In this paper, I argue that Christ’s second love command implies not only that people’s volitions and actions be Christ-like, but also that their affective-motivational dispositions be Christ-like. More specifically, I argue that the command implies that people have aretaic obligations to strive to cultivate a merciful heart with the kind of affective depth described by St. Isaac of Syria in his 71st ascetical homily—i.e., one that is disposed to becoming inflamed, such that it is gripped by “strong and vehement (...) mercy.”. (shrink)

In the Fifth Meditation Descartes considers the problem of knowledge preservation : the challenge of accounting for the diachronic certainty of perfect knowledge [scientia]. There are two general solutions to PKP in the literature: the regeneration solution and the infallible memory solution. While both readings pick up on features of Descartes’ considered view, I argue that they ultimately fall short. Salvaging pieces from both readings and drawing from Descartes’ virtue theory, I argue on textual and systematic grounds for a dispositionalist (...) solution. On this view, the diachronic certainty of scientia is achieved through virtuous habits of belief. (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.

Recent research in Baroque Scholastic and early modern meditational exercises has demonstrated similarity between Descartes’s Meditations and St. Teresa of Ávila’s El Castillo Interior. While there is growing agreement on the influence of Catholic meditations on Descartes, the extent of Teresa’s role is debated. Instead of discussing the full extent of Teresa’s influence, this paper concentrates on one example of the considered influence: the skeptical scenario of demonic deception, having clear anticipation in Teresa’s work where the exercitant faces off against (...) deceiving demonic forces, which confound and temporarily halt the meditative progress. The paper analyzes Teresa’s use of deceptive demons and its influence on the Cartesian Evil Demon scenario, while contrasting both with a discussion of demonic deception in the late Medieval and Baroque Scholastic context, arguing that demonological discussions in 1500s allowed both Teresa’s and Descartes’s deceivers to not only cause diversions but to make the deception laborious to resist. (shrink)

Descartes is not widely recognized for his ethics; indeed, most readers are unaware that he had an ethics. However, Descartes placed great importance on his ethics, claiming that ethics is the highest branch of his philosophical system. I aim to understand the systematic relationship Descartes envisions between his ethics and the rest of his philosophy, particularly his metaphysics and epistemology. I defend three main theses. First, I argue against the recent trend in the literature that claims that the chief virtue (...) in Descartes’ ethics—generosity—is acquired in the Meditations. On this view, the presence of moral virtue in the Meditations shows that ethical practice is intertwined with metaphysics and epistemology. I argue that generosity cannot be acquired in the Meditations because acquiring generosity presupposes several metaphysical and physical truths that the meditator cannot access given her epistemic position. Thus, I maintain that metaphysics and epistemology is foundational to ethics. Second, I resolve the tension between Descartes’ description of distinct virtues, and his insistence that there is only a single virtue—the disposition to judge well. Drawing from his theory of conceptual distinction in his metaphysics, I argue that Descartes offers a unique account of the unity of the virtues. Although Descartes describes different virtues, he thinks that all of them are identical to each other because they are reducible to the disposition to judge well. Nonetheless, we can conceptually distinguish between the virtues because we can regard the disposition to judge well in different ways given the various applications it has in different types of moral situations. Third, I show that some of Descartes’ ethical concepts inform his epistemology. I draw from Descartes’ theory of virtue to address “the problem of knowledge preservation,” that is, how to render perfect knowledge— scientia—stable in light of the instability of clear and distinct perceptions. I argue that Descartes intends to preserve scientia by grounding items of scientia in virtuous habits of belief. These habits of belief are established through repeated engagement with cognitive routes to clear and distinct perceptions, and are ultimately grounded in memory. This reading has the advantage of explaining Descartes’ notoriously confusing remarks about memory in response to the Cartesian circle. (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)