Persons and Their Minds returns persons to the center of philosophy of mind, and advocates retiring materialism, mind-brain dualism and biological naturalism to ...

Moore’s essay, “The Refutation of Idealism,” contains a nice illustration of his helping philosophers to see a fact, by removing the obscuring veils that philosophers themselves have spun. Long after he wrote it, Moore called the essay “very confused.” Yet I think that it is one of Moore’s most important papers, a first tentative effort in a series that includes “A Defence of Common Sense” and “Proof of an External World.” I shall not attempt to establish that large claim here. (...) What I want to do is to throw some light on one part of “The Refutation of Idealism.” The distinctive part to be considered follows Moore’s asking the question, “What is a sensation or idea?” on page 17, and runs to near the bottom of page 26. There is much in these pages; but I shall attend only to a certain strand of thought that runs through them: Moore’s analysis of the sensation of blue. (shrink)

Moore’s essay, “The Refutation of Idealism,” contains a nice illustration of his helping philosophers to see a fact, by removing the obscuring veils that philosophers themselves have spun. Long after he wrote it, Moore called the essay “very confused.” Yet I think that it is one of Moore’s most important papers, a first tentative effort in a series that includes “A Defence of Common Sense” and “Proof of an External World.” I shall not attempt to establish that large claim here. (...) What I want to do is to throw some light on one part of “The Refutation of Idealism.” The distinctive part to be considered follows Moore’s asking the question, “What is a sensation or idea?” on page 17, and runs to near the bottom of page 26. There is much in these pages; but I shall attend only to a certain strand of thought that runs through them: Moore’s analysis of the sensation of blue. (shrink)

Hume inherits the spectator model of experience and knowledge, and inflates it to displace any other kind of experience-based knowledge. Thus he construes our knowledge of causation as no more than an observer’s knowledge of one thing’s following on, or attending, another. Construing causation in that way, he rules out consideration of our experience as agents and our knowledge of causation as efficacy, or making things happen. Yet if we did not understand causation as efficacy, we could not understand what (...) it is that Hume says we cannot understand; we could not appreciate its proposed replacement by his one-thing’s-attending-on-another account of causation; we could not see that his proposed one-thing’s-attending-on-another account of causation is not an account of causation. Hume’s ultimate aim appears to be the exclusion of agency from the world, whether the agent is personal, material, or divine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:305 HUME, HENRY MORE AND THE DESIGN ARGUMENT This paper is a contribution to research on the sources of Hume's statement of the design argument, whose analysis is the great subject of Dialogues Concerning Natural Religion. My surmise is that Hume's statement is probably his own. It is not a direct quotation from any source, but more 2 likely a fabrication drawn from several sources which presents the strongest (...) statement Hume could devise. My aim here is to demonstrate that one of Hume's sources is the works of Henry More (16141687 ). By a comparison of their language I mean to show the extent to which Hume drew on More for his formulation of the design argument. One of More's works, Divine Dialogues (1688), could have been Hume's modern example for treating the design 4 argument in a dialogue. It could have given Hume pointers for the organization, tone and characters of his own Dialogues. On a large view, the whole of Pialogues Concerning Natural Religion, with their artful match of position and counter-position, can be seen as a statement of the design argument. But on a close view, we can distinguish specific elements in Hume's statement; and for three of these elements we can show a close parallelism between Hume and More. The elements in Hume's statement to be considered here are.· (1)Cleanthes' introduction of the design argument in Part II, paragraph 5; (P 143) (2)"instances of design" offered by Cleanthes; (D 154, 185) and 306 (3) completing Hume's exposition of the design argument, Parts X and XI of the Dialogues, with their questions about the implications of human misery and the ill-workings of the world for the wisdom and benevolence of the universe maker (D 193-213). In addition to parallelisms between Hume and More at these points, there are a few straws in the wind that are worthy of mention. To pave the way for these comparisons, let me set out More's statements of the design argument. There are three of them. (1) More's first statement of the design argument occurs in An Antidote against Athéisme, (1652). The second of this work's three books is devoted to the design argument. Here is one of the earliest statements of the design argument in English; and it may be its first statement in an English work that is philosophical, rather than devotional or theological, and intended to convince solely on the basis of reasonable arguments. More sets out of the argument in three parts. First, there is the introductory remark: "...I would have my atheist walk with me awhile in the wide theater of this outward world, and diligently to attend to those many and most manifest marks and signs that I shall point to in this outward frame of things, that naturally signify unto us that there is a God" (AA 37-38). The 'walk' covers the next sixty pages, wherein More lists feature after feature of the world that he finds to instance divine design. At the end of this extensive catalogue, More then draws his conclusion: Wherefore the whole creation in general and every part thereof being so ordered as if the most exquisite reason and knowledge had contrived 307 them, it is natural to conclude that all this is the work of a wise God, as at first sight to acknowledge that those inscribed urns and coins digged out of the earth were not the products of unknowing nature, but the artifice of man (AA 97). (2)More's second statement of the design 7 argument is in The Immortality of the Soul (1659). More establishes to his satisfaction that matter is in motion, because "...when God created it, he D superadded an impress of Motion upon it...." That conclusion paves the way for the following paragraph: We have discovered out of the simple phenomenon of motion, the necessity of the existence of some incorporeal essence distinct from matter: but there is a further assurance of this truth, from the consideration of the order and admirable effect of this motion in the world. Suppose matter could move itself, would mere... (shrink)