and incomplete animals. (shrink)

I examine the passages where Aristotle maintains that intellectual activity employs φαντάσματα (images) and argue that he requires awareness of the relevant images. This, together with Aristotle’s claims about the universality of understanding, gives us reason to reject the interpretation of Michael Wedin and Victor Caston, on which φαντάσματα serve as the material basis for thinking. I develop a new interpretation by unpacking the comparison Aristotle makes to the role of diagrams in doing geometry. In theoretical understanding of mathematical and (...) natural beings, we usually need to employ appropriate φαντάσματα in order to grasp explanatory connections. Aristotle does not, however, commit himself to thinking that images are required for exercising all theoretical understanding. Understanding immaterial things, in particular, may not involve employing phantasmata. Thus the connection that Aristotle makes between images and understanding does not rule out the possibility that human intellectual activity could occur apart from the body. (shrink)

This is a close scrutiny of De Anima II 5, led by two questions. First, what can be learned from so long and intricate a discussion about the neglected problem of how to read an Aristotelian chapter? Second, what can the chapter, properly read, teach us about some widely debated issues in Aristotle's theory of perception? I argue that it refutes two claims defended by Martha Nussbaum, Hilary Putnam, and Richard Sorabji: that when Aristotle speaks of the perceiver becoming like (...) the object perceived, the assimilation he has in mind is ordinary alteration of the type exemplified when fire heats the surrounding air, that this alteration stands to perceptual awareness as matter to form. Claim is wrong because the assimilation that perceiving is is not ordinary alteration. Claim is wrong because the special type of alteration that perceiving is is not its underlying material realisation. Indeed, there is no mention in the text of any underlying material realisation for perceiving. The positive aim of II 5 is to introduce the distinction between first and second potentiality, each with their own type of actuality. In both cases the actuality is an alteration different from ordinary alteration. Perception exemplifies one of these new types of alteration, another is found in the acquisition of knowledge and in an embryo's first acquisition of the power of perception. The introduction of suitably refined meanings of 'alteration' allows Aristotle to explain perception and learning within the framework of his physics, which by definition is the study of things that change. He adapts his standard notion of alteration, familiar from Physics III 1-3 and De Generatione et Corruptione I, to the task of accounting for the cognitive accuracy of perception and second potentiality knowledge: both are achievements of a natural, inborn receptivity to objective truth. Throughout the paper I pay special attention to issues of text and translation, and to Aristotle's cross-referencing, and I emphasise what the chapter does not say as well as what it does. In particular, the last section argues that the textual absence of any underlying material realisation for perceiving supports a view I have defended elsewhere, that Aristotelian perception involves no material processes, only standing material conditions. This absence is as telling as others noted earlier. Our reading must respect the spirit of the text as Aristotle wrote it. (shrink)

In this article, I foreground the physiology of phantasia in Aristotle, which has been comparatively understudied. In the first section, I offer a new interpretation of the relationship between aisthēmata and phantasmata, based on passages in the De Anima and the Parva Naturalia, and for a nuanced understanding of their respective substrates in the body, which I argue to be connate pneuma and blood. In the second section, I draw out the ramifications of this physiological presence of phantasmata in the (...) blood and compare the integration of phantasmata into a person or animal’s experiential history with the process of digestion. Both processes, I contend, require internalization of foreign elements as well as their optimal organization; more strikingly, both processes occur in the same substance, in the same location, and, perhaps, at the same time. (shrink)

This article closely compares the opposing foundations of theoretical philosophy in René Descartes and Ayn Rand. The developmental course of Rand's foundations, with their continual opposition to Descartes, is tracked. Arguments particularly against Descartes are assembled in this article, and the bountiful contemporary scholarship on Descartes is engaged.

In Plato’s Philebus, Socrates’ second account of ‘false’ pleasure (41d-42c) outlines a form of illusion: pleasures that appear greater than they are. I argue that these pleasures are perceptual misrepresentations. I then show that they are the grounds for a methodological critique of hedonism. Socrates identifies hedonism as a judgment about the value of pleasure based on a perceptual misrepresentation of size, witnessed paradigmatically in the ‘greatest pleasures’.

Aristotle’s works on natural science show that he was aware of the affective powers of colour. At De an. 421a13, for example, he writes that hard-eyed animals can only discriminate between frightening and non-frightening colours. In the Nicomachean Ethics, furthermore, colours are the source of pleasures and delight. These pleasures, unlike the pleasures of touch and taste, neither corrupt us nor make us wiser. Aristotle’s views on the affective powers of colours raise a question about the limits he seems to (...) place on the affective powers of pictures at De an. 427b15-24, where he implies that pictures do not affect us immediately. In this paper, I examine the contrast between the affective powers of colour and the affective powers of pictures. I argue that colours can give rise to pleasure and pain in themselves and generate emotions incidentally. Similarly, pictures can please us or affect us in themselves and incidentally. In light of this account, I suggest that, on a plausible reading of De an. 427b15-24, the affective powers of pictures as mimetic objects are not immediate because they require an intervening cause in order to be effective. The representations of pictures and statues affect us either with the mediation of deception or with the mediation of interpretation. (shrink)

Aristotle is famous for thinking that all our knowledge comes from perception. But it's not immediately clear what this view is meant to entail. It's not clear, for instance, what perception is supposed to contribute to the more advanced forms of knowledge that derive from it. Nor is it clear how we should understand the nature of its contribution—what it might mean to say that these more advanced forms of knowledge are "derived from" or "based on" what we perceive. Aristotle (...) is often thought to have disappointingly little to say on these matters. I argue here that this thought is mistaken: a coherent and philosophically attractive view of perceptual knowledge can be found in the various texts in which Aristotle discusses perception's role in animal life, the cognitive resources on which it does and does not depend, and the relation it bears to practical and theoretical modes of understanding. This book offers a sustained examination of these discussions and their epistemological, psychological, and ethical implications. It defends an interpretation of Aristotle as a moderate sort of empiricist, who thinks that we can develop sophisticated forms of knowledge by broadly perceptual means—and that we therefore share an important part of our cognitive lives with nonrational animals—but also holds that our intellectual powers allow us to surpass these animals in certain ways and thereby develop distinctively human forms of understanding. (shrink)

In the tripartite psychology of the Republic, Plato characterizes the “spirited” part of the soul as the “ally of reason”: like the auxiliaries of the just city, whose distinctive job is to support the policies and judgments passed down by the rulers, spirit’s distinctive “job” in the soul is to support and defend the practical decisions and commands of the reasoning part. This is to include not only defense against external enemies who might interfere with those commands, but also, and (...) most importantly, defense against unruly appetites within the individual’s own soul.1 Spirit, according to this picture, is by nature reason’s faithful auxiliary in the soul, while appetite is always a potential enemy to be watched .. (shrink)

In NE III.10, 1118b1–3, Aristotle says that the “most shared of the senses is that according to which intemperance [comes about], and it would seem justifiably to be shameful, because it inheres [in us] not insofar as we are human beings, but insofar as we are animals”. This statement appears to describe the sense of touch as shameful. This may seem like a strange position for Aristotle to hold, since elsewhere he describes human touch as the most accurate among animal (...) species, which corresponds to our superior intelligence, and as necessary for animal life. In this paper, I argue that Maimonides nevertheless succeeds in showing that Aristotle has a strong theoretical reason for maintaining that the sense of touch is shameful. Maimonides shows that, based on principles of Aristotelian psychology, human touch is indeed shameful because it obstructs intellectual activity. (shrink)

Abstract Aristotle's account of Phantasia in De Anima 3.3 is notoriously difficult to decipher. At one point he describes Phantasia as a capacity for producing images, but then later in the same chapter it is clear Phantasia is supposed to explain appearances, such as why the sun appears to be a foot wide. Many commentators argue that images cannot explain appearances, and so they claim that Aristotle is using Phantasia in two different ways. In this paper I argue that images (...) actually explain perceptual appearances for Aristotle, and so Phantasia always refers to images. I take a new approach to interpreting DA 3.3, reading it alongside Plato's Theaetetus and Sophist . In the Theaetetus , Socrates explains how memory gives rise to perceptual appearance. I claim that Aristotle adopts Socrates' account of perceptual appearance, but what Socrates calls memory, Aristotle calls Phantasia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Phantasia in the Rhetoric:Lexis, Appearance, and the Epideictic Function of DiscourseNed O’GormanIntroductionThe well-known opening line of Aristotle's Rhetoric, where he defines rhetoric as a "counterpart" (antistrophos) to dialectic, has spurred many conversations on Aristotelian rhetoric and motivated the widespread interpretation of Aristotle's theory of civic discourse as heavily rationalistic. This study starts from a statement in the Rhetoric less discussed, yet still important, that suggests that a visual (...) aspect inheres in Aristotle's theory of rhetoric. Near the beginning of book 3, which deals with lexis (style, sometimes subsuming delivery1 ), Aristotle conjoins lexis and phantasia with the copula "is" (eimi): "The subject of expression [lexeôs], however, has some small necessary place in all teaching; for to speak in one way rather than another does make some difference in regard to clarity, though not a great difference; but all these things are forms of outward show [phantasia] and intended to affect the audience" (1404a).2 Whereas scholars exploring the relationship between rhetoric and dialectic have compared and contrasted the Rhetoric and the Topics, I explore rhetoric's relationship with phantasia by reading the Rhetoric alongside De Anima. De Anima is Aristotle's seminal account of the senses and their relationship to psychê (often translated "soul"). It addresses topics intimately connected to rhetoric: perception, cognition, deliberation, visualization, imagination, and the image. Phantasia is integral to each of these psychic processes and to Aristotle's understanding of the function of appearance in human experience. Hence, itis a lens suitable for exploring the relationship between Aristotle's conception of civic discourse and his notions of sight and appearances as they relate to perception, interpretation, deliberation, and judgment. I find in Aristotle's phantasia a tie between his art of rhetoric and his psychology and phenomenology (anachronistic though these terms are). Aristotle's psychological works, as Richard McKeon points out, are foundational to Aristotle's philosophy, and thus to his Rhetoric. [End Page 16] "Psychological inquiries occupy an extremely important position in the philosophy of Aristotle, for the conception of the psychê lays the foundation for the continuity of functions in nature" (1947, 142). De Anima, especially, articulates the psychological and phenomenological conceptions often tacitly at work in the Rhetoric.The importance of phantasia for the trajectory of ancient rhetorical and aesthetic theory is seen in the parallels between the visual arts, rhetoric, and poetics in Greek and Roman thought.3 As David Freedberg states (perhaps, slightly overstates), parallels between painting and poetry are "to be found everywhere in classical literature" (1989, 50). With respect to such visual-verbal parallels in Aristotle, D. Thomas Benediktson's reading of Aristotle's psychological, poetic, and rhetorical works concludes that phantasia ties together the visual and the literary. "[Aristotle's passages on phantasia] do help to see why Aristotle took for granted the similarity, almost the identity, of literature and the visual arts. Both types of art are imagistic; they present to the viewer either an image, as in visual art, or as in literature, a set of moving images that the soul then uses as raw data (phantasia) to enable thought to occur" (2000, 170). Phantasia developed a legacy in Hellenistic aesthetics, where it came to designate suprarealism in painting, moving art "beyond imitation" (Fowler 1989, 180–81). In later Greco-Roman works, phantasia was used to designate vivid imagery in written and oral discourse, imagery that could create sights and scenes in the minds of audience members. As Quintilian noted in his discussion of forensic rhetoric, in Latin phantasiai were termed visiones. Here, phantasiabecame a mode of displacing narrative in rhetorical discourse:There are certain experiences which the Greeks call phantasiai, and the Romans visions [visiones], whereby things absent are presented to our imagination with such extreme vividness that they seem actually to be before our very eyes.... From such impressions arises that enargeia which Cicero calls illumination [illustration] and actuality [evidential], which makes us seem not so much to narrate [dicere] as to exhibit [ostendere] the actual scene.(Institutio Oratoria 4.2.29, 32)Quintilian's invocations of phantasia and enargeia can be traced to Aristotle's discussion of rhetorical style in book... (shrink)

Duas das principais controvérsias que têm ocupado aqueles que se dedicam à teoria aris- totélica do movimento animal são a controvérsia acerca da forma da cognição através da qual um animal irracional apreende um objeto como um objeto de desejo e a controvérsia acerca da função desempenhada pela cognição na explicação aristotélica dos movimentos voluntários de locomoção animal. Neste artigo, eu apresento uma teoria acerca das formas como o desejo e a cognição se articulam na teoria aristotélica segundo a qual (...) um animal irracional apreende um objeto como um objeto de desejo através da percepção incidental deste objeto e, ao contrário do que a maioria parece acreditar, esta percepção não tem sempre a mesma função na produção destes movimentos. Se o que for dito aqui estiver correto, em alguns casos esta percepção é responsável tanto pela geração do desejo quan- to pela sua orientação, mas em outros ela é responsável apenas pela sua orientação. (shrink)

The paper addresses the following question: why do human beings, on Aristotle’s view, have an innate tendency to badness, that is, to developing desires that go beyond, and often against, their natural needs? Given Aristotle’s teleological assumptions (including the thesis that nature does nothing in vain), such tendency should not be present. I argue that the culprit is to be found in the workings of rationality. In particular, it is the presence of theoretical reason that necessitates the limitless nature of (...) human non-rational desires. (shrink)

Two disciplines have greatly contributed to a new understanding of phantasy and imagination in contemporary thought: phenomenology and psychoanalysis. These two different approaches to Phantasie developed almost simultaneously at the beginning of the twentieth century. The examination of Phantasie can focus on the concrete form of the phantasm as a unique object formation—or better, as scene. The attention can also be directed to the style of imagining as specific intentionality. Whereas the second line of research has been extensively studied in (...) the context of phenomenological investigation, psychoanalytical inquiry has greatly contributed to the understanding of the phantasm as scene. In the present paper, the author primarily examines the notion of phantasy from a phenomenological perspective. More specifically, the author intends to show the inner tensions between the concept of pure phantasy as intentional act and the manner of appearance of unclear phantasy. If we consider the essential traits of the appearances of unclear phantasies, the unclear phantasies cannot be considered as quasi-perceptions of a fictional object, since no intentional object constitutes itself in this confused dimension. (shrink)

Aristotle's theory of perception is complicated by the fact that he recognizes three kinds of perceptible object: special, common, and incidental, all of which have different levels of reliability. Focusing on De Anima 3.3, 428b17–25, this paper discusses why these three sorts of perception are true and false. It argues that perceptions of special objects can be false because of the blind-spot phenomenon and that common objects are typically perceived as predicated of an incidental object. This helps explain why perceptions (...) of common objects are the most error prone. The paper ends with a suggestion about the importance of predicational perception for Aristotle's epistemology. (shrink)

It is now common to explain some of incidental perception’s features by means of a different capacity, called phantasia. Phantasia, usually translated as ‘imagination,’ is thought to explain how incidental perception can be false and representational by being a constitutive part of perception. Through a close reading of De Anima 3.3, 428b10–29a9, I argue against this and for perception first: phantasia is always a product of perception, from which it initially inherits all its characteristics. No feature of perception is explained (...) directly by phantasia, and phantasia is never a part of perception. Phantasia is not imagination or representation, as many have thought, but perception-like appearance. Aristotle thus recognizes alongside three different types of perception three different types of perception-like appearance. (shrink)

Aristotle sometimes claims that the perception of special perceptibles by their proper sense is unerring. This claim is striking, since it might seem that we quite often misperceive things like colours, sounds and smells. Aristotle also claims that the perception of common perceptibles is more prone to error than the perception of special perceptibles. This is puzzling in its own right, and also places constraints on the interpretation of. I argue that reading Alexander of Aphrodisias on perceptual error can help (...) to make good sense of both of Aristotle’s claims. (shrink)

The Stoics identified thephantasiawith the impression (typos) in the soul, or the impressing process (typōsis). Alexander of Aphrodisias engages directly with this account atDe anima68.10–21, and argues against the applicability of the impression in a theory of perception inMantissa10, especially 133.25–134.23. I analyse Alexander’s polemic account atDe anima68.10–21, I demonstrate that it differs from Chrysippus’ criticism of Cleanthes (contrary to some commentators), and I show how it fits in the context of his argument. From this analysis it will emerge how (...) Alexander uses Stoic ideas to form his Aristotelian account. Then, I show that Alexander, by taking ‘typos’ metaphorically, not only prefers the term ‘enkataleimma’ over ‘typos’ in his theory ofphantasia, but he keeps the ‘typos’ terminology only to remain faithful to Aristotle’s use (contrary to some commentators). (shrink)

In my paper, I defend an interpretation according to which Aristotle thinks in Nicomachean Ethics (EN) that the rational aspect of soul is needed in discerning which ends of desire would be good. Many interpreters have traditionally supported this, ‘rationalist’ line of interpreting Aristotle’s theory of value cognition. The rationalist interpretation has, however, recently come under a novel challenge from Jessica Moss (2011, 2012), but has not yet received a defence. Moss attempts to resurrect now virtually abandoned ‘anti-rationalist’ interpretation, which (...) claims, in a contrast to the rationalist one, that discerning good ends may require no activity from the rational aspect, but only well-habituated non-rational desire. Moss’ interpretation appeals to certain Aristotle’s claims in De Anima (DA) 3, which, she thinks, show that non-rational phantasia suffices for discerning good ends if only accompanied with the habituated desire. Although her interpretation can successfully avoid some problems that earlier anti-rationalist interpretations faced with certain passages of EN, I also argue, however that it introduces some new problems, and attributes philosophically incoherent views about moral responsibility to Aristotle. Therefore I conclude that even after Moss’ improvements to the anti-rationalist interpretation, the rationalist interpretation remains overall more plausible. (shrink)

I argue that a study of the Nicomachean Ethics and of the Parva Naturalia shows that Aristotle had a notion of attention. This notion captures the common aspects of apparently different phenomena like perceiving something vividly, being distracted by a loud sound or by a musical piece, focusing on a geometrical problem. For Aristotle, these phenomena involve a specific selectivity that is the outcome of the competition between different cognitive stimuli. This selectivity is attention. I argue that Aristotle studied the (...) common aspects of the physiological processes at the basis of attention and its connection with pleasure. His notion can explain perceptual attention and intellectual attention as voluntary or involuntary phenomena. In addition, it sheds light on how attention and enjoyment can enhance our cognitive activities. (shrink)

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)

Aristotle’s Naïve Somatism is a re-interpretation of Aristotle’s cognitive psychology in light of certain presuppositions he holds about the living animal body. The living animal body is presumed to be sensitive, and Aristotle grounds his account of cognition in a rudimentary proprioceptive awareness one has of her body. With that presupposed metaphysics under our belts, we are in a position to see that Aristotle in de Anima (cognition chapters at least) has a di erent explanatory aim in view than that (...) which the literature generally imputes to him. He is not explicating what we would call the “mental”—the private, inner realm which some take to be of a di erent kind than the physical—as most take him to be. His explanandum is content acquisition; the explanans is showing how the body becomes like various aspects of objects. Although he famously describes the mind (nous) as unmixed with the body, he is guided by functional constrains—nous cannot be limited or qualified if it is to potentially think all things. Thus, his inquiry into cognition is philosophically limited from a contemporary perspective. Aristotle is not doing philosophy of mind, for he doesn’t seem to find the “mental” philosophically perplexing. (shrink)

The thesis offers a reconstruction of Plotinus' reading of the Theaetetus, and it presents an account of his epistemology that rests on that reading. It aims to show that Plotinus reads the Theaetetus as containing two anti-sceptical arguments. The first argument is an answer to radical scepticism, namely, to the thesis that nothing is apprehensible and judgement must be suspended on all matters. The second argument is an answer to a more moderate form of scepticism, which does not endorse a (...) universal suspension of judgement, but maintains nonetheless that scientific knowledge is unattainable. (shrink)