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

This paper provides a reception history of Book Two of the Treatise-Of the passions-as well as an attempt to reconcile Hume's ambitions to systematicity in Book Two with the distracted and distracting nature of the text. We currently have, I think, a good sense of the philosophical importance of Book Two within Hume's science of human nature. Yet we have not made much progress on understanding Book Two on its own terms, and especially why Book Two so often seems on (...) the verge of falling into an explanatory heap. I aim to rectify this situation by giving a reading of Book Two that makes sense of the philosophical importance of Hume's system of the passions, yet also explains why he encounters so many difficulties in setting out his system; such that he is often forced to stretch his explanations to the very edge of the credible. I contend that Hume's system of the passions is best viewed as an unstable explanatory compound, one that progressively dissolves as Hume's explanatory intentions become increasingly ambitious. (shrink)

Terence Penelhum has written extensively about the role of the idea of the self in Hume's account of the emotional and moral life of persons. Penelhum fails to notice, however, a change that takes place in the way that the idea of the self functions in Hume's account of the passions as that account evolved after the Treatise. This paper charts part of that evolution, and reflects on its significance for Hume's moral psychology.

In this paper I consider the context and significance of the first instalment of Hume's A Treatise of Human Nature , Books One and Two, on the understanding and on the passions, published in 1739 without Book Three. I argue that Books One and Two taken together should be read as addressing the question of the relation between reason and passion, and place Hume's discussion in the context of a large early modern philosophical literature on the topic. Hume's goal is (...) to show that the passions do not require government by reason, and to illustrate various ways in which the passions of social beings regulate themselves. The underlying theme of the first Treatise is thus a new theory of sociability: sympathetic sociability. (shrink)

This paper sketches a recently emerging divide between two interpretations of Hume's methodology and philosophy of science. On the first interpretation Hume relies on an inductive methodology and provides a dynamic theory of the mind, and his philosophy of science reflects this methodology. On the second, Hume relies on inferences to the best explanation via comparative analysis of instances, and offers an anatomy of the mind relying on a chemical and organic imagery. The paper also aspires to lean the reader's (...) sympathies toward the latter interpretation while outlining some of its potential consequences for the character of Hume's psychology, the limits of associationism, and his empiricism. (shrink)

Hume’s “impressions of reflection” is a category made up of all our non-sensory feelings, including “the passions and other emotions.” These two terms for affective mental states, ‘passion’ and ‘emotion’, are both used frequently in Hume’s work, and often treated by scholars as synonymous. I argue that Hume’s use of both ‘passion’ and ‘emotion’ in his discussions of affectivity reflects a conceptual distinction implicit in his work between what I label ‘attending emotions’ and ‘fully established passions.’ The former are the (...) transient, changeable, valenced feelings that flow between perceptions and constitute their felt nature and impulse. The latter are the particular passions fully realized, with characteristic valence, and analyzed by Hume in terms of their particular belief structures and relations between ideas and impressions understood to be constituent of particular passions. The term ‘emotion’ for Hume generally denotes either the attending feeling, sometimes distinct from the passion (particularly as ‘passion’ is being used to include the associated beliefs, causes and objects), or as a synonym for a particular passion, typically when Hume is primarily referring to the felt nature of the passion. Generally speaking, ‘passion’ is a more cognitive category of affective mental state, while ‘emotion’ is more sensationalist. I will further argue that when we grant Hume the emotion/passion distinction, he can accommodate both highly sensationalist and highly cognitivist understandings of affective mental states. I finish with the application of my distinction to two key topics in Hume studies: his sympathy mechanism, and his theory of belief and motivation. (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)