Reid's discernment between a ‘relative’ and a ‘distinct’ conception plays a significant role in his theory of secondary and primary qualities and in his postulations on ‘instinctive’ and ‘rational’ aesthetic perceptions. However, relative conceptions and, hence, the relative/distinct conception discernment, are absent from one model of aesthetic perception which Reid endorses, as well as from his theory of ‘moral approbation’. This paper aims (1) to explore the importance of Reid's relative/distinct discernment for the conception of qualities and aesthetic features and (...) (2) to point out and explain the significance of a different model of conception, which excludes relative conception, embraced by Reid for a certain context of aesthetic perception and for moral approbation. (shrink)

The paper focuses on Reid's unique epistemological distinction between the primary and the secondary qualities and examines it in relation to other facets of his philosophy: his stance vis-à-vis the scientific inquiries of secondary qualities; his aesthetics; his analysis of the perception of the primary quality of hardness; his theory of learning. An inquiry into the primary/secondary distinction which takes into account such a broad context will reveal it to be far more sophisticated, dynamic and flexible than an analysis of (...) the distinction which solely takes into consideration the passages in which the Scottish philosopher directly and straightforwardly introduces it. (shrink)

The controversy over the interpretative issue—is Thomas Reid a perceptual direct realist?—has recently had channelled into it a host of imaginative ideas about what direct perception truly means. Paradoxically enough, it is the apparent contradiction at the heart of his view of perception which keeps teasing us to review our concepts: time and again, Reid stresses that the very idea of any mental intermediaries implies scepticism, yet, nevertheless insists that sensations are signs of objects. But if sensory signs are not (...) mental intermediaries, what are they? Hasn't Reid merely swapped the common ‘sensation’ for the notorious ‘idea’, ending up with indirect realism?1 Current imaginative strategies answer negatively: Reid's sensory sign does not contradict direct perception, and those who think otherwise merely fail to understand what it means. (shrink)