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

In this paper I consider the relation between Descartes' psychology of vision and the cognitive science approach to psychology (henceforth CS). In particular, I examine Descartes' the Optics (1637) in the light of David Marr's (1982) position in CS. My general claim is that CS can be seen as a rediscovery of Descartes' psychology of vision. In the first section, I point to a parallel between Descartes' epistemological revolution, which created the modem version of the problem of perception, and the (...) cognitive revolution. These fundamental revolutions in theoretical psychology were both inspired and legitimated by a revolution in mathematics. They took place in accordance with one of Marr's maxims: “To the desirable via the possible”. In the second section, I demonstrate that in the Optics, Descartes explains perception of metrical properties in a way that — on a detailed level — is in accordance with how Man argues that complex information processing systems have to be explained: both Descartes and Man emphasize the co-ordination of logical and physical analysis. In the third section, I claim that Descartes' arguments for a sharp distinction between mechanical transmission of sense data (sensation) and non-mechanical inferences on those sense data (thinking) are sound arguments seen from Man's position in CS. Descartes' arguments are based on his logical and physical analysis. Malebranche's radicalized version of Cartesian dualism turns Descartes' empirically-based assumption that mechanisms cannot realize inferences into a metaphysical assumption. In the final section, I argue that this metaphysical assumption contributes to an understanding of perception as a non-symbolic, non-inferential bottom-up process in mainstream monistic and mechanistic scientific psychology until the cognitive revolution. (shrink)

The primary aim of this paper is to provide a new account of Descartes’s positive philosophical view on sensory perception, and to do so in a way that will establish a hitherto unnoticed continuity between his thought and that of his scholastic Aristotelian predecessors on the topic of sensory perception. I will argue that the basic framework of the scholastic Aristotelian view on sensory perception (as traditionally understood) is operative within Descartes's own view, and then reveal some insights on the (...) issue of whether Descartes was a representationalist about sensory perception by critically examining one kind of representationalist reading of Descartes under the lens of my account. I will conclude by examining the implications that my view has for the proposed distinction between Descartes and the scholastics based on attributing representationalism to the former and direct-realism to the latter. (shrink)

According to Kepler and Descartes, the geometry of the triangle formed by the two eyes when focused on a single point affords perception of the distance to that point. Kepler characterized the processes involved as associative learning. Descartes described the processes as a “ natural geometry.” Many interpreters have Descartes holding that perceivers calculate the distance to the focal point using angle-side-angle, calculations that are reduced to unnoticed mental habits in adult vision. This article offers a purely psychophysiological interpretation of (...) Descartes’s natural geometry. In his account of perceived limb position from the Treatise on Man, he envisioned a central brain state that controls ocular convergence and thereby co-varies with the distance from observer to object. A psychophysiological law relates the visual perception of distance to this brain state. Descartes also invokes more traditional theories of distance and size perception based on unnoticed judgments, yielding a hybrid account. (shrink)

How does the mind attribute external causes to internal sensory experiences? Adam Smith addresses this question in his little known essay ‘Of the External Senses.’ I closely examine Smith's various formulations of this problem and then argue for an interpretation of his solution: that inborn perceptual mechanisms automatically generate external attributions of internal experiences. I conclude by speculating that these mechanisms are best understood to operate by simulating tactile environments.

This version has been superseded by the one published in Spring, 2014.

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)