Drawing on remarks scattered through his writings, I argue that Leibniz has a highly distinctive and interesting theory of color. The central feature of the theory is the way in which it combines a nuanced subjectivism about color with a reductive approach of a sort usually associated with objectivist theories of color. After reconstructing Leibniz's theory and calling attention to some of its most notable attractions, I turn to the apparent incompatibility of its subjective and reductive components. I argue that (...) this apparent tension vanishes in light of his rejection of a widely accepted doctrine concerning the nature of bodies and their geometrical qualities. (shrink)

Despite his commitment to freedom, Leibniz’ philosophy is also founded on pre-established harmony. Understanding the life of the individual as a spiritual automaton led Leibniz to refer to the puzzle of the way out of determinism as the Labyrinth of Freedom. Leibniz claimed that infinite complexity is the reason why it is impossible to prove a contingent truth. But by means of Leibniz’ calculus, it actually can be shown in a finite number of steps how to calculate a summation of (...) infinite parts. It appears that the analogy Leibniz drew between the mathematics of infinite series and the logic of contingent truths did more harm than good. A solution consistent with Leibniz’ perception of infinity is proposed. Alongside the existence of the aforementioned analogy, it is based on a disanalogy between the mathematics of infinite series and the logic of infinitely complex truths. This is a disanalogy that Leibniz had already used to solve the Labyrinth of Continuum which he declared more than once could, like the Labyrinth of Freedom, be solved by means of the nature of infinity. The solution of both labyrinths is based on the fictitiousness of the infinitesimal. (shrink)

In the texts of the middle years (roughly, the 1680s and 90s), Leibniz appears to endorse two incompatible approaches to motion, one a realist approach, the other a phenomenalist approach. I argue that once we attend to certain nuances in his account we can see that in fact he has only one, coherent approach to motion during this period. I conclude by considering whether the view of motion I want to impute to Leibniz during his middle years ranks as a (...) kind of realism or rather as some kind of phenomenalism or idealism. (shrink)

Leibniz argues against Descartes’s conception of material substance based on considerations of unity. I examine a key premise of Leibniz’s argument, what I call the Plurality Thesis—the claim that matter (i.e. extension alone) is a plurality of parts. More specifically, I engage an objection to the Plurality Thesis stemming from what I call Material Monism—the claim that the physical world is a single material substance. I argue that Leibniz can productively engage this objection based on his view that matter is (...) discrete. The discreteness of matter provides two aspects of support for the Plurality Thesis. First, it indicates that the parts of matter do not share boundaries and are, therefore, independent in an important sense. Second, it indicates that the parts of matter are determinate and are, therefore, ontologically prior to the wholes they compose. (shrink)