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- Issue 26: THE DETERMINED SELF
Issue 26: THE DETERMINED SELF
How Spinoza Rewrites Freedom — and How Photography Reveals Its Shape
GALERIA LOCAL

by Jorge Silva
Welcome — and thank you for reading.
This issue continues the Spinoza cycle with a topic that cuts close to the centre of his philosophy: what it means to act freely inside a world ruled by necessity. The Determined Self examines how essence, desire, clarity and coherence replace the usual myths of “free will,” and why Spinoza believes that freedom is not the absence of causes but the transparent understanding of them. In Narrative Layers, this idea shifts into visual practice. Rather than treating photography as a sequence of isolated choices, the text looks at the deeper structures that shape how we see — the orientation, sensibility and internal logic that make certain images possible in the first place. The result is a reflection on freedom in photographic terms: not limitless options, but coherence between intention, attention and the world. | Together, these two pieces bring the cycle closer to its core: the recognition that clarity — in life or in images — is not a withdrawal from necessity, but a way of moving through it with precision and presence. —Jorge |
Essay
THE DETERMINED SELF — NECESSITY, ESSENCE, AND HUMAN IDENTITY
We are accustomed to imagining ourselves as creatures who possess an inner power called “the will,” a sovereign spark that rises above the world and chooses freely among alternatives. Spinoza begins by denying this outright. What we call “willing,” he argues, is simply the mind’s awareness of a desire whose cause we do not yet understand. Nothing originates in the will; the will is itself an effect. This is not fatalism. Spinoza does not claim that our lives are predetermined in some rigid script. He claims something subtler and more unsettling: that every human action arises from causes both internal and external, and that the feeling of freedom appears or disappears depending on how clearly we understand those causes. We do not stand outside the chain of necessity—we inhabit it. The question is never whether we are determined, but how.
For Spinoza, there are two modes of being determined. We can be moved passively, when impulses, fears, and habits push us in directions whose origins we barely recognize. Or we can be moved actively, when we understand the causes that shape us and respond in a way that expresses our own nature rather than the confusion of circumstances. In both cases we are determined, yet the quality of the experience is utterly different. The passive person experiences desires as invasions from the outside, as if something foreign had seized them. The active person experiences the same forces as their own expression. What changes is not the origin of the cause, but our relation to it. Agency emerges not by escaping necessity, but by understanding it well enough to move coherently within it. The same world presses on both the lucid and the blind; the difference is in the clarity of the movement.
If the will does not define us, then what does? Spinoza’s answer is essence—the irreducible pattern of activity that makes each being what it is. Each person is an expression of Nature with a particular structure: a characteristic style of thinking, moving, imagining, reacting, enduring. This structure is not chosen; it is uncovered. It is the pattern we enact long before we ever name it. And here Spinoza embraces a paradox without hesitation: all beings share the same underlying substance, yet each is a unique modification of it. Individuality is not an exception to determinism; it is the style of determinism. Identity is not the freedom to detach from what we are; identity is the coherence with which we express it.
Desire, for Spinoza, is the clearest expression of this essence. It is not a defect or a disturbance, but the body’s striving to persist and the mind’s recognition of a path that increases its power to act. Desire becomes destructive only when misunderstood. Without clarity, desire drags us; with clarity, desire becomes direction. This is why Spinoza rejects the classical war between reason and passion. They are not enemies. They are two aspects of one movement. Reason gives emotion its trajectory; emotion gives reason its energy. When we understand the cause of a desire, we do not extinguish it—we transform it.
Spinoza dismantles the traditional notion of the will in order to redefine freedom. Freedom is not the absence of causes. Freedom is the ability to act from one’s own essence, rather than from confusion or contradiction. A free action is not one that emerges unpredictably from an empty space of choice; a free action is one whose causes are internal, intelligible, and coherent. Determination is not the opposite of freedom; incoherence is. The determined self is not trapped. The determined self is integrated.
All of this leads to Spinoza’s most provocative claim: that freedom is clarity. Not spontaneity, not transcendence, not the mythical ability to choose independently of the world—clarity. When we grasp how emotions arise, how desires form, and how our nature interacts with the broader order of things, we cease to feel buffeted or ruled by events. The same chain of necessity governs our lives, but its pressure becomes comprehensible. We move with it rather than against it. A person is free when acting according to their essence, when desire and understanding flow in the same direction. Necessity remains, but its meaning changes. It becomes structure, orientation, inner coherence.
In Spinoza’s universe, the self is not the master of nature. The self is a lucid expression of it.
Narrative Layers
Photography is often described as an art of choice — where to stand, what to include, when to press the shutter. Yet beneath these decisions lies something quieter and more structured: a way of looking that is not invented in the moment, but expressed through it. Every photographer enters the world with a particular orientation, a pattern of attention shaped by years of seeing, thinking, and moving through space. This pattern is not a limitation. It is the foundation from which images become possible.
THE DETERMINED IMAGE
Each time the camera rises, perception is pulled by forces that precede deliberation: sensitivity to light, a preference for certain distances, an instinct for how forms hold together inside a frame. These are not arbitrary habits; they are expressions of one’s visual essence — the configuration through which reality becomes intelligible. What appears as instinct is often the convergence of past experience, aesthetic intuition, and the subtle geometry of one’s own nature.
![]() by Jorge Silva “Freedom in photography does not arise from unlimited choice. It arises from coherence.” Freedom in photography does not arise from unlimited choice. It arises from coherence. An image feels alive when intention and attention move in the same direction, when the frame does not fight the world but joins it. The strongest photographs are rarely acts of will imposed on a scene; they are moments in which the world and the photographer briefly share the same logic. This does not mean that everything is predetermined in a fatalistic sense. Rather, every act of photographing unfolds within a structure — of personality, of perception, of environment — and the clarity with which one understands this structure determines the depth of the image. When this structure is ignored, images become repetitive, driven by clichés or habits. When it is recognized, the work sharpens: the frame tightens, the world becomes legible, and the photograph reflects the necessity from which it arose. | ![]() by Jorge Silva A photograph, then, is not merely an external event captured from the outside. It is a configuration of forces — light, form, attention, intention — aligned for a fraction of a second. The image carries the trace of that alignment. It reveals not just what was seen, but how seeing happened: the particular style through which one meets the world. “The strongest photographs are rarely acts of will imposed on a scene; they are moments in which the world and the photographer briefly share the same logic.” In this sense, every image is determined — not by constraint, but by essence. The work becomes most free when it becomes most coherent, when the photographer’s way of perceiving meets the world’s structure without friction. The camera does not liberate us from necessity; it allows us to inhabit it with lucidity. The determined image is not an image of control. ![]() by Jorge Silva |
Coming Next:
ITINERANT EXHIBITION PLATFORM — DEVELOPMENT UPDATE
Work on the itinerant exhibition structure has advanced over the past weeks. The project is taking clearer shape, and the framework is now entering a new phase of definition and testing. I’ll share more details soon.
“The ordinary is a very under-exploited aspect of our lives because it is so familiar.”
Martin Parr
Until next time,



