Principles of Philosophy was written in Latin by Rene Descartes. Published in 1644, it was intended to replace Aristotle's philosophy and traditional Scholastic Philosophy. This volume contains a letter of the author to the French translator of the Principles of Philosophy serving for a Preface and a letter to the most serene princess, Elizabeth, eldest daughter of Frederick, King of Bohemia, Count Palatine, and Elector of the Sacred Roman Empire. Principes de philosophie, by Claude Picot, under the supervision of Descartes, (...) appeared in 1647 with a letter-preface to Queen Christina of Sweden. (shrink)

"Descartes is rightly considered the father of modern philosophy" - Schopenhauer "The effect of this man on his age and the new age cannot be imagined broadly enough... René Descartes is indeed the true beginner of modern philosophy, insofar as it makes thinking the principle. "- Hegel "Descartes was the first to bring to light the idea of a transcendental science, which is to contain a system of knowledge of the conditions of possibility of all knowledge." - Kant A new (...) 2023 translation directly from the original manuscripts into English of Descartes' famous work "Rules for the Direction of the Mind" (Règles pour la direction de l'esprit). This edition contains a new introduction and afterword from the translator, as well as a timeline of Descartes' life and summaries of each of his works. Here, Descartes lays out a method for approaching problems and seeking knowledge. The importance of this work lies in the fact that it established the scientific method as a way of investigating the world, and had a significant influence on the development of modern science. This work is one of the foundational texts of Western Philosophy. (shrink)

This volume preserves the format in which Discourse on Method was originally published: as a preface to Descartes's writings on optics, geometry, and meteorology. In his introduction, Olscamp discusses the value of reading the Discourse alongside these three works, which sheds new light on Descartes’s method. Includes an updated bibliography.

Richard Wollheim famously argued that figurative pictures depict their scenes, in part, in virtue of their ability to elicit a unique type of visual experience in their viewers, which he called seeing-in. According to Wollheim, experiences of seeing-in are necessarily twofold, that is, they involve two aspects of visual awareness: when a viewer sees a scene in a picture, she is simultaneously aware of certain visible features of the picture surface, the picture’s design, and the scene depicted by the picture. (...) Even though Wollheim’s notion of twofoldness has been very influential, a number of philosophers have put forward powerful arguments against it. In this paper, I defend the claim that some pictorial experiences are twofold in Wollheim’s sense. My argument has two parts. In the first part, I provide a phenomenal contrast argument in favor of twofoldness. In the second part, I respond to what I take to be the most important objections against twofoldness. I believe that both parts together provide strong support for the claim that some pictorial experiences are twofold in Wollheim’s sense. (shrink)

This edition features reliable, accessible translations; useful editorial materials; and a straightforward presentation of the Objections and Replies, including the objections from Caterus, Arnauld, and Hobbes, accompanied by Descartes' replies, in their entirety. The letter serving as a reply to Gassendi--in which several of Descartes' associates present Gassendi's best arguments and Descartes' replies--conveys the highlights and important issues of their notoriously extended exchange. Roger Ariew's illuminating Introduction discusses the Meditations and the intellectual environment surrounding its reception.

Sans cesse lu et étudié, Descartes exerça une influence considérable en Europe dès le XVIIe siècle. Le projet de l’édition des œuvres complètes de Descartes a été lancé en 1894 par le Ministère de l’Instruction publique, et entrepris par un comité comprenant entre autre Emile Boutroux, Xavier Léon, Louis Liard, Charles Adam et Paul Tannery. Ces deux derniers, véritables maîtres d’œuvre de ce travail, aidés par l’éditeur, ne négligèrent rien pour pouvoir présenter à l’Exposition universelle de 1900, une édition qui (...) fût digne du philosophe et de son pays.Elle est désormais universellement considérée comme l’édition de référence de l’œuvre cartésienne et est constamment citée dans les travaux d’érudition. Elle est la seule édition véritablement complète à ce jour, et comprend notamment l’ensemble de la correspondance et de l’œuvre scientifique, toutes deux essentielles à une bonne compréhension de l’entreprise cartésienne.René Descartes est né le 31 mars 1596 à La Haye, en Touraine. Il est l’inventeur de la géométrie analytique et de la dioptrique, le promoteur de la mécanique et le fondateur de la philosophie moderne. (shrink)

"Social capital" can be considered to be the product of co-operationbetween various institutions, networks and business partners. It haspotential as a useful tool for business ethics. In this article weidentify categories pertinent to the measurement of social capital insmall and medium sized enterprises (SMEs). By drawing on three differentsectors, one business-to-business service, one business-to-customerservice, and one manufacturing, we have enabled the consideration ofsectoral differences. We find sector to play an important part inrelation to business practices and social capital. Our inclusion (...) of SMEsfrom Germany and the United Kingdom has called attention to cultural,institutional and economic aspects of two regions of Europe and how theycan influence SME social capital. Social capital is found to beinfluenced by context and, in particular, institutional arrangements. Inanalysing the data we note particular areas of interest from the pointof view of SMEs and social capital as being: formal engagement,networking within sectors, networking across sectors, volunteerism andgiving to charity, and finally a focus on why people engage. We concludethat there is a considerable amount of further research needed on socialcapital, SME''s and business ethics. (shrink)

René Descartes, Discourse on Method, Optics, Geometry, and Meteorology. Trans., with an Introduction, by Paul J. Olscamp. Indianapolis: The Bobbs-Merrill Co., 1965. Pp. xxxvi + 361. = The Library of Liberal Arts, 211. Paper, $2.25. -/- From the notice in Journal of the History of Philosophy 5 (1967), 311: "In the introduction, Professor Olscamp calls attention to the fact that Descartes intended the other three pieces in this volume to serve as examples of the method set forth in the Discourse. (...) I t is only just that Descartes' intentions should now be fulfilled in fairly clear, if occasionally awkward English versions. Seeing these pieces brought together in this way also sheds light on Descartes' philosophical opinions, frequently distorted by over-simplified distinctions like that between empiricist and rationalist. 0lscamp succeeds in showing that Descartes is better thought of as a forerunner to modern-day hypothetico-deductive theories of scientific explanation. Perhaps it is what we should have realized all along in one so preoccupied with methodology. --A. R. Louch". (shrink)

This paper takes issue with what seem to be standard practices of at least some organizations that use models in their ad campaigns. These organizations know that many of their models have had drug problems but refuse either to tolerate this or to help them. Some organizations have, allegedly in the name of a responsibility for the health of their customers, rather opted for a firm condemnation of the practices in which models such as Kate Moss apparently engage. This raises (...) questions about hypocrisy. The paper uses Levinas's concept of the face critically to describe what might be going on in the conflict between Moss and some of the companies she worked for. Moss is arguably understood by these companies as a role model who should not engage with drugs or street life. Against these more or less patronizing tendencies, the paper claims that it is not so much the face but processes of defacement that should trouble us from a moral perspective. The face, it is maintained, is not only ethical but also has a materiality. In opposition to what is maintained by at least some scholars of Levinas, art, literature and history have alerted us over and over again that the face is anything but indelible. Some examples from art show us the versatility and vulnerability of the face. The gossip and hype about what came to be known as the Kate Moss affair stands, it is argued, in a long misogynic tradition of defacement. (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)

Many viewers presented with a round plate tilted to their line of sight will report that they see a round plate that looks elliptical from their perspective. Alva Noë thinks that we should take reports of this kind as adequate descriptions of the phenomenology of spatial experiences. He argues that his so‐called enactive or sensorimotor account of spatial perceptual content explains why both the plate's circularity and its elliptical appearance are phenomenal aspects of experience. In this paper, I critique the (...) phenomenal adequacy of Noë's sensorimotor account of spatial perceptual content. I begin by showing that some of its central claims are in conflict with the phenomenology of perceptual experience. I then argue that shape appearances have no phenomenal reality, thus undermining this central motivation for his account. (shrink)

It is a common assumption among philosophers of perception that phenomenal colors are exhaustively characterized by the three phenomenal dimensions of the color solid: hue, saturation and lightness. The hue of a color is its redness, blueness or yellowness, etc. The saturation of a color refers to the strength of its hue in relation to gray. The lightness of a color determines its relation to black and white. In this paper, I argue that the phenomenology of shadows forces us to (...) consider illumination as an additional dimension of phenomenal colors. For this purpose, I will first introduce two different interpretations of shadow-experiences, which Chalmers has called the simple and the complex interpretations, and show that they both fail to account for important phenomenal facts about shadow-experiences. I will then introduce my own alternative interpretation based on the idea that illumination is a dimension of phenomenal colors and explain how it can account for these facts. (shrink)

Paintings can exert a strong effect on their viewers by creating atmospheres. But how is it possible for a painting to create an atmosphere? My goal in this paper is to provide a partial answer to this question by focusing on the depiction of light. I argue that paintings can elicit experiences of atmospheres in part because they can depict pictorial space as filled with ambient light that has a distinctive phenomenal character. It is in virtue of this distinctive phenomenal (...) character that the depicted ambient light can make a significant contribution to the overall phenomenal character of the experienced atmosphere. (shrink)