In Descartes's Meditations, one of the key texts of Western philosophy, the thinker rejects all his former beliefs in the quest for new certainties. Discovering his own existence as a thinking entity in the very exercise of doubt, he goes on to prove the existence of God, who guarantees his clear and distinct ideas as a means of access to the truth. He develops new conceptions of body and mind, capable of serving as foundations for the new science of (...) nature. Subsequent philosophy has grappled with Descartes's legacy, questioning many of its conclusions and even his basic approach, but his arguments set the agenda for many of the greatest philosophical thinkers, and their fascination endures.This new translation includes the Third and Fourth Objections and Replies in full, and a selection from the rest of Descartes's exchanges with contemporaries that helped to shape and expound his philosophy. (shrink)

The purpose of thisDescartes Dictionaryis to bring together as many as possible of the technical and special terms in Descartes writings with their definitions in Descartes own words. There are also implicit characterizations of the meanings of many words, and a handful of entries were included simply for their own sake because Descartes had something interesting to say about his life and world. All of the entries, or almost all of them, have been newly translated for this volume. There are (...) many reasons for preparing new translations: the language in the older translations is archaic and often inaccurate; many of Descartes most important works have never been translated into English; and modern translations vary in quality and style. What is most important, though, is that the old translations simply failed to pay attention to the technical language that Descartes used, and so blurred some of the most important distinctions that he made. (shrink)

"Rene Descartes is often called the 'Father of Modern Philosophy.' The profound controversies that his doctrines have engendered are alone sufficient to establish his eminence. Yet if he is to be paid a due respect, it is necessary to understand him on his own terms- to distinguish his doctrines from myriad notions labeled 'Cartesian.' The quest for certainty may be a constitutional imperative for every philosopher; in the case of Descartes it was an acknowledged passion. Thus there is no more (...) fitting approach to him than to study seriously his claims to having attained certainty regarding what he took to be the questions of metaphysics, namely, the questions of the existence of God and of the nature of the human mind."--The Preface. (shrink)

In this reproduction of his original publication of 1649, Rene Descartes discusses how seekers of knowledge can best attain true insight of the world around them. Often referred to as simply the Discourse on the Method, this work is frequently cited as one of the most important to appear during the Enlightenment era. It discusses the ideal means through which those in search of knowledge can approach the world, and the practice of science, as a means of attaining true and (...) definitive insight. The Discourse on Method is influential chiefly for its role in establishing the scientific method; a technique which scientists have used to make valid discoveries over the centuries. Descartes instructs the reader to doubt everything, and to use this universal doubt as a starting point from which to approach a problem. In addition to matters of science, Descartes reflects upon his own personal, religious beliefs. In addition to his Method, Descartes also explains certain social and personal notions such as obeying the laws and statutes of his country and prioritizing self-advancement over the achievement of material wealth or fortune. Famous for including the much-quoted phrase "Je pense, donc je suis" - "I think, therefore I am" - the Discourse on Method today stands as a crucial cornerstone of countless educational courses on philosophy. (shrink)

In late 1633, as Descartes was preparing _The World and Man _for publication, he learned that Galileo had been condemned by the Catholic Church for defending the motion of the earth. His reaction to the news was swift and powerful: as his own treatises also espoused the proposition deemed heretical, he canceled their publication. More than thirty years after Descartes had begun his project, these works were finally published, posthumously, both to acclaim and to controversy. Together, they profoundly influenced the (...) course of modern philosophy. This volume presents Roger Ariew’s clear and engaging translations of Descartes’s treatises, along with a general Introduction, describing the long road to publication, the reception of the works, and their significance. Appendices provide selections from Descartes’s correspondence on Galileo, Part V of the _Discourse on Method_, and a summary of Descartes’s _Description of the Human Body_. (shrink)

This chapter contains sections titled: Descartes' Cogito Augustine's “Si fallor, sum” Argument (If I Am Mistaken, I Exist).

ONE Introduction Rene Descartes is, in many ways, a victim of his own success as a philosopher. He notoriously wrote a small number of readily accessible, ...

Descartes is often regarded as the founder of modern philosophy, and is credited with placing at centre stage the question of what we know and how we know it. Descartes: Belief, Scepticism and Virtue seeks to reinsert his work and thought in its contemporary ethical and theological context. Richard Davies explores the much neglected notion of intellectual virtue as it applies to Descartes' inquiry as a whole. He examines the textual dynamics of Descartes' most famous writings in relation to background (...) debates about human endeavour from Plato down to Descartes' own contemporaries. Bringing these materials together in a novel format, Davies argues for a new approach to Descartes' ideas of scepticism and the sciences. The book also offers fresh interpretations of key passages of the Meditations. Descartes: Belief, Scepticism and Virtue offers an original reassessment of some of the most important bodies of work in Western Philosophy. (shrink)

Planteamos el problema siguiente: Descartes contesta la acusación irracional de Voetius interpretando, excepcionalmente, los Evangelios y afirma que las _leyes de caridad _son _afines _a las _leyes de la amistad natural _que rigen las funciones del pastor y del profesor. Proponemos que Descartes excluye el examen de las virtudes teologales e incursiona en el derecho privado y civil para probar que Voetius no es un _verdadero _profesor, ni un _verdadero _pastor, y usurpa las atribuciones del juez. Frente a la irracionalidad, (...) la búsqueda de la verdad se despliega en el alegato jurídico. -/- Descartes and the laws of charity. Public and private law in the Letter to Voetius Abstract. We pose this problem: Descartes responds to Voetius’ irrational accusation by resorting once, on his own initiative, to Gospel, an interpretation that reviews the laws of charity as akin to the laws of natural friendship governing pastor and teacher roles. We propose that the Letter be a legal argument. Descartes has no interest in theological virtues: facing irrationality, he delves into private law to prove that Voetius is not a true teacher, or a true pastor, and encroaches on the function of judge. (shrink)

The seventeenth century was a period of extraordinary invention, discovery and revolutions in scientific, social and political orders. It was a time of expansive automation, biological discovery, rapid advances in medical knowledge, of animal trials and a questioning of the boundaries between species, human and non-human, between social classes, and of the assumed naturalness of political inequality. This book gives a tour through those objects, ordinary and extraordinary, which captivated the philosophical imagination of the single most important French philosopher of (...) this period, Rene Descartes. Deborah J. Brown and Calvin G. Normore document Descartes' attempt to make sense of the complex, composite objects of human and divine invention, consistent with the fundamental tenets of his metaphysical system. Their central argument is that, far from reducing all the categories of ordinary experience to the two basic categories of substance, mind and body, Descartes' philosophy recognises irreducible composites that resist reduction, and require their own distinctive modes of explanation. (shrink)

This book offers a new way of approaching the place of the will in Descartes' mature epistemology and ethics. Departing from the widely accepted view, Noa Naaman-Zauderer suggests that Descartes regards the will, rather than the intellect, as the most significant mark of human rationality, both intellectual and practical. Through a close reading of Cartesian texts from the Meditations onward, she brings to light a deontological and non-consequentialist dimension of Descartes' later thinking, which credits the proper use of free will (...) with a constitutive, evaluative role. She shows that the right use of free will, to which Descartes assigns obligatory force, constitutes for him an end in its own right rather than merely a means for attaining any other end, however valuable. Her important study has significant implications for the unity of Descartes' thinking, and for the issue of responsibility, inviting scholars to reassess Descartes' philosophical legacy. (shrink)

The spectre of Descartes figured as a perpetual presence in much of twentieth century philosophy, but nearly always as an emblem for positions to be avoided. Cartesian foundationalism in epistemology, the ontological dualism of mind and body, the associated conception of the mind as a substance, and as a “thing that thinks” – all these have figured in recent philosophy as positions to be refuted or simply renounced, the absurda in one or another reductio argument. But for one prominent twentieth (...) century tradition the story is much more nuanced and complex. Twentieth century phenomenology, which began to stir as a well-defined movement in the last decade of the nineteenth century and has persisted in one form or another into the twenty-first, found in Descartes much more a causa belli than the usual bête noire. As a first approximation we can say that allegiance to Cartesianism divided the phenomenological tradition. Edmund Husserl, who along with Franz Brentano is usually acknowledged as the founder of the phenomenological movement, described Descartes as “the genuine patriarch of phenomenology”; he dubbed his own transcendental phenomenology as “a new, twentieth century Cartesianism”, and insisted that “the only fruitful renaissance is the one which reawakens [Descartes’] Meditations” (Husserl 1929/1964, 3, 5). But Husserl’s most important assistant, Martin Heidegger, rebelled against the Cartesian legacy in modern philosophy, which he saw as the central wrong-turn in modern thought, and as the chief obstacle to a faithful phenomenology and phenomenologically informed ontology. The cogito sum, Heidegger insisted, must be “phenomenologically destroyed” (Heidegger 1927/1962, 123). In Descartes himself Heidegger found “an extreme.. (shrink)

In this reassessment of Descartes' debt to his mentor Isaac Beeckman, I argue that they share the same basic conception of motion: the force of a body's motion—understood as the force of persisting in that motion, shorn of any connotations of internal cause—is conserved through God's direct action, is proportional to the speed and magnitude of the body, and is gained or lost only through collisions. I contend that this constitutes a fully coherent ontology of motion, original with Beeckman and (...) consistent with his atomism, which, notwithstanding Descartes' own profoundly original contributions to the theory of motion, is basic to all Descartes' further work in natural philosophy. (shrink)

This article is an attempt to answer the question whether Descartes had read Sextus Empiricus’s Outlines of Pyrrhonism. At first glance, the question seems trivial. This question, however, is of historico-philosophical significance in that it reveals, even if only partially, what Descartes, who is regarded as the father of early modern philosophy, inherited from his earlier intellectual legacy in formulating his own philosophy. I first compare statements from Sextus’s Outlines with corresponding statements from Descartes’s writings to identify their similarities in (...) terms of content. This comparison focuses on their views regarding four subjects: the syllogistic, moral guidelines, the use of definitions, and true opinions. I then analyse and discuss whether the degree of similarity between these sets of statements is sufficient to conclude that the particular work of Descartes is based on Sextus’s arguments. This preliminary study can only provide indirect evidence that Descartes had read Sextus, for a thorough clarification of whether he read anything other than the works he himself stated that he had read (e.g., Cicero, Suárez), would require further circumstantial evidence, however weak it may be. (shrink)

Descartes famously espouses modal voluntarism, the doctrine that God freely creates the eternal truths. God has chosen to make it true that two plus two equals four, for instance, but he could have chosen otherwise. Why, though, does Descartes endorse modal voluntarism? Many commentators have noted that he regularly appeals to divine omnipotence to justify his doctrine. This strategy is usually thought to be unsuccessful, however, because it seems to presuppose—question-beggingly—that the eternal truths are in the scope of God’s power. (...) This paper argues that Descartes’s appeal to divine omnipotence has more going for it than meets the eye. Like many other medieval and early modern philosophers, Descartes assumes that God has the power to control everything that remains unfixed by his own essence. At the same time, though, he denies that the eternal truths are fixed by, or grounded in, the divine essence. The combination of these two commitments leads to modal voluntarism. The paper also argues that the Principle of Sufficient Reason (PSR) may play an important role in the reasoning that leads Descartes to endorse modal voluntarism. This is surprising, given that the PSR appears to be deeply at odds with modal voluntarism. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Descartes claimed that the Cogito is ‘so firm and sure that all the most extravagant suppositions of the sceptics were incapable of shaking it’. This paper aims to demonstrate that this claim is false by presenting a sceptical scenario for the Cogito. It is argued that the story ‘The Circular Ruins’ by J. L. Borges illustrates that one can doubt one’s own existence and that pace Descartes (and many others) the claim ‘I am, I exist, is necessarily true whenever it (...) is put forward by me or conceived in my mind’ is false. (shrink)

Descartes’s proof of the existence of God in the third ’Meditation’ can be interpreted as a version of the argument from design. He cannot point to the marvels of nature, since all he has after the second ’Meditation’ is his ideas, but his idea of God serves as the brilliantly designed entity that he claims he cannot have authored on his own. Several passages in his replies to commentators support this interpretation, and when one considers what Descartes believed he had (...) deduced from this idea, it is understandable that he could consider it a wonderful idea. (shrink)

Philosophers have devoted a great deal of time and energy to understanding and assessing the metaphysical and epistemological branches of Descartes' and Spinoza's philosophical systems, and deservedly so---they are arguably the most brilliant and innovative metaphysicians and epistemologists of the seventeenth century. The primary aim of this dissertation is to contribute to showing that their brilliance and innovation is also manifested in the ethical branch of their systems. ;Descartes is not known as a moral philosopher, but this reflects the interests (...) of his commentators more than it reflects Descartes' own interests. In his correspondence and in The Passions of the Soul, there is a fully developed theory of virtue. His theory of virtue, I believe, cannot be clearly understood outside the context of his theory of freedom of the will. So, in Chapter One, I present and defend an account of his theory of the will's freedom, and then, in Chapter Two, I examine his theory of virtue within the interpretive framework I develop in Chapter One. An important aim of Chapter Two is to show how his theory of virtue, an ethical doctrine, is connected with his theory of free will, a doctrine belonging to metaphysics. ;Spinoza, unlike Descartes, is known for his work in moral philosophy. But though his ethical views have not suffered the neglect that his predecessor's has, his ethical theory has not been accurately understood. Contrary to the orthodox Hobbesean interpretation, in Chapters Three and Four I construct and defend a rationalist interpretation of Spinoza's ethical theory. Like Plato and Kant and unlike Hobbes and Hume, I argue that, for Spinoza, reason is practical in two important senses: it is a source of motivation and it is a source of ethical prescriptions. (shrink)

Outlining the major ideas and achievements of the great French thinker Reneescartes, this is an introductory guide to a man whose ground-breakingheories have been rocking the status quo for over three centuries.;From hisirth into the brave new scientific world of Copernicus and Galileo to hisemise and the unusual fate of his body, this book first presents a soundntroduction to the context of Descartes's life and thought. Harry M. Brackenhen draws on the words of Descartes himself to introduce the philosopher'sontroversial (...) theories on the dualism of mind and body and the supremacy ofhe rational ideal, before providing a sharp analysis of the continuing rolef Rene Descartes in our own philosophical and moral landscape. (shrink)

In this first book-length examination of the Cartesian theory of visual perception, Celia Wolf-Devine explores the many philosophical implications of Descartes’ theory, concluding that he ultimately failed to provide a completely mechanistic theory of visual perception. Wolf-Devine traces the development of Descartes’ thought about visual perception against the backdrop of the transition from Aristotelianism to the new mechanistic science—the major scientific paradigm shift taking place in the seventeenth century. She considers the philosopher’s work in terms of its background in Aristotelian (...) and later scholastic thought rather than looking at it "backwards" through the later work of the British empiricists and Kant. Wolf-Devine begins with Descartes’ ideas about perception in the _Rules _and continues through the later scientific writings in which he develops his own mechanistic theory of light, color, and visual spatial perception. Throughout her discussion, she demonstrates both Descartes’ continuity with and break from the Aristotelian tradition. Wolf-Devine critically examines Cartesian theory by focusing on the problems that arise from his use of three different models to explain the behavior of light as well as on the ways in which modern science has not confirmed some of Descartes’ central hypotheses about vision. She shows that the changes Descartes made in the Aristotelian framework created a new set of problems in the philosophy of perception. While such successors to Descartes as Malebranche, Locke, Berkeley, and Hume accepted the core of his theory of vision, they struggled to clarify the ontological status of colors, to separate what is strictly speaking "given" to the sense of sight from what is the result of judgments by the mind, and to confront a "veil of perception" skepticism that would have been unthinkable within the Aristotelian framework. Wolf-Devine concludes that Descartes was not ultimately successful in providing a completely mechanistic theory of visual perception, and because of this, she suggests both that changes in the conceptual framework of Descartes are in order and that a partial return to some features of the Aristotelian tradition may be necessary. (shrink)

In this paper, I consider Descartes’ Sixth Meditation dropsy passage on the difference between the human body considered in itself and the human composite of mind and body. I do so as a way of illuminating some features of Descartes’ broader thinking about teleology, including the role of teleological explanations in physiology. I use the writings on teleology of some ancient authors for the conceptual (but not historical) help they can provide in helping us to think about the Sixth Meditation (...) passage. From this, I draw several points, most notably that the Sixth Meditation passage is primarily concerned with the natures of body and composites, and that the issue of teleological explanation is derivative of this primary interest. So, we – and Descartes – must come to terms with what he takes the nature of the composite to be such that it has an intrinsic end-referred nature which grounds teleological explanations. I consider three possibilities: the human composite is a third type of substance – a hylomorphic substance; there is a sort of “satisfaction” relationship between mind and body (each of which retains its own distinct nature in the composite) such that the mind confers teleological value on the body; and there is a sort of “satisfaction” relationship between mind and body (each of which retains its own distinct nature in the composite) such that the mind recognizes teleological value in the body. None of these interpretations is without problems. So in the concluding section, I sketch a program for future research, specifically, trying to render Descartes’ teleological thinking consistent by distinguishing between the metaphysical natures of things (the concern of his Sixth Meditation passage) and the physical natures of things (his concern in his physiological writings). (shrink)

An early modern scholastic conception of moral possibility helps make sense of Descartes's own perplexing use of that concept and solves the exegetical puzzles surrounding Descartes's conflicting remarks about free will.

Philosophy and Memory Traces defends two theories of autobiographical memory. One is a bewildering historical view of memories as dynamic patterns in fleeting animal spirits, nervous fluids which rummaged through the pores of brain and body. The other is new connectionism, in which memories are 'stored' only superpositionally, and reconstructed rather than reproduced. Both models, argues John Sutton, depart from static archival metaphors by employing distributed representation, which brings interference and confusion between memory traces. Both raise urgent issues about control (...) of the personal past, and about relations between self and body. Sutton demonstrates the role of bizarre body fluids in moral physiology, as philosophers from Descartes and Locke to Coleridge struggled to control their own innards and impose cognitive discipline on 'the phantasmal chaos of association'. Going on to defend connectionism against Fodor and critics of passive mental representations, he shows how problems of the self are implicated in cognitive science. (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)

Before publishing his landmark _Meditations_ in 1641, Rene Descartes sent his manuscript to many leading thinkers to solicit their objections to his arguments. He included these objections, along with his own detailed replies, as part of the first edition. This unusual strategy gave Descartes a chance to address criticisms in advance and to demonstrate his willingness to consider diverse viewpoints—critical in an age when radical ideas could result in condemnation by church and state, or even death. _Descartes and his Contemporaries_ (...) recreates the tumultuous intellectual community of seventeenth-century Europe and provides a detailed, modern analysis of the _Meditations_ in its historical context. The book's chapters examine the arguments and positions of each of the objectors—Hobbes, Gassendi, Arnauld, Morin, Caterus, Bourdin, and others whose views were compiled by Mersenne. They illuminate Descartes' relationships to the scholastics and particularly the Jesuits, to Mersenne's circle with its debates about the natural sciences, to the Epicurean movements of his day, and to the Augustinian tradition. Providing a glimpse of the interactions among leading 17th-century intellectuals as they grappled with major philosophical issues, this book sheds light on how Descartes' thought developed and was articulated in opposition to the ideas of his contemporaries. (shrink)

In an influential article, Anthony Kenny charged that (a) the view of freedom in Descartes’ “1645 letter to Mesland” is incoherent, and (b) that this incoherence was present in Descartes’ thought from the beginning. Against (b), I argue that such incoherence would rather support Gilson’s suspicions that the 1645 letter is dishonest. Against (a), I offer a close reading of the letter, showing that Kenny’s objection seems plausible only if we misconstrue a key ambiguity in the text. I close by (...) defending Descartes against some related worries of my own about the degrees of Cartesian freedom. I conclude that there is really no good reason to deny that Descartes’ view in the 1645 letter is both internally coherent and a genuine explication of the Meditations’ account of freedom. (shrink)

My main concern in this paper is to develop and defend an account of why we ought to devote our lives to virtue—of the ground or reason for why we ought to do so—according to René Descartes. On my account, the answer is that we thereby, and indeed only thereby, do everything in our power to promote our own degree of intrinsic perfection or goodness. Descartes’s moral philosophy, as I understand it, thus constitutes a form of ethical perfectionism. While I (...) am not the first to interpret Descartes as an ethical perfectionist, there is as of yet no detailed account in the literature of what his particular form of ethical perfectionism would then entail. This is something that I hope to remedy here. (shrink)

Purpose of this work is to find the key to understanding the paradox of Descartes’ way of philosophizing during the recourse to the text of "early writings". Realization of the set purpose involves the consistent solving of such tasks: by referring to the research literature, to outline the forms of transition to modern methodology; to explicate the main reasons for philosophy anthropologization by Descartes; to analyze the role of art as the main form of expressing Descartes’ worldview in the "early (...) writings". Theoretical basis. Studies by Descartes experts and the phenomenological tradition. Originality. The analysis of the "early writings" allows to determine the origins of the main doctrine of Descartes’ philosophizing. Its role is manifested in the course of clarifying the main motives of the anthropological approach of the French philosopher. That entails their rootedness in the Copernican-based scientific revolution of the New Age. A prerequisite for the authentic comprehension of the radical change carried out by Descartes is the attention to the paradigmatic significance of art, which is most fully asserted in the "early writings". It is substantiated that the appeal of young Descartes to the experience of art influences his understanding of science, as well as the awareness of human presence in the development of the scientific picture of the world and the distinction of the main components of human nature – mind and will. Conclusions. During the analysis of the contemporary literature devoted to Descartes, there is outlined the tendency to go beyond the notions of naivety and simplicity of his position, one of the manifestations of which is the increased attention to anthropology. The main motives for its actualization are rooted in the scientific revolution of the New Age, which are the form of completion of the radical worldview change initiated by Copernicus. It is about the vision of man as the main component of the universe, attention thereto in the search for the source point and the decisive authority for the world development, reflection of the thinker’s desire to build his own ethical doctrine based on human nature. While comprehending the "early wri-tings", the author focuses on the interpretation by young Descartes of art as a form of expression of truth, which enables the authentic comprehension of human nature. These ideas became the basis for the further work of the thinker, and today they open up new perspectives of exploring the anthropological foundation for later works. (shrink)

René Descartes with his theory of continued creation occupies an exceptional place in the philosophy of Henri Bergson: Descartes is subjected to Bergson’s repeated criticism like no other philosopher. Yet, in L’évolution créatrice Bergson appears to oscillate in his criticism of Descartes. Bergson discovers in the theory of continued creation a thought of freedom, of an indeterminate future, which is not far from his own thought of duration. Bergson thus advances a thesis in accordance with which Descartes’ theory of continued (...) creation has two irreconcilable aspects: continued creation and continuous creation. The difference between these two aspects, however, is not just about the choice between a participle and an adjective. The aim of this article is to show how Descartes’ theory of continued creation lends itself to such a double interpretation. While the former aspect originates in Descartes’ project of mechanistic physics, the latter aspect is accessible but from the standpoint of human freedom, as well as Descartes’ critique of finalism. The article thus shows that Descartes’ theory of continued creation constitutes a point of convergence between the questions of mechanism and human freedom, where the latter is an exception to the former. However, the exceptional status of human freedom in Descartes’ philosophy renders Bergson’ thesis about Descartes’ oscillation between two aspects somewhat problematic. (shrink)

Descartes’s Discourse on Method proposes a radically democratic goal, science on behalf of the common good of humanity, and an equally radical elitism, wherein strong minds, possessed of true virtue, direct the efforts of weak minds. In this respect the argument of the Discourse entails what we might call a “revised Averroism”: a distinction between the few and the many intended not to protect the faith of the many, but to suborn it on behalf of the new science Descartes proposes. (...) The goal of this essay is henceforth threefold. First, the essay attempts to show how a distinction between strong and weak minds emerges in the argument of the Discourse; second, it indicates the use toward which Descartes puts this distinction; and finally, it attempts to clarify Descartes’s own relationship to both strong and weak minds. The essay concludes with some thoughts concerning the significance of Descartes’ “revised Averroism.”. (shrink)

An explicit assessment of the extent of René Descartes's influence on John Locke's theory of knowledge as presented in his work An Essay Concerning Human understanding calls for a study of their respective philosophical works in some detail. An examination of their individual philosophical standpoints and the objectives behind their projects suggest a striking difference between the spirit and intent of their projects. However, the marked similarities in the contents of Descartes's Rules for the Direction of the Mind (...) and Locke's An Essay Concerning Human understanding and several factors like Locke's own assertion in his first letter to Stillingfleet and Lady Masham's own account of her conversation with Locke indicate that the French philosopher did exert a certain degree of influence on Locke's theory of knowledge as presented in his Essay. An attempt is made in the present work primarily to understand how Descartes's thoughts have influenced the various aspects of Locke's theory of knowledge in his Essay. It appears from this that Locke did not borrow blindly from Descartes and had in fact tried to build a bridge between empiricism and rationalism. (shrink)

Descartes' morals are often considered a marginal epiphenomenon not only with respect to his metaphysics, but also in regard to the ethical theories that preceded and followed it, that is, broadly Aristotle's eudaimonism, Kantian deontologism and Mill's utilitarianism. I argue in this paper that Descartes' morals do not play a merely subaltern role in his metaphysics, as is often claimed. I first present the specificity and the evolution of his morals by giving an account of his provisory and perfect morals. (...) Second I argue that a close reading of important passages from his correspondence and his treatise on the Passions of the Soul indicates that Descartes develops a third kind of morals based on the virtue-passion of generosity. The last part of the paper discusses Descartes' own treatment of the passions and suggests against the standard view that Descartes' concern is also the veri hominess , and ultimately the generosi hominess . South African Journal of Philosophy Vol. 25(2) 2006: 177-188. (shrink)

During the Scientific Revolution one important gauge of the quality of reformed natural philosophical knowledge was its ability to produce a more effective medical practice. Indeed, it was sometimes thought that philosophers who pretended to possess new and more potent philosophical knowledge might display that possession in personal health and longevity. René Descartes repeatedly wrote that a better medical practice was a major aim of his philosophical enterprise. He said that he had made important strides towards achieving that aim and, (...) on that basis, he offered practical medical advice to others and advertised the expectation that, taking his own advice, he would live a very long time. This paper describes what Cartesian medicine looked like in practice and what that practice owed to the power of modernist Reason. (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)

_Purpose._ The purpose is to justify the validity of interpreting Descartes’ teachings as an enquiry into the search for forms and means of improving human nature, which implies a focus on the way he understands the openness of knowledge and education. The problem is considered from the perspective of representatives of university communities (teachers and librarians), historically included in the communication structure and system of the institution, including through the creation, management, use, preservation and dissemination of knowledge. _Theoretical basis._ One (...) of the tenets of Descartes’ teachings is his desire to improve the human being. For our consideration, it is fundamentally important that Descartes uses "knowledge" not only in a narrow sense – as natural scientific knowledge, but also in a broader sense. In the context of the theme of the study, the most important case is when the thinker recalls the knowledge that every person experiences without referring to philosophy. It is this knowledge that, for Descartes, is key in resolving the central problem of his ethics – how can human nature be perfected? For our consideration of Descartes’ key points, it is fair to focus on the manifestation of the phenomenon of altruism in Descartes’ philosophy and on the representative fact of his inner openness – his willingness to engage in dialogue. He appreciates and encourages his interlocutors to turn to books, which are a form of representation of the vivid personalities of their authors. _Originality._ For the first time in the research literature, the thesis of René Descartes as one of the forerunners of the open knowledge system is substantiated. The arguments are given for the validity of Descartes’ interpretation of the demand of his own epoch for the search of effective forms of human improvement. _Conclusions._ The idea of justification of Descartes’ philosophical legacy as a predictor of open knowledge became possible under the condition of paying attention to the anthropological turn he made and finding substantive analogues of openness, including open education. Drawing on Christianity as the basis for altruism, Descartes demonstrates a caring attitude towards the achievements of previous generations on the path of personal self-development. His attention is rightly drawn to education and books as representations of vibrant personalities. Their authentic and productive assimilation is possible only under the condition of a caring attitude towards the public good, which involves the intellectual volunteering of teachers and librarians. It is about self-realization through altruistic self-improvement, i.e. intellectual charity, which is especially evident today during martial law in Ukraine and is voluntary, conscious and free work for the benefit of others. (shrink)

Does Descartes belong to metaphysics? What do we mean when we say "metaphysics"? These questions form the point of departure for Jean-Luc Marion's groundbreaking study of Cartesian thought. Analyses of Descartes' notion of the ego and his idea of God show that if Descartes represents the fullest example of metaphysics, he no less transgresses its limits. Writing as philosopher and historian of philosophy, Marion uses Heidegger's concept of metaphysics to interpret the Cartesian corpus--an interpretation strangely omitted from Heidegger's own history (...) of philosophy. This interpretation complicates and deepens the Heideggerian concept of metaphysics, a concept that has dominated twentieth-century philosophy. Examinations of Descartes' predecessors (Aristotle, Augustine, Aquinas, and Suarez) and his successors (Leibniz, Spinoza, and Hegel) clarify the meaning of the Cartesian revolution in philosophy. Expertly translated by Jeffrey Kosky, this work will appeal to historians of philosophy, students of religion, and anyone interested in the genealogy of contemporary thought and its contradictions. (shrink)

Rene Descartes is the 16th century philosopher who perpetually doubted everything--even his own physical existence!

In lieu of an abstract, here is a brief excerpt of the content:Descartes’s Lettre Apologétique aux Magistrats d’Utrecht:New Facts and MaterialsErik-Jan BosThe lettre apologétique aux magistrats d’utrecht was Descartes’s final effort to obtain satisfaction from the Municipality or ‘Vroedschap’ of Utrecht. In 1643 the Vroedschap had condemned Descartes’s Epistola ad Dinetum and Epistola ad Voetium in defence of Descartes’s opponent Gisbertus Voetius (1589–1676), professor of Theology at the University of Utrecht.1 In the Lettre apologétique Descartes requests the Utrecht Vroedschap to (...) revoke their condemnation, to clear his name and to reconsider Voetius’s position.The Lettre apologétique receives little attention in modern editions of Descartes’s works. Adam and Tannery give both the French and the Latin version of the Lettre apologétique, but with scanty annotation and an unsatisfactory introduction (AT VIIIB).2 The only other edition of the Lettre apologétique is provided by Verbeek, in La Querelle d’Utrecht (1988), but it does not go beyond Adam and Tannery’s edition.3In 1992, however, Verbeek noted that the Lettre apologétique could not possibly date from 1645, which was the hypothesis of Adam and Tannery and still is the [End Page 415] prevailing view.4 This raises once again the question of the real date of the Lettre apologétique as well as of the history of the text. In this essay I propose a new date and a new account of the history of the text. I also draw attention to the Dutch version of the Lettre apologétique, which Descartes sent to the Utrecht Vroedschap in 1648, but first I will give a short survey of Descartes’s dispute with Voetius.1. THE UTRECHT QUARRELIf we are to believe Descartes in his Lettre apologétique, it was Voetius who started the quarrel in 1639 by accusing him of atheism in several disputations, an accusation to which Voetius stuck throughout the affair.5 Descartes admits he is not mentioned in the writings of the Utrecht theologian, but “[Voetius] counted among the characteristics of atheism everything he knew to be commonly attributed to me” (AT VIIIB 205). A few years later, in 1641, Voetius called the adherents of the New Philosophy atheists outright. In a reaction to Descartes’s champion in Utrecht, the professor of medicine Henricus Regius (1598–1679), who claimed Aristotelian philosophy to be of no use for explaining natural phenomena, Voetius warned that the rejection of traditional philosophy would lead to scepticism and eventually to disbelief. With Descartes’s help Regius furnished a reply, in which he insinuated that it was, instead, the obscurities in Neo-Scholastic thought which led to the denial of God.6 This answer elicited protest from the University Senate. On the Senate’s request the Utrecht Vroedschap confiscated Regius’s book and forbade the teaching of any ideas deviating from Aristotle. Regius having been silenced, Descartes proceeded in a personal capacity. He vehemently attacked Voetius, first in the Epistola adDinetum, then in an elaborate work, the Epistola ad Voetium. The latter was meant as a response to a book opposing Descartes published by the professor of philosophy in Groningen, Martin Schoock (1614–1669), a friend of Voetius.7 The Vroedschap then condemned the works and Descartes became [End Page 416] subject to criminal charges. Thanks to his influential friends, Descartes was never put on trial, yet he felt that his reputation had been badly damaged. Several times he demanded satisfaction from the Utrecht Vroedschap, but to no avail.Until recently, the texts published in the polemic between Descartes and Voetius were considered to be of no more than anecdotal value in Descartes’s biography. It is only for the past decade that their philosophical relevance has been recognized. From what seemed to be unpromising material, various scholars have presented new perspectives on both Voetius and Descartes.8 They have shown that the objections raised by Voetius and Schoock against Cartesian philosophy prove to be more fundamental and to the point than formerly believed. Although Descartes never made a serious attempt on his own to meet Voetius on philosophical grounds, his writings are interesting because he brings forward theoretical positions which before he had... (shrink)

Purpose of the article is to reconstruct the ideological and philosophical context in which Descartes actualizes the phenomenon of man and the task of refuting scepticism. A precondition for its implementation is attention to the explication of the peculiarities of reception by researchers of scepticism and the doctrine of doubt; delineation of the semantic implications of the anthropological intention of philosophizing and the boundaries of doubt. Theoretical basis. I base my view of Descartes’ legacy on the conceptual positions of phenomenology, (...) existentialism and hermeneutics. Originality. Based on the tendency of anthropologization of Descartes’ basic project, I refute the widespread tendency to qualify Descartes’ position as a sceptic, which is based on superficial stereotypes about the impersonality of his philosophy. The modern reception of the thinker’s texts indicates the priority for him of the task of explicating the conditions of man’s realization of his own vocation in the Universe, which is supplemented by the idea of the limits of science and the doubt correlative to it. Accordingly, Descartes’ refutation of scepticism appears in the form of concern for the creation of favourable conditions for human self-development, which implies a restrained attitude to the spheres of morality and religion. Conclusions. The author based on his own interpretation of the philosophical searching of the thinker attempted to rehabilitate Descartes’ position on scepticism. An appeal to the texts of the French philosopher shows that doubt is for him a means of creating conditions for the representation of the human in man. A deeper meaningful clarification of the method chosen by Descartes to refute scepticism involves appeal to the will and practical mastery of a new system of semantic coordinates of life. (shrink)

According to Kant, there is some doctrine, which he sometimes calls 'empirical realism,' such that it was doubted by Descartes, denied by Berkeley, and endorsed by Kant himself. It may be doubted whether there really is such a doctrine or, if there is, whether it takes the form Kant seems to say it does. For instance, if empirical realism is taken as the assertion that familiar objects like tables and chairs exist, then this doctrine was neither seriously doubted by Descartes, (...) nor denied by Berkeley. If empirical realism is the view that such objects are mind-independent, then it was clearly denied by Berkeley, but was neither seriously doubted by Descartes, nor straightforwardly endorsed by Kant. Kant's assertion thus presents us with a puzzle: what might empirical realism be? The primary aim of this paper will be to reconstruct Kant's own narrative of the historical relationship between Descartes, Berkeley, and himself, in order to identify the doctrine Kant calls 'empirical realism.' I argue that the empirical realism which Descartes doubted, Berkeley denied, and Kant endorsed is the doctrine that the concept of extended substance has legitimate application. (shrink)

Central to Descartes’ philosophy is a view about immutable essences and eternal truths. After mentioning a Platonist account of recollection in Meditation V, Descartes declares that the ideas we have of mathematical notions “are not my invention but have their own true and immutable natures” (AT VII, 64/CSM II, 44).Descartes claims that other important philosophical notions, such as God, mind, body, and human free will (AT VII, 68; AT VIII-2, 348; AT III, 383; AT VII, 433, respectively), also have immutable (...) natures or essences. Although Descartes says a good many things about this view, nowhere does he offer definitive doctrine on the matter, and in fact frequently confuses his reader with apparently inconsistent pronouncements about immutable natures and eternal truths. In this essay, I focus on the immutable natures and propose a solution to two of the main problems associated with Descartes’ position, the metaphysical status of immutable natures and the purported indivisibility of their existence as ideas in the mind. (shrink)

THIS PAPER PROVIDES A READING OF DESCARTES' COGITO WHICH RESOLVES THE PROBLEMS ENCOUNTERED BY THE OTHER PREVALENT ANALYSES OF HIS THOUGHT. I FIRST INDICATE THE WAYS IN WHICH THE INFERENTIAL AND PERFORMATIVE VIEWS FAIL TO ADEQUATELY EXPLICATE DESCARTES' OWN STATEMENTS REGARDING THE COGITO. I THEN SET OUT MY "GENERATIVE VIEW" AND SHOW THAT IT PROVIDES A FULLY CONSISTENT READING OF THESE SAME STATEMENTS. I CONCLUDE THAT THE GENERATIVE VIEW MORE ADEQUATELY REPRESENTS DESCARTES' INTENTIONS.

Early in the Second Meditation Descartes has found grounds to doubt his previous opinions, and following his resolve to reject as false anything not entirely indubitable, he rejects these opinions. He then asks whether there might remain something impervious to doubt that he has not yet considered. One item as yet unconsidered is his own existence:I myself, am I not at least something? But I have already denied that I had senses and body. Yet I hesitate, for what follows from (...) that? Am I so dependent on body and senses that I cannot exist without these? But I was persuaded that there was nothing in all the world, that there was no heaven, no earth, that there were no minds, nor any bodies: was I not then likewise persuaded that I did not exist? (shrink)