Collection of papers presented at the 2nd and 3rd Budapest Seminar in Early Modern Philosophy.

In the Essay Locke argues abstract ideas within the framework of the descriptivist theory of reference. For him, abstract ideas are, in many cases, conceptual ideas that play the role of “descriptions” or “descriptive contents,” determining general terms’ referents. In contrast, in the introduction of the Principles, Berkeley denies Lockean abstract ideas adamantly from an imagistic point of view, and he offers his own theory of reference seemingly consisting of referring expressions and their referents alone. However, interestingly, he mentions a (...) general term’s “definition” and suggests that it determines the scope of the term’s referents. For example, he takes up the definition of a triangle as “a plain Surface comprehended by three right Lines” and suggests that just as Locke’s general idea of a triangle does, the definition determines the referents of the general term “triangle.” His definition reminds us of the fact that as Descartes grasps the content of the general idea of a triangle as “a figure enclosed by three lines,” so Locke grasps the abstract idea of a triangle as “a Figure including a Space between three Lines,” and so on. That is, since Berkeley is an imagist, he does not acknowledge Locke’s conceptual abstract ideas as “ideas,” but although he verbally denies “abstract ideas,” his theory of reference also actually has the same descriptivist framework consisting of referring expressions, their descriptive contents, and their referents. Thus, we understand the real reason why Berkeley’s criticism of Locke seems beside the point. (shrink)

ABSTRACT Berkeley admits that certain religious utterances involve words that do not stand for ideas. Nevertheless, he maintains, these utterances may express true beliefs. According to the use theory interpretation of Berkeley, these true beliefs consist in dispositions to follow certain rules. Keota Fields has objected that this interpretation is inconsistent with Berkeley’s commitment to the universal truth of the Christian revelation. On Fields’ alternative interpretation, the meanings of these utterances are ideas in the mind of God, and we assent (...) to these sentences ‘at secondhand’, deferring to God for the content of our belief. While Fields’ criticisms of the use theory are illuminating, and his alternative proposal is ingenious, neither of them ultimately works. In this paper, I reply to three of Fields’ criticisms of the use theory, then press two objections against his alternative proposal. I argue that, although Berkeley is committed to the universal truth of the Christian revelation, this truth is not constituted by ideas in either human or divine minds, but rather by God’s universal commands which order the life of the Christian community toward the good. (shrink)

Berkeley’s capacity to conceive of mind-independent bodies was corrupted by his theory of representation. He thought that representation of things outside the mind depended on resemblance. Since ideas can resemble nothing than ideas, and all ideas are mind dependent, he concluded that we couldn’t form ideas of mind-independent bodies. More generally, he thought that we had no inner resembling proxies for mind-independent bodies, and so we couldn’t even form a notion of such things. Because conception is a suggestible faculty, Berkeley’s (...) arguments actually made it the case that he himself couldn’t conceive of mind-independent bodies. (shrink)

It is sometimes suggested that Berkeley adheres to an empirical criterion of meaning, on which a term is meaningful just in case it signifies an idea (i.e., an immediate object of perceptual experience). This criterion is thought to underlie his rejection of the term ‘matter’ as meaningless. As is well known, Berkeley thinks that it is impossible to perceive matter. If one cannot perceive matter, then, per Berkeley, one can have no idea of it; if one can have no idea (...) of it, then one cannot speak meaningfully of it. But if this is Berkeley’s position, then there is a puzzle, because Berkeley also explicitly claims that it is impossible to perceive/have ideas of minds. So if he is relying on a criterion on which terms get their meaning by referring to ideas, then, just as Berkeley rejects talk of material substance, so, too, must he reject talk of mental substance. Famously, however, Berkeley insists that there is no parity between the cases of material and mental substance. It is typically suggested that the disparity between matter and minds rests on the fact that although one cannot strictly speaking perceive minds, nonetheless Berkeley thinks that one can have experiential access to minds via reflection, and that this access allows for meaningful talk of minds. Of course, one can only have reflective experience of one’s own mind. But what of other minds, which one cannot reflectively experience? Here the usual tactic is to suppose that, although one cannot have direct reflective experience of other minds, nonetheless one can indirectly experience such minds via analogy to our own minds, and that this indirect experience grounds the meaningfulness of talk of other minds. In this paper, I argue that the reasoning behind Berkeley’s ‘likeness principle,’ that an idea can only be like another idea, can be generalized to argue against this experience-based account of our access to other minds. I claim instead that Berkeley allows for the meaningfulness of talk of other minds by expanding the criterion of meaning in a different way. I argue that Berkeley holds a criterion of meaning on which a term is meaningful just in case it signifies either an object of experience or an object that one has reason to posit on the basis of experience, i.e., an object that is necessary to explain our experiences. When an object is neither experienced nor explains our experiences, then and only then is Berkeley willing to reject it as meaningless. Thus he writes of “the word matter,” that “it is no matter whether there is such a thing or no, since it no way concerns us: and I do not see the advantage there is in disputing about we know not what, and we know not why” (Principles, §77.) The word is not meaningless merely because we do not know what matter might be; it is meaningless because we also do not know why it should be. Correspondingly, I argue that the term ‘mind’ is meaningful because although we have no experience of minds, nonetheless they play an important role in explaining our experiences. (shrink)

In the Introduction to the Treatise concerning the Principles of Human Knowledge, Berkeley attacks the “received opinion that language has no other end but the communicating our ideas, and that every significant name stands for an idea” (PHK, Intro §19). How far does Berkeley go in rejecting this ‘received opinion’? Does he offer a general theory of language to replace it? If so, what is the nature of this theory? In this chapter, I consider three main interpretations of Berkeley's view: (...) the modified ideational theory, the speaker intentions theory, and the use theory. I argue that the use theory does, and its competitors do not, make sense of Berkeley's remarks on language in both the earlier and later works. (shrink)

The purpose of this thesis is to provide a metaphysic for moral realism and moral perception. This thesis is in two parts. The first is concerned with basic ontology. I begin in chapter 1 with an analysis of causation, demonstrating that substance theory is superior to Humeanism at accounting for our observations; thus I defend a substance ontology. In chapter 2, I address human agency, demonstrating that reasons internalism does not allow for incompatibilist freedom; hence, I affirm reasons are states (...) of affairs. I move on to qualia in chapter 3, demonstrating that arguments both for and against qualia realism involve question begging. In response, I argue that qualia realism is just as reasonable as anti-realism, and affirm realism. Given this, I address the mind-body problem in chapter 4, demonstrating the failure of physicalists to account for mental causation. I conclude that panpsychism, idealism, and substance dualism are equal reasonable alternatives: each allows for intrinsic properties, which are integral to substance ontology. The second part builds a moral ontology, along with an account of moral perceptual knowledge, compatible with the above basic ontology. In chapter 5, I reject moral properties as monadic since this would bar mapping moral concepts onto mind-independent reality. Instead, I argue that moral properties are relations. More specifically, in chapter 6, I make the case that they are features of relations, relations themselves being the total complex states of affairs between one or more substances. This allows moral properties to have their own nonreducible phenomenal quality. To account for moral normativity, I argue that moral features are actually a class of causal features, and briefly argue that final causes determine the normative causal trajectory of all substances. In chapter 7, I conclude this thesis with addressing possible objections to my theory of perception and perceptual knowledge. (shrink)

The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...) Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these distinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of culture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the non-material, non-causal deep structure of reality. (shrink)