Domenica Romagni

In this article, I address the epistemological role that geometry plays in Kepler’s Harmonices Mundi Libri V and argue that the framework he develops there is meant to address concerns regarding the confirmation of astronomical hypotheses, which are supported by comments in earlier works regarding empirical underdetermination. The geometrical epistemology that he constructs to combat these concerns in the Harmonices Mundi is introduced in Book I and then is extended to his theory of harmonic proportion in Book III, finally providing the foundation for his derivation of the planetary motions in Book V. To argue for these claims, I begin by discussing Kepler’s concern with underdetermination in earlier works. Then I turn to the Harmonices Mundi and argue that Kepler seeks to provide a geometrical system that directly links the theorist with the world. Finally, I show how he applies this system to his astronomy via his harmonic theory. This account not only helps us to understand Kepler’s scientific methodology better but also sheds light on Kepler’s enthusiasm for the results of the Harmonices Mundi by showing how they provide an example of the successful application of his geometrical epistemology.

As suggested by the title, Descartes’ Passions of the Soul deals primarily with states of the soul that he calls ‘passions.’ This designation includes all mental states that are actively caused by the body and passively received by the soul. However, as Descartes points out to the reader, there is a more specialized or proper usage of ‘passion’ that picks out a subclass of these and which aligns more-or-less with what we might now call ‘emotions.’ In this paper, I will address how Descartes classifies these ‘proper passions,’ paying special attention to how he distinguishes them from the other species of the passions in general. One of my primary aims will be to highlight an under-appreciated feature of the proper passions; namely, that they are distinct from other perceptions in their systematic divergence in terms of their distal or ‘first’ cause, their intentional object, and how they are ‘referred.’ After arguing for this distinctive feature of the proper passions, I show how it enables Descartes to provide a nuanced and multi-faceted account of our emotional experiences that incorporates external sensory perceptions, internal or bodily perceptions, and various cognitive assessments.

This chapter considers some of the various interpretations that have been offered of Spinoza's views on aesthetics. It examines the possibility that Spinoza might be amenable to some kind of realist account of aesthetic value. The strongest anti‐realist interpretation that can be offered on Spinoza's behalf is a kind of error theory. A more popular interpretation of Spinoza's discussion of aesthetic evaluation is one that understands him as a relativist. This interpretation states that Spinozistic aesthetic judgments capture how one is affected by objects in one's environment. One way of giving a realist interpretation of Spinoza's theory of moral value is to think of our moral evaluations as relative not ultimately to us but to some moral exemplar, most often identified with Spinoza's ‘free man’. As with Spinoza's conception of ‘perfection,’ his understanding of God is very different from this traditional sense of God at play in Augustine.

.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.