Kant: Critique of the Power of Judgment

The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.

Kant argues in the Critique of the Teleological Power of Judgment that the first stage in resolving the problem of teleology is conceiving it correctly. He explains that the conflict between mechanism and teleology, properly conceived, is an antinomy of the power of judgment in its reflective use regarding regulative maxims, and not an antinomy of the power of judgment in its determining use regarding constitutive principles. The matter in hand does not concern objective propositions regarding the possibility of objects (...) or actual features of certain objects, namely, organisms. It is rather a methodological issue as to the appropriate way to explain the generation, development, and function of organisms. Taken in this manner as subjective maxims guiding the explanation and inquiry of organisms, the principles of mechanism and teleology need not necessarily be seen as contradictorily opposed but instead can be combined in the study of organisms. This, however, is not enough to complete the analysis of the antinomy of the teleological power of judgment. In order to show that there is an antinomy in this case, Kant has to establish that both seemingly conflicting maxims are necessary and natural to the human mind. He does it by grounding them in the ‘special character’ or peculiarity (Eigentümlichkeit) of the human understanding. However, it is not entirely clear just what exactly this peculiarity of the human understanding is. Paul Guyer argues that Kant suggests two different accounts of the peculiarity of the human intellect. According to one account, this peculiarity consists in the fact that our understanding forms general concepts and according to another, in its propensity to proceed from the parts to the whole. I will argue in this paper that Kant puts forward a single account, in which the combination of these two features demonstrate the peculiarity of the human understanding manifested in the encounter with organisms. This account explains the necessity of the regulative maxims of mechanism and teleology, and thus completes Kant’s analysis of the antinomy of the teleological power of judgment. (shrink)

In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with the (...) laws of association and creating new associations. I propose that (ii) constitutes the reason why music is not a rich source for reflection and thereby cannot stimulate the enlargement of the cognitive faculties. Given that the standard Kant uses in setting up the hierarchy of fine arts in terms of their cultivating role is the enlargement of cognitive faculties, this explains why music is placed at the bottom of his hierarchy. (shrink)

Kant’s theory of biology in the Critique of the Power of Judgment may be rejected as obsolete and attacked from two opposite perspectives. In light of recent advances in biology one can claim contra Kant, on the one hand, that biological phenomena, which Kant held could only be explicated with the help of teleological principles, can in fact be explained in an entirely mechanical manner, or on the other, that despite the irreducibility of biology to physico-mechanical explanations, it is nonetheless (...) proper science. I argue in response that Kant’s analysis of organisms is by no means obsolete. It reveals biology’s uniqueness in much the same way as several current theorists do. It brings to the fore the unique purposive characteristics of living phenomena, which are encapsulated in Kant’s concept of “natural end” and which must be explicated in natural terms in order for biology to become a science. I maintain that Kant’s reluctance to consider biology proper science is not a consequence of his critical philosophy but rather of his inability to complete this task. Kant lacked an appropriate theoretical framework, such as provided later by modern biology, which would enable the integration of the unique features of biology in an empirical system. Nevertheless, as I show in this paper, the conceptual problems with which Kant struggled attest more to the relevance and depth of his insights than to the shortcomings of his view. His contribution to the biological thought consists in insisting on an empirical approach to biology and in providing the essential philosophical underpinning of the autonomous status of biology. (shrink)

This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...) philosophy of natural science, but also his arguments for the phenomenal validity of the metaphysical foundations, his teachings on the aesthetic human faculties of judgment and Anschauung, and the discernment of the transcendental philosophy from Platonic idealism carrying it to a cosmological level, i.e. Kant’s insertion of the concept of cosmotheoros. Since the process of transition is an aesthetic process based on human senses, intuitions and judgments, the argument will follow that in order to explicate Übergang, we need to reconcile cosmology, as the oldest branch of philosophy dealing with the interactions between the cosmic forces and the ways they affect human life, with aesthetics, as the youngest branch of philosophy dealing with how we sense, intuit and judge the form and motion of matter. Therefore, in the last analysis, Übergang becomes rather a cosmologic-aesthetic principle similar to the Heraclitean logos. Another building block of the paper is the fruitful comparison between the Kantian sublime and Nietzschean Dionysian, which are going to be construed as the aesthetic theories on human understanding representing the transition from nature to art. For they are not only conceptual – aesthetic but also dynamic – cosmological theories due to their reference both to nature and to human nature. (shrink)

The existing body of scholarship on Kant’s Critique of Judgment is rife with disagreement. At the centre of much of this disagreement is the issue of precisely what Kant understands to be taking place in a harmonization of the cognitive faculties. Is aesthetic reflective judgment to be identified with, or separated from, this harmonious state of the faculties of imagination and understanding? If aesthetic judgment is identified with this state, as is argued herein, then upon what is a judgment of (...) beauty to be based? These questions are addressed by focussing on two closely related aspects of Kant’s theory of reflective judgment; the role Kant assigns to the power of desire (i.e., to the will) and to the causal structure implicated in reflective judgment. In brief, we argue that a judgment of beauty is not, strictly speaking, something that I do, but is better described that something that happens of itself. (shrink)

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

This dissertation aims at forging an archetectonic link between Kant's first and third Critiques within a cognitive-semantic framework. My aim is to show how the major conceptual innovations of Kant’s third Critique can be plausibly understood in terms of the theoretical aims of the first, (Critique of Pure Reason). However, unlike other cognition-oriented approaches to Kant's third Critique, which take the point of contact between the first and third Critique's to be the first Critique's Transcendental Analytic, I link these two (...) works via the first Critique's Transcendental Dialectic, specifically its discussions of the "ideas of pure reason." -/- According to Kant, the “ideas of pure reason” (IPRs) — viz., the notions of self, world-whole, and God — are innate content-bearing entities representing three types of transempirical object, none of which are possible objects of cognition. However, although Kant denies that these rather unique content-bearers can be used for purposes of “speculative cognition,” he does think that they have an internal functional value for human cognitive systems. Although under my analysis of their functional value the IPRs subserve a highest-order aim which derives from theoretical reason — namely, to ground and optimize cognitive systematicity — their directive content in fact renders their implementation(thus their form of intentionality) more characteristic of practical reason. Kant’s positive account of reason’s “interest” in and use of the IPRs exhibits a kind of cognitive pragmatism. -/- Of utmost concern to the cognitive-semantic enterprise, as I conceive it, is the development of (what might be called) a metaphysics of intentionality. A `metaphysics of intentionality', as I use the term, refers to a coherent set of postulative propositional cognitions (or, at any rate, content-bearing entities) implemented, first, for the sake of rationally explaining the phenomenological unity and object-directed character of our perceptual states and, second, to explain why the objects represented in such states are, or must be, law-governed and thus necessarily amenable to scientific investigation. On my view, the discussions in Kant’s third Critique nontrivially contribute to the development of a metaphysics of intentionality and thus to the larger cognitive-semantic enterprise of Kant's first Critique, and it is this link that lends Kant's third Critique a cognitive significance. -/- . (shrink)

I examine Kant's claim that a relation of symbolization links judgments of beauty and judgments of ‘systematicity’ in nature (that is, judgments concerning the ordering of natural forms under hierarchies of laws). My aim is to show that the symbolic relation between the two is, for Kant, much closer than many commentators think: it is not only the form but also the objects of some of our judgments of taste that symbolize the systematicity of nature. -/- .

An effort to expand and defend aspects of my earlier reading of the Deduction of Taste. The Red Scorpion is just for fun. -/- .

A crucial feature of Kant's critical-period writing on the sublime is its grounding in moral psychology. Whereas in the pre-critical writings, the sublime is viewed as an inherently exhausting state of mind, in the critical-period writings it is presented as one that gains strength the more it is sustained. I account for this in terms of Kantian moral psychology, and explain that, for Kant, sound moral disposition is conceived as a sublime state of mind.

This paper addresses a number of closely related questions concerning Kant's model of intentionality, and his conceptions of unity and of magnitude [Gröβe]. These questions are important because they shed light on three issues which are central to the Critical system, and which connect directly to the recent analytic literature on perception: the issues are conceptualism, the status of the imagination, and perceptual atomism. In Section 1, I provide a sketch of the exegetical and philosophical problems raised by Kant's views (...) on these issues. I then develop, in Section 2, a detailed analysis of Kant's theory of perception as elaborated in both the Critique of Pure Reason and the Critique of Judgment; I show how this analysis provides a preliminary framework for resolving the difficulties raised in Section 1. In Section 3, I extend my analysis of Kant's position by considering a specific test case: the Axioms of Intuition. I contend that one way to make sense of Kant's argument is by juxtaposing it with Russell's response to Bradley's regress; I focus in particular on the concept of ‘unity’. Finally, I offer, in Section 4, a philosophical assessment of the position attributed to Kant in Sections 2 and 3. I argue that, while Kant's account has significant strengths, a number of key areas remain underdeveloped; I suggest that the phenomenological tradition may be read as attempting to fill precisely those gaps. (shrink)

Kant’s argument in § 38 of the *Critique of Judgment* is subject to a dilemma: if the subjective condition of cognition is the sufficient condition of the pleasure of taste, then every object of experience must produce that pleasure; if not, then the universal communicability of cognition does not entail the universal communicability of the pleasure. Kant’s use of an additional premise in § 21 may get him out of this difficulty, but the premises themselves hang in the air and (...) have no independent plausibility. What Kant offers as a proof of our right to make judgments of taste is more charitably construed as an indirect argument for the adequacy of a speculative explanation of a *presumed* right to make judgments of taste. (shrink)