In this aricle, I argue that Descartes can be seen as a occupying a distinct middle ground between ancient music theory, which was being revived in the Renaissance, and eighteenth-century aestheticians. Descartes’ approach to music had its roots in humanist thought but, even from the start, it wasn’t simply another humanist theory of music. The views Descartes begins to develop in his early years, in the Compendium musicae (1618), is continuous with the views he articulates near the end of his (...) life in the Passions of the Soul (1649). And the position on the effects of music is an interesting and important one, bridging humanist thought with the new philosophy. Unlike the humanists, Descartes will be unwilling to identify particular musical proportions as intrinsically connected with pleasure or other affects, but he will nevertheless develop an objective account of aesthetic value. (shrink)

Significantly, Berkeley, in his Essay Towards a New Theory of Vision, leveled a sustained attack on just this geometrical theory of distance perception. At first glance it may seem, as it did to Berkeley, that Descartes’ geometrical theory is produced by a simple error: namely, by the idea that a physiological optics provides an adequate description of the psychological processes of judging distances. In truth, this is the weakest of Berkeley’s objections to Descartes’ theory. Obviously we do not see the (...) angles and lines of convergence when we focus on a distant object, nor are we aware of having used any geometrical rules in judging distance. And Descartes never claimed this. (shrink)

Descartes affords several notions of consciousness as he explains the characteristics of the diverse features of human thought from infancy to adulthood and from dreaming to attentive wakefulness. The paper argues that Descartes has a rich and coherent view of conscious mentality from rudimentary consciousness through reflexive consciousness to consciousness achieved by deliberate, attentive reflection.

Descartes is often thought to bifurcate sensory experience into two distinct cognitive components: the sensing of secondary qualities and the more or less intellectual perceiving of primary qualities. A closer examination of his analysis of sensory perception in the Sixth Replies and his treatment of sensory processing in the Dioptrics and Treatise on Man teIls a different story. I argue that Descartes offers a unified cognitive account of sensory experience according to which the senses and intellect operate together to produce (...) a fundamentally imagistic representation of the world in both its primary and secondary quality aspects. At stake here is not only our understanding of the cognitive structure of sensory experience but the relation of sense and intellect more generally in the Cartesian mind. The deep bifurcation in the Cartesian mind is not between the sensory perception of primary and secondary qualities but between sensory perception and purely intellectual perception. (shrink)

I examine Descartes's theory of cognition, taking as a starting point his account of how misperception is possible. In the Third Meditation Descartes introduces the hypothesis that there are ideas (such as the idea of cold) which seem to be of something real but which in fact represent nothing (if, for example, cold is a privation or absence of heat, rather than the presence of a positive quality). I argue, against Margaret Wilson, that Descartes does not think there are any (...) such ideas and that he introduces the hypothesis only in order to formulate an objection to his argument for the existence of God. I argue further that while he agrees with Arnauld in accepting the Aristotelian account of cognition according to which the very objects in the world that we perceive exist in the soul or its ideas objectively, he still has a satisfactory response to Arnauld's objection that since an idea can represent only what it appears to be of, all error must reside solely in our judgment. I claim that Arnauld's objection that an idea represents what it appears to be of is based on the assumption that an idea appears to be of what exists in it objectively. But Descartes makes room for the possibility of misrepresentation by distinguishing between what exists objectively in an idea and what that idea appears to be of. First, he thinks that it is at least coherent to suppose that an idea lacking objective reality could appear to be of something in virtue of its material reality. Since an idea lacking objective reality would not represent any thing that exists in the world, Descartes concedes that it would not misrepresent any actually existing thing, but it could still appear to be of some thing and in that way misrepresent the way the world is. Second, there is reason to claim that like some of his Aristotelian predecessors Descartes holds that what exists in the soul objectively can appear to be other than it is. This interpretation has the implication that Descartes's theory of ideas, in contrast to sense datum theories, is not driven by the motive of finding some entity which is exactly as it appears to serve as the object of immediate awareness. (shrink)

This chapter explains Descartes confusion on sensations, size, shape, position, and motion. Descartes in detail explains that we perceive particular figures or actual bodies affecting our senses much more distinctly than their colours. Descartes construe the perception of position, distance, size, and shape as involving strong intellectual elements and he holds that they differ in this fundamental respect from ordinary perceptions of color, sound, heat and cold, taste, and the like, which are said to consist just in having “sensations” that (...) “arise from the mind-body union.” This position leaves room for uncertainty about what he means when he speaks elsewhere of the near-uselessness of sense perceptions in informing us of particular qualities of bodies, in so far as it opens the possibility of a quite restricted understanding of “sense perception” in these contexts. (shrink)

Commentators have argued that along with adopting a mechanical view of nature, Descartes developed two innovative views concerning sensation: sensation occurs without the involvement of an entity resembling the sensation, and sensations represent features of objects but without resembling them. When Descartes is interpreted as making both of these claims, it appears that in removing resemblance from the causal process of sensation, Descartes preserves the notion that sensations represent features of objects and that he does this by introducing a new (...) conception of representation — one not requiring resemblance.It is important to recognize that the two claims are distinct. The first claim, that the physical process of sensation does not involve something resembling the qualitative content of the sensation, does not in and of itself entail anything about the representational nature of the sensation. Or rather, what it does entail is thatifsensations do represent their causes in objects, then it cannot be by presenting those causes to the mind as they exist in objects. (shrink)

This chapter contains section titled: Introduction Objective Reality in the Cartesian Framework Material Falsity and Its Problems Reading 1: Descartes Abandons Material Falsity Reading 2: Reconciling Material Falsity and Objective Reality Response to the Dilemma of Uncaused Ideas The Identity of Ideas References and Further Reading.

This chapter contains section titled: The Rejection of Teleology and Its Limits Reconciling God's Goodness with Misjudgment and Misperception The Clock Analogy and Engineering the Body The Special Place of the Passions The Structure of the Passions of the Soul The Need for a General Remedy Notes References and Further Reading.

Alison Simmons, in Simmons (1999), argues that Descartes in Meditation Six offered a teleological account of sensory representation. According to Simmons, Descartes’ view is that the biological function of sensations explains both why sensations represent what they do (i.e., their referential content) and why they represent their objects the way they do (i.e., their presentational content). Moreover, Simmons claims that her account has several advantages over other currently available interpretations of Cartesian sensations. In this paper, I argue that Simmons’ teleological (...) account cannot be sustained for both theoretical and textual reasons and that it does not have the advantages it is claimed to have. (shrink)

Alison Simmons, in Simmons (1999), argues that Descartes in Meditation Six offered a teleological account of sensory representation. According to Simmons, Descartes’ view is that the biological function of sensations explains both why sensations represent what they do (i.e., their referential content) and why they represent their objects the way they do (i.e., their presentational content). Moreover, Simmons claims that her account has several advantages over other currently available interpretations of Cartesian sensations. In this paper, I argue that Simmons’ teleological (...) account cannot be sustained for both theoretical and textual reasons and that it does not have the advantages it is claimed to have. (shrink)