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Descartes on thinking with the body
In John Cottingham,The Cambridge companion to Descartes. New York: Cambridge University Press (1992)
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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) | |
The aim of this paper is to show that Simone de Beauvoir's The Second Sex has been mistakenly interpreted as a theory of gender, because interpreters have failed adequately to understand Beauvoir's aims. Beauvoir is not trying to explain facts, events, or states of affairs, but to reveal, unveil, or uncover (découvrir) meanings. She explicates the meanings of woman, female, and feminine. Instead of a theory, Beauvoir's book presents a phenomenological description of the sexual difference. | |
The definition of love given by Descartes in the Passions of the Soul has never stopped puzzling commentators. If the first Cartesian textbooks discreetly evoke or even fail to discuss Descartes’s account of love, Spinoza harshly criticizes it, pointing out that it is ‘on all hands admitted to be very obscure’. More recently several scholars have noticed the puzzling character of the articles of the Passions of the Soul on love and hate. In this paper, I would like to propose (...) a reassessment of the definition of love provided by the Passions of the Soul and the Letters to Elisabeth and Chanut. By tracing back Descartes’s scholastic sources, I will demonstrate how Descartes builds up his definition of love by displacing or subverting the meaning of several major elements of the thomistic vulgata on love. Hence, a significant part of the obscurity of the definition given by the Passions of the Soul possibly finds its ultimate rationale in this attempt to recover some traditional questions of the scholastic debate on love, while advancing new answers to them. (shrink) | |
In this paper, I seek to explore the increasing popular claim that the performance of philosophy and the performance of humor share similar features. I argue that the explanation lies in the function of humor—a function which can be a catalyst for philosophy. Following Ernst Cassirer’s philosophy of symbolic forms and utilizing insights from various philosophical and scientific perspectives on the nature and origins of humor, I argue that the function of humor is to reveal faulty belief or error in (...) judgment. Once such errors are revealed the mind demands resolution, and this is the work of philosophy. But philosophy cannot solve a problem unless it recognizes that there is a problem to solve. That is, the move from ignorance to philosophy requires a mediating step. Humor can act as that step, and, as such, humor can serve as a catalyst for philosophy while being necessarily distinct from it. (shrink) | |
In a suggestive reading of Descartes’ The Passions of the Soul, Luce Irigaray explores the possibility that the passion of wonder, the first of all the passions, can provide the basis for an ethics of sexual difference. Wonder is the first of all passions because it has no opposite, is prior to judgment and comparison, and because it is united to most other passions. Wonder is surprise at the extraordinary, and Irigaray believes it is the ideal way for women and (...) men to regard each other, as it is prior to judgement, and thus free of hierarchical relations, contrary to traditional ethics. In this sense, it leaves us open to new experiences and the distinctiveness of the other. For Descartes, a different passion, the passion of generosity, gives the key to ethics. Generosity is a species of wonder combined with love, which he understands as proper self-esteem. This proper self-esteem ensures that we have appropriate esteem for others by recognising them as like ourselves in the most important respects – the capacity to exercise free will and the resolve to use it well. He believes that if we value ourselves appropriately, then we will respond to others appropriately. This passion must be cultivated as a habit and virtue. In this paper, I examine how wonder and generosity can be linked to ethics, the relationship between these two passions, and Iris Marion Young’s view that Irigaray’s understanding of wonder can easily be extended to any structured social difference, such as race, class and religion by adopting a stance of ‘moral humility’ and accepting that our relations with others are asymmetrically reciprocal. (shrink) | |
.In this paper, I address Descartes’ claims that sensory perceptions function to aid and preserve the subject in interacting with the world, and focus specifically on the ‘valence’, or agreeable/disagreeable quality, that characterizes many sensations. I show how Descartes considers this aspect of sensation to be a significant factor in the ecological role of sensory perception and I then turn to a kind of case that seems to pose a problem for this view: that of aesthetic pleasure. I consider Descartes’ (...) remarks on a particular kind of aesthetic pleasure – that found in musical consonance – and argue that his discussion of this phenomenon reveals that he distinguishes between two distinct kinds of valence – evaluative sensory valence and aesthetic valence – only one of which functions to report directly on ecological evaluation. Further, I suggest that the best way to understand the distinction between these is by appealing to Descartes’ three grades of sensory perception. (shrink) | |
The usual reading of Descartes' “anthropological” perspective classifies it as a radical dualism with a distinction between two substances, mind and body, which experience major interaction difficulties. Through a contextualization of Descartes' physiological and psychological thought as well as through a less fragmented reading of his work, we intend to review this traditional interpretation, thereby showing its distorted character. When we pay attention to passion, a new Descartes’ image as a sort of phenomenal monism appears, which is markedly different from (...) the legendary image typically associated with him, even today. (shrink) No categories | |
Examines the lived experience of social encounters drawing on phenomenological insights. No categories | |
A common and enduring early modern intuition is that materialists reduce organisms in general and human beings in particular to automata. Wasn’t a famous book of the time entitled L’Homme-Machine? In fact, the machine is employed as an analogy, and there was a specifically materialist form of embodiment, in which the body is not reduced to an inanimate machine, but is conceived as an affective, flesh-and-blood entity. We discuss how mechanist and vitalist models of organism exist in a more complementary (...) relation than hitherto imagined, with conceptions of embodiment resulting from experimental physiology. From La Mettrie to Bernard, mechanism, body and embodiment are constantly overlapping, modifying and overdetermining one another; embodiment came to be scientifically addressed under the successive figures of vie organique and then milieu intérieur, thereby overcoming the often lamented divide between scientific image and living experience. (shrink) | |
In this essay I argue that one of the things that matters most to Descartes' account of mind is that we use our minds actively. This is because for him only an active mind is able to re-organize its passionate experiences in such a way that a genuinely human, self-governed life of virtue and true contentment becomes possible. To bring out this connection, I will read the Meditations against the backdrop of Descartes' correspondence with Elisabeth. This will reveal that in (...) Descartes' writings there is a crucial connection between the conception of ourselves as dreamers and the idea that we fail to realize our true potential as self-determined, active agents. Dreams, as Descartes conceives them, are passively received mental states that inhibit our freedom to use reason at will. To awaken here takes the form of activating our thoughts, which holds the key to freeing ourselves from the stimulus-response patterns that Descartes takes to be at work in animal conduct. Applied to the Meditations, these insights suggest that this work engages in questions far beyond the epistemological agenda. By activating the mind, the Meditations teach us how to realize our true human potential as virtuous thinkers and passionate agents. (shrink) | |
A case study in historical cognitive science, this paper addresses two claims made by radical proponents of new dynamical approaches. It queries their historical narrative, which sees embodied, situated cognition as correcting an individualist, atemporal framework originating in Descartes. In fact, new Descartes scholarship shows that 17th-century animal spirits neurophysiology realized a recognizably distributed model of memory; explicit representations are patterns of spirit flow, and memory traces are changes left by experience in connections between brain pores. This historical sketch supports (...) the second dynamicist claim, that connectionists' stress on the cognitive importance of pattern-recreation needs supplementing by dynamicists' real-time focus and attention to the active roles of body and environment. Animal spirits theory exhibits just the 'continuous reciprocal causation' between brain, body, and environment which Andy Clark sees as dynamicism's central contribution, and allows for the embedding of brains in culture as well as the physical world. (shrink) | |
Descartes’s mechanistic account of the passions is sometimes dismissed as one which lacks the resources to adequately explain the cognitive aspect of emotion. By some, he is taken to be “feeling theorist”, reducing the passions to a mere awareness of the physiological state of the soul-body union. If this reading of Descartes’s passions is correct, his theory fails not only because it cannot account for the intentional nature of the passions, but also because the passions cannot play the role in (...) Descartes’s moral theory they are meant to play. I argue that Descartes’s account is not best read as a feeling theory. I defend a reading of the Cartesian passions which acknowledges their mechanistic nature, arguing that for Descartes, passions are modes of the soul with cognitive significance, they are perceptions of relational axiological properties. Thus, Descartes’s theory of the passions has the resources to connect it with an account of good conduct. As a means of elaborating on the normative nature of the passions I consider the role of generosity in Descartes’s moral theory. (shrink) | |
The aim of this dissertation is to offer a new theory of humor that takes seriously both the universality and power of humor in culture. In the first chapter, I summarize historical and contemporary theories, and show how each either 1) fails to give any definition of humor, 2) fails as a theory of humor, and/or 3) underappreciates, dismisses, or does not consider the power of humor in experience. The second chapter explains the failures of prior theories by understanding the (...) problem in terms of Ernst Cassirer’s philosophy of symbolic forms. These forms of culture are perspectives through which we express and understand our world, and each presents its own unique perspectives through which we can understand ourselves and the world. In the third chapter, I argue that humor is one of these necessary and universal symbolic forms of culture. I argue that confusions in the philosophy of humor stem from approaches to humor that understand it as part of some other symbolic form rather than as a form itself. In the fourth chapter, I argue for the function of humor as that which reveals and exposes epistemic vices –laziness, arrogance, and closed-minded thinking about ourselves and the world. I support this argument by showing not only that all previous theories of humor have within them epistemic revelation as a consistent commonality, but also by showing that this revelation is necessary to the form of humor while it is, at best, accidental to other forms. In my final chapter, I suggest that we ought to approach humor objectively, and that the normativity of the symbolic forms guides us toward such an approach. I offer two objective questions to ask about a given instance of humor: 1) does the humor idealize a liberated end? and 2) does the humor fulfil the cultural function of the symbolic form it represents by disrupting epistemically vicious thinking? If the answer to both of these questions is affirmative, then it is likely that the humor in question is morally praiseworthy. I conclude by offering suggestions for further study. (shrink) No categories | |
Hume is known for his claim that our idea of causation is nothing beyond constant conjunction, and that our idea of necessary connection is nothing beyond a felt determination of the mind. In short, Hume endorses a "thin" conception of causation and necessary connection. In recent years, however, a sizeable number of philosophers have come to view Hume as someone who believes in the existence of thick causal connections - that is, causal connections that allow one to infer a priori (...) the effect from the cause, and vice versa. Hume doesn't wish to deny such connections, said philosopher's claim, he only seeks to demonstrate that we can't know anything about the nature of the thick causal connections that make up the natural world. In this dissertation, I defend the old or traditional interpretation of Hume on causation. I draw attention to the important but neglected role of clear and distinct perception in Hume's thought, arguing that for Hume our impressions are clear and distinct perceptions, whereas our ideas are faint and obscure. Accordingly, Hume's copy principle - the thesis that our ideas are copies of our impressions - is Hume's way of rendering our naturally obscure and confused ideas distinct. One need only discern the impression from which said ideas are copied. In this way, I show that Hume's opinion concerning our idea of thick causation is that it's an obscure and confused idea, and that the only clear and distinct idea we can have of causation is thin causation. Furthermore, since meaning for Hume is a matter of a word's being associated with an idea, Hume thinks that an expression such as "thick causation" is meaningless or confused. In one sense, then, Hume is a positivist, and as such doesn't believe in thick causal connections. (shrink) | |
This paper offers a reconstruction of Descartes’ theory of the emotions, with special focus on the virtue ‘générosité’ which he proposed as the master virtue to help humans manage and control their desires so that they can achieve the highest level of happiness which transcends the unpredictability and arbitrariness of fate. It first provides an analysis of Descartes’ notion of ‘divine providence’, ‘vain desires’, and ‘regret’; then proceeds to offer an investigation of ‘générosité’ both as an emotion and as a (...) virtue; and concludes with an examination of ‘générosité’ as a tool to master and control the emotions. (shrink) | |
In this essay, I aim to identify and analyze the influence of Cartesian dualism on Rembrandt's pictorial representations of the self. My thesis is that Descartes and Rembrandt share concerns about philosophy's exploration of human nature, concerns rooted in mind–body dualism. Descartes's corpus bears witness to a growing skepticism about the relation between matter and extension. Likewise, Rembrandt's anatomy lessons lead the viewer to question the value of treating humans as scientific objects. I suggest that by reexamining Rembrandt's work in (...) light of the mind–body problem we generate a fuller understanding of Rembrandt's artistic critique and expression and Descartes's mature scientific thinking and abiding influence. My analysis centers on four Rembrandt paintings: The Anatomy Lesson of Doctor Nicolaes Tulp (1632); The Descent from the Cross (1632–1633); The Sacrifice of Abraham (1635); and The Anatomy Lesson of Doctor Joan Deyman (1656). (shrink) |
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