In this paper, we focus on Berkeley's reasons for accepting the ‘resemblance thesis’ which entails that for one thing to represent another those two things must resemble one another. The resemblance thesis is a crucial premise in Berkeley's argument from the ‘likeness principle’ in §8 of the Principles. Yet, like the ‘likeness principle’, the resemblance thesis remains unargued for and is never explicitly defended. This has led several commentators to provide explanations as to why Berkeley accepts the resemblance thesis and (...) why he also takes his opponents to do so too. We provide a contextual answer to this question, focusing on epistemological discussions concerning resemblance and representation in Early Modern Irish Philosophy. We argue that the resemblance thesis is implicit in early responses to William Molyneux's famous example of the ‘man born blind made to see’ and trace the ‘Molyneux man’ thought experiment as it is employed by Irish thinkers such as William King and Berkeley himself. Ultimately, we conclude that Berkeley's acceptance of the resemblance thesis can be explained by the Irish intellectual climate in which he was writing. (shrink)

The paper proposes a novel interpretation of Berkeley's so-called Assimilation Argument in the First Dialogue between Hylas and Philonous.

This paper argues that a debate between Toland and Clarke is the intellectual context to help understand the motive behind the critic and the significance of Berkeley's response to the critic in PHK 60-66. These, in turn, are responding to Boyle's adaptation of a neglected design argument by Cicero. The paper shows that there is an intimate connection between these claims of natural science and a once famous design argument. In particular, that in the early modern period the connection between (...) the scientific revolution and a certain commitment to final causes, and god's design, is more than merely contingent. The details of PHK 60-66 support the idea that the critic is responding to concerns that by echoing features of Toland's argument Berkeley undermines the Newtonian edifice Clarke has constructed. (shrink)

George Berkeley maintains both anti-abstractionism (that abstract ideas are impossible) and idealism (that physical objects and their qualities are mind-dependent). Some scholars (including Atherton, Bolton, and Pappas) have argued, in different ways, that Berkeley uses anti-abstractionism as a premise in a simple argument for idealism. In this paper, I argue that the relation between anti-abstractionism and idealism in Berkeley's metaphysics is more complex than these scholars acknowledge. Berkeley distinguishes between two kinds of abstraction, singling abstraction and generalizing abstraction. He then (...) rests his case for idealism, not on the denial of the possibility of generalizing abstraction, but rather on the denial of the possibility of singling abstraction. Moreover, Berkeley's argument does not rest on a blanket rejection of all forms of singling abstraction. Rather, the fundamental anti-abstractionist assumption, for his purposes, is the claim that primary qualities cannot be mentally singled out from secondary qualities. Crucially, the claim that the existence of physical objects cannot be mentally singled out from their being perceived is not a premise in, but rather a consequence of, Berkeley's argument for idealism. Berkeley's argument therefore avoids circularity inasmuch as it appeals to the impossibility of singly abstracting one idea in order to establish the impossibility of singly abstracting another. (shrink)

Leibniz claims that Berkeley “wrongly or at least pointlessly rejects abstract ideas”. What he fails to realize, however, is that some of his own core views commit him to essentially the same stance. His belief that this is the best (and thus most harmonious) possible world, which itself stems from his Principle of Sufficient Reason, leads him to infer that mind and body must perfectly represent or ‘express’ one another. In the case of abstract thoughts he admits that this can (...) happen only in virtue of thinking of some image that, being essentially a mental copy of a brain state, expresses (and is expressed by) that state. But here he faces a problem. In order for a thought to be genuinely abstract, its representational content must differ from that of any mental image, since the latter can represent only particular things. In that case, however, an exact correspondence between the accompanying mental image and the brain state would not suffice to establish a perfect harmony between mind and body. Even on Leibniz’s own principles, then, it appears that Berkeley was right to dismiss abstract ideas. (shrink)

Mozi and George Berkeley are philosophers who are not often put into conversation. However, I argue that comparing them can shed some light on the relationship between certain philosophical positions and their resulting moral philosophies. Specifically, I will draw attention to the way that their lack of interest in an appearance-reality distinction and in "essence" gives rise to a tension between consequentialism and divine command theory. These similarities exist despite the fact that Mozi and Berkeley otherwise have quite distinct views. (...) For example, Mozi's dao-centered theoretical orientation leads him to assume that the world simply is as it is given through our senses, whereas Berkeley holds that the world is... (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)

In several essays I have argued that Berkeley maintains the same basic notion of spiritual substance throughout his life. Because that notion is not the traditional (Aristotelian, Cartesian, or Lockean) doctrine of substance, critics (e.g., John Roberts, Tom Stoneham, Talia Mae Bettcher, Margaret Atherton, Walter Ott, Marc Hight) claim that on my reading Berkeley either endorses a Humean notion of substance or has no recognizable theory of substance at all. In this essay I point out how my interpretation does not (...) assume that Berkeley adopts a bundle theory of mind, but instead redefines what it means for a simple substance to be the principle by which ideas are perceived. (shrink)