ABSTRACT“The first meaning of true and false”, writes Spinoza in a neglected passage of the Metaphysical Thoughts, “seems to have had its origin in stories”. Ideas are true when they “show” us things as they are; they are false when they do not, when they are fictional. In this essay, I argue that what appears at first sight to be a simple assertion of a correspondence theory of truth in fact opens onto broad historical transformations in the nature of meaning (...) that reshaped the very atmosphere of truth: the emergence of a new kind of fictionality, transformations in the sense of logical interpretation, and ultimately transformations in the structures and sources of the natural light, that “clarity” which constitutes for Spinoza, as for Descartes, an indispensable criterion for certainty. (shrink)

Any engagement with Spinoza's views on art is bound to mention his account of the rightful pleasures that the wise man takes in things that appeal to the imagination and delight his senses: beautif...

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)

Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art. I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.

Spinoza took it to be an important psychological fact that belief cannot be compelled. At the same time, he was well aware of the compelling power that religious and political fictions can have on the formation of our beliefs. I argue that Spinoza allows that there are ‘good’ and ‘bad’ fictions. His complex account of the imagination and fiction, and their disabling or enabling roles in gaining knowledge of Nature, is a site of disagreement among commentators. The novels of George (...) Eliot (who translated Spinoza's works) represent a significant development for those who aim to resolve such disagreement in favour of the epistemic value of the imagination and fiction. Although Eliot agreed with Spinoza that belief cannot be compelled, she nevertheless affirmed the potential of certain kinds of fiction to be not only compelling but also edifying. The parallel reading of Eliot and Spinoza offered here raises the question of whether his philosophy can accommodate a theory of art in which the artist is seen to be capable of attaining and imparting dependable knowledge. (shrink)

Spinoza's writing style has been judged, by various commentators, alternatively as excessively dry or lavishly rich, depending on the precise text that these scholars had in mind when making such judgments. This chapter offers an overview of a selected list of Scholastic debates intersecting the CM. It highlights how Spinoza consciously intervenes in them, showing a certain awareness of the intricacies of Scholastic discourse. Spinoza opens the CM with a discussion of the term “being,” claiming that “being is badly divided (...) into real being and being of reason”. The chapter focuses on how Spinoza can be interpreted as responding to the canonical thought of Francisco Suárez, since the Leiden Scholastics interacted especially with the Escuela de Salamanca. One of Spinoza's main piéces de résistance is the doctrine of the inseparability between the will and intellect of God. Spinoza has a much stronger thesis regarding the “external” identity of God's intellect, power, and will. (shrink)

In Ethics 4, Spinoza argues that “A free man thinks of nothing less than of death, and his wisdom is a meditation on life, not on death” (E4p67). Spinoza’s argument for this claim depends on his view of imagination, reason, and scientia intuitiva and on his notion of conatus. I explicate Spinoza’s view of life in terms of power (potentia) and show that Spinozan death amounts to reconfiguration rather than absolute annihilation. I then show that E4p67 reflects Spinoza’s well-known account (...) of the three kinds of knowing. Thinking of death is quintessentially imaginative and passive. The free person of E4p67 is in contrast a rational person. To reason, and as becomes especially clear E5, to experience scientia intuitiva, moreover is to think of things “without any relation to time, but [rather] sub specie aeternatitis”(E2p44c2) and to experience activity To the extent, then, that we are rational, free, and active, death is a non-issue. Indeed, to the extent that we are able to meditate on life sub specie aeternitatis, we actually experience joy, love (E5p20s, p32c), eternity (Sp23s), and “the greatest satisfaction of the Mind” (E5p27). (shrink)

The Amsterdam theater society Nil Volentibus Arduum, which was founded in 1669 and remained active for some years, was not just a circle meeting regularly to discuss theater theory and practice, but was devoted to discussion of all the arts as well as language theory in relation to society. As far as the Amsterdam theater was concerned, its main purpose was to try to raise the level and provide more of a moral and socially improving direction to the stage. Arguably, (...) also, it had a certain impact on discussion and theorizing about late Dutch Golden Age painting. Two of its most active members, Lodewijk Meyer and Johannes Bouwmeester, were among the closest friends and allies of Spinoza. Opponents and detractors of the society took to associating it in the public mind with the “atheist” Spinoza. This article seeks to understand the theoretical concerns of the society and assess its relationship to its broader Dutch context and to Spinoza and Spinozism. (shrink)