Collection of papers presented at the First Budapest Seminar in Early Modern Philosophy.

In the Ethics, Spinoza advances two apparently irreconcilable construals of will [voluntas]. Initially, he presents will as a shorthand way of referring to the volitions that all ideas involve, namely affirmations and negations. But just a few propositions later, he defines it as striving when it is “related only to the mind” (3p9s). It is difficult to see how these two construals can be reconciled, since to affirm or assent to some content is to adopt an attitude with a cognitive (...) (mind-to-world) direction of fit, while to strive to persevere in one’s being would seem to be to adopt an attitude with a conative (world-to-mind) direction of fit. Attempting to achieve consistency by taking striving under the attribute of thought to consist in affirming only pushes the equivocation problem onto the concept of affirmation (Lin 2019). It would seem, then, that Spinoza equivocates on the concepts of will, affirmation, or perhaps both. I defend the univocity of Spinoza’s accounts of will and affirmation, showing that it comports with established accounts of affirmation in early modern philosophy and yields a clear, uniform account of what it means to strive under the attribute of thought, preserving the systematicity of Spinoza’s account of mind in ways that other interpretations do not. (shrink)

There is a long tradition of reading Spinoza as committed, perhaps unwillingly, to the non-reality of finite modes. While acknowledging that Spinoza does seem to rely on the reality of modes in certain places, Michael Della Rocca has called attention to what he labels an “idealist strand.” As a concluding remark in “Steps Toward Eleaticism in Spinoza's Philosophy of Action,” he claims that faced with these two conflicting strands, which are genuinely to be found in the text, it is better (...) to note both rather than artificially imposing a unity on the text. In this paper, I suggest that one need not admit two conflicting strands in Spinoza, on the one hand, nor arbitrarily disregard one strand, on the other. Rather, I argue for a unified view that diagnoses what gives rise to both seemingly conflicting strands. The key to this enterprise is recognizing that finite modes, paradoxically seeming perhaps at first, are not wholly finite. That is, a finite mode is determined by the totality of finite modes—wherein lies its finite aspect, but at the same time, and equally, partially actively determines this totality—wherein lies its infinite aspect. (shrink)

An old question in Spinoza scholarship is how finite, non-eternal things transitively caused by other finite, non-eternal things (i. e., the entities described in propositions like E1p28) are caused by the infinite, eternal substance, given that what follows either directly or indirectly from the divine nature is infinite and eternal (E1p21–23). In “Spinoza’s Monism I,” “Spinoza’s Monism I,” in the previous issue of this journal. I pointed out that most commentators answer this question by invoking entities that are indefinite and (...) sempiternal, but argued that perhaps we should not be so quick to assume that in Spinoza’s system, an infinite and eternal substance could cause such indefinite, sempiternal entities. But if such eternal-durational causation is denied, then it seems harder to see how Spinoza’s system could be coherent: if Spinoza holds that the infinite, eternal substance cannot cause anything that is not infinite and not eternal, then how can he also hold that all things are modes immanently caused by substance (E1p15, E1p18, E1p25)? In this essay, I explain how Spinoza’s system could be understood in light of a denial of eternal-durational causation. On the interpretation I offer, God is the cause of all things and all things are modes because the essences of all things follow from the divine nature and all essences enjoy infinite, eternal reality as modes immanently caused by the infinite, eternal substance. The same non-substantial essences can also be conceived as enjoying non-infinite, non-eternal reality, but so conceived, they are enduring, finite (or sempiternal, indefinite) entities that cannot be conceived as modes caused by and inhering in the one infinite, eternal substance. I conclude by pointing out that if we take this interpretive route, we do have to understand Spinoza as committed to acosmism, or a denial of the reality of the world – at least the world of enduring, finite things. (shrink)

In this paper, I argue that Spinoza holds a perspectivalist view of mereological composition, a form of anti-realism. The paper has two parts: In the first half of the paper, I introduce interpretive puzzles for the standard realist reading of Spinoza’s mereology. In the second half of the paper, I discuss Spinoza’s positive view on mereological composition and present a perspectivalist reading that avoids the interpretive puzzles.

I defend a new reading of Spinoza's account of causation that reconciles the strengths of the mechanist and formal cause interpretations by locating instances of nature's fixed and unchanging laws inside individual natures; natures are efficacious because that's where the laws are. God's necessity, for instance, follows from certain logical principles contained within God's nature. Causes between finite particulars likewise stem entirely from finite natures. They do so, I argue, because finite instances of nature's fixed and unchanging laws are inscribed (...) within those natures. In each of these instances, effects follow from natures on account of laws contained within them. (shrink)

Charles Jarrett and P. D. Zuk have argued on independent grounds that Spinoza's Ethics delineates a moral antirealist/constructivist position. I reconstruct their basic arguments, present their textual evidence, and suggest that the evidence is, in principle, compatible with moral realism. As I argue, Jarrett and Zuk have opted for an antirealist/constructivist interpretation of the adduced textual evidence because they tacitly rely on a mistaken metaethical assumption: that relational normativity entails moral antirealism/constructivism. I explain why this is not the case by (...) reference to Aristotle's virtue ethics, as well as by reference to various contemporary metaethical positions that conjoin relational normativity and moral realism. I conclude that the textual evidence Jarrett and Zuk rely on does not suffice to render Spinoza's Ethics unequivocally morally antirealist/constructivist and that the morally realist interpretation remains defensible. (shrink)

Recent literature on Spinoza has emphasized his commitment to universal intelligibility, understood as the claim that there are no brute facts. We draw attention to an important but overlooked element of Spinoza's commitment to intelligibility, and thereby question its most prominent interpretation, on which this commitment results in the priority of conceptual relations. We argue that such readings are both incomplete in their account of Spinozistic intelligibility and mistaken in their identification of the most fundamental relation. We argue that Spinoza (...) is one of the first moderns to address the problem of conditions of intelligibility, and show that, in his metaphysics, expressive relations are best understood as relations of dependence for intelligibility: what a thing ‘expresses’ is its condition of intelligibility, that which determines how, through what concepts, it can be conceived. (shrink)

I examine the (mediated) correspondence between Spinoza and Robert Boyle concerning the latter’s account of fluidity and his experiments on reconstitution of niter in the light of the epistemology and doctrine of method contained in the Treatise on the Emendation of the Intellect. I argue that both the Treatise and the correspondence reveal that for Spinoza, the proper method of science is not experimental, and that he accepted a powerful under-determination thesis. I argue that, in contrast to modern versions, Spinoza’s (...) form of naturalism was a highly rationalist and anti-empirical one. I conclude with a brief account of the value of experience and experimentation for Spinoza’s scientific method. (shrink)

It is standard to think that in Spinoza’s system, all things are necessary and in no sense contingent. However, in his classic book, Spinoza’s Metaphysics, published in 1969, Edwin Curley argues based on the proposition 28 of the first part of the Ethics that Spinoza endorses necessitarianism of only a modest kind, according to which when it comes to finite modes, there is a sense in which they are contingent. In this paper, I revisit Curley’s argument. Commentators have responded to (...) Curley’s argument, showing that Spinoza’s remarks on infinite modes entail that finite modes can in no sense be contingent. But this alone falls short of dispelling Curley’s misgivings about the standard interpretation, for it remains unexplained why Curley is wrong in thinking that the proposition 28 supports his moderate necessitarian interpretation. In defense of the standard interpretation, I bolster the usual response to Curley in greater detail than has been done in the literature and explain why, pace Curley, the proposition 28 plays no evidential role in support of Curley’s interpretation. (shrink)

This paper examines Spinoza’s view on the consistency of mental representation. First, I argue that he departs from Scholastic tradition by arguing that all mental states—whether desires, intentions, beliefs, perceptions, entertainings, etc.—must be logically consistent. Second, I argue that his endorsement of this view is motivated by key Spinozistic doctrines, most importantly the doctrine that all acts of thought represent what could follow from God’s nature. Finally, I argue that Spinoza’s view that all mental representation is consistent pushes him to (...) a linguistic account of contradiction. (shrink)

Clarke attacks Spinoza's monism on the grounds that it cannot explain how a multiplicity of things follows from one substance, God. This article argues that Clarke assumes that Spinoza's God is countable. It then sketches a way in which multiplicity can follow from God's uncountable nature.

One of the most famous and identifiable of Spinoza’s ideas is his amor Dei intellectualis (the intellectual love of God). It has been argued that this concept is somewhat alien to the main tenets of the Ethics, especially since it is reminiscent of more orthodox religious relations to God, and has a certain mystical (and so, nonrational) quality. In this paper, I will show that it is a consistent development of Spinoza’s interconnected and elaborate theories of knowledge and the affects. (...) Spinoza discusses three kinds of love: passionate love, friendship and the intellectual love of God. The intellectual love of God is nothing but a necessary outcome of Spinoza’s rationalistic project as a whole. Moreover, by culminating his ethical theory with such a concept, Spinoza is placing himself in a rich tradition of thinkers who develop epistemological and ethical systems that put love (either as eros or philia) as the backbone of their philosophy. In order to illustrate the similarities between Spinoza’s philosophical use of love and that of his predecessors, I will address salient features of Plato’s and Aristotle’s thought, emphasizing the relationship between love and ethics, as well as the nature of the philosophical impulse. (shrink)

One of the most famous and identifiable of Spinoza’s ideas is his amor Dei intellectualis (the intellectual love of God). It has been argued that this concept is somewhat alien to the main tenets of the Ethics, especially since it is reminiscent of more orthodox religious relations to God, and has a certain mystical (and so, nonrational) quality.In this paper, I will show that it is a consistent development of Spinoza’s interconnected and elaborate theories of knowledge and the affects. Spinoza (...) discusses three kinds of love: passionate love, friendship and the intellectual love of God.The intellectual love of God is nothing but a necessary outcome of Spinoza’s rationalistic project as a whole. Moreover, by culminating his ethical theory with such a concept, Spinoza is placing himself in a rich tradition of thinkers who develop epistemological and ethical systems that put love (either as eros or philia) as the backbone of their philosophy. In order to illustrate the similarities between Spinoza’s philosophical use of love and that of his predecessors, I will address salient features of Plato’s and Aristotle’s thought, emphasizing the relationship between love and ethics, as well as the nature of the philosophical impulse. (shrink)

In this paper, through a close reading of Spinoza's use of common notions I argue for the role of experiential and experimental knowledge in Spinoza's epistemology.

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)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)