Kant: Imagination

Throughout his lectures and published writings on anthropology, Kant describes a form of unintentional, unstructured, obscure, and pleasurable imaginative mental activity, which he calls fantasy (Phantasie), where we ‘take pleasure in letting our mind wander about in obscurity.’ In the context of his pragmatic anthropology, Kant was concerned not only to describe this form of mental activity as a fact of human psychology, but more importantly, to criticize and discourage it. But must we share Kant’s negative evaluation? Could fantasy play (...) a positive role in some kinds of experience? In this paper I first reconstruct Kant’s conception of fantasy, and then consider what role fantasy might play in aesthetic experience. Precisely because of his anxieties about fantasy, Kant is careful to distinguish between the lawless freedom of the imagination in fantasy and the ‘free lawfulness’ of the imagination in aesthetic judgment. Departing from Kant, and with help from Susan Sontag, I argue that certain aesthetic objects, especially certain works of modernist art, positively invite fantasy, making fantasy part of proper aesthetic appreciation. I conclude by suggesting that while fantasy can indeed play a positive role in aesthetic appreciation, there is still reason to regard fantasy as ‘normatively ambiguous.’. (shrink)

Bu tez, Kant'ın şematizm olarak adlandırdığı, düşünsel kavramların duyusal görünümlere nasıl uygulanabileceğini açıklamaya çalıştığı edimi konu edinmektedir. Şematizm, düşünürler tarafından genellikle eleştirilmiş veya anlaşılmaz bulunmuştur ancak eleştirel felsefenin oldukça önemli bir yönünü oluşturur. Söz konusu çalışmada, şematizmin temsiller arasındaki geçişlerle nasıl anlaşılabileceği; duyusallık ile anlama yetisi ve anlama yetisi ile akıl arasındaki ilişkiyi nasıl oluşturduğu gösterilecektir. Bu ilişki, anlama yetisinin duyusallıktan gelen malzemeyi nasıl kurduğu, aklın ise anlama yetisinden gelen bilgileri nasıl düzenlediğiyle ilgilidir. Bununla birlikte, temsiller arasındaki olası geçişlerin farklı (...) (gidimli, belirleyici, düşünümsel, benzetimli) şematizm türlerine nasıl olanak sağladığı gösterilmeye çalışılacaktır. Göreceğiz ki şematizm, matematiği ve fizyolojiyi (fizik ve metafizik) zamansallığa dayanarak temellendirir. -/- This thesis deals with the act that Kant calls schematism, the way of applying intellectual concepts to sensible appearances. Schematism has been generally criticized or deemed incomprehensible by thinkers, but it constitutes a vitally important aspect of the critical philosophy. In this study, I will attempt to show how schematism provides transitions between representations and establishes the relation between sensibility and understanding, also between understanding and reason. The relation is about how the understanding constructs the material of sensibility, and how the reason regulates the cognitions of the understanding. In this respect, I will also show that possible transitions between representations (discursive, determinative, reflexive and analogical) enable different ways of schematism. It will be shown that schematism grounds mathematics, and physiology (physics and metaphysics) based on temporality. (shrink)

Kant's A-Edition objective deduction is naturally (and has traditionally been) divided into two arguments: an " argument from above" and one that proceeds " von unten auf." This would suggest a picture of Kant's procedure in the objective deduction as first descending and ascending the same ladder, the better, perhaps, to test its durability or to thoroughly convince the reader of its soundness. There are obvious obstacles to such a reading, however; and in this chapter I will argue that the (...) arguments from above and below constitute different, albeit importantly inter-related, proofs. Rather than drawing on the differences in their premises, however, I will highlight what I take to be the different concerns addressed and, correspondingly, the distinct conclusions reached by each. In particular, I will show that both arguments can be understood to address distinct specters, with the argument from above addressing an internal concern generated by Kant’s own transcendental idealism, and the argument from below seeking to dispel a more traditional, broadly Humean challenge to the understanding’s role in experience. These distinct concerns also imply that these arguments yield distinct conclusions, though I will show that they are in fact complementary. (shrink)

A common reading of Kant’s notion of synthesis takes it to be carried out by the imagination in a manner guided by the concepts of the understanding. I point to a significant problem for this reading: it is the reproductive imagination that carries out the syntheses of apprehension and reproduction, and Kant claims repeatedly that the reproductive imagination is governed solely by its own laws of association. In light of this, I argue for a different division of the labor of (...) synthesis between the imagination and the understanding. On my view, while the reproductive imagination puts representations together in accordance with laws of association, the understanding recognizes these combinations of representations as necessary in virtue of corresponding to a connection in the objects represented. I conclude by suggesting that a virtue of my account is that it can make sense of Kant’s claim that the relational categories are merely regulative for intuitions. (shrink)

I argue that, for Kant, there is a point at which the notions of self-consciousness and self-limitation become one. I proceed by spelling out a logical progression of forms of self-consciousness in Kant’s philosophy, where at each stage we locate the limits of the capacity in question and ask what it takes to know those limits. After briefly sketching a notion of self-consciousness available even to the animal, we look at whether there could be a notion of self-consciousness available to (...) the capacity of human sensibility. At this stage I argue that Kant and Heidegger (or Heidegger’s Kant) share a conception of what it is to be self-limiting through self-consciousness. I then critically examine this conception, and, specifically, the way in which it fails to account for the most essential form of self-limitation in Kant’s critical philosophy—namely, the form of self-limitation which rejects spatial and temporal articulation. The conclusion we reach is that Kant’s theory of transcendental self-consciousness is a theory of the activity of thinking as determining itself (including its limits) non-spatially and non-temporally. (shrink)

Kant holds that some nonhuman animals “are acquainted with” objects, despite lacking conceptual capacities. What does this tell us about his theory of human cognition? Numerous authors have argued that this is a significant point in favour of Nonconceptualism—the claim that, for Kant, sensible representations of objects do not depend on the understanding. Against this, I argue that Kant’s views about animal minds can readily be accommodated by a certain kind of Conceptualism. It remains viable to think that, for Kant, (...) humans’ sensible representations necessarily represent objects as temporally structured in ways that allow us to have thoughts about them, and such representations are produced, and could only be produced, by the understanding. This allows Conceptualists to maintain that humans’ sensible representations depend on the understanding, while accepting that animals have sensible representations of objects too. We must, therefore, reassess both the warrant for Nonconceptualism and the shape Conceptualist readings must take. (shrink)

Kant's A-Edition objective deduction is naturally (and has traditionally been) divided into two arguments: an " argument from above" and one that proceeds " von unten auf." This would suggest a picture of Kant's procedure in the objective deduction as first descending and ascending the same ladder, the better, perhaps, to test its durability or to thoroughly convince the reader of its soundness. There are obvious obstacles to such a reading, however; and in this chapter I will argue that the (...) arguments from above and below constitute different, albeit importantly inter-related, proofs. Rather than drawing on the differences in their premises, however, I will highlight what I take to be the different concerns addressed and, correspondingly, the distinct conclusions reached by each. In particular, I will show that both arguments can be understood to address distinct specters, with the argument from above addressing an internal concern generated by Kant’s own transcendental idealism, and the argument from below seeking to dispel a more traditional, broadly Humean challenge to the understanding’s role in experience. These distinct concerns also imply that these arguments yield distinct conclusions, though I will show that they are in fact complementary. (shrink)

In this chapter I will argue against both of these interpretations and will begin to develop an alternate account of imagination in experience. Against those who minimize imagination’s role, I will highlight the distinctive contribution of the imagination to experience. In particular, I will foreground the specific role that the imagination plays in making possible the distinct mental act, intermediate between intuition and experience, that Kant calls “perception [Wahrnehmung]” as the “empirical consciousness [Bewußtsein]” of appearances (cf. B207). Because perception involves (...) images essentially (cf. A120), and because Kant understands experience itself to be a “synthesis of perceptions” (cf. B218), this strongly suggests (against minimalists) that experience, too, will incorporate images into the manner in which it allows us to cognize physical objects. By highlighting the contribution of imagination prior to experience, my own account, therefore, overlaps in part with the readings that seek instead to maximize the role of imagination. Against maximalists, however, I will argue that imagination contributes only in (and after) the transition from intuition to perception, rather than already being at work in the stage of intuition itself. More specifically, I will argue that Kant takes the activity of imagination to make perception possible by acting on already-formed intuitions in order to bring about the consciousness of them, rather than to bring the intuitions about in the first place. I will also argue that this synthesis of intuitions should be kept distinct from the activity of understanding. (shrink)

The role of intuition in Kant’s account of experience receives perennial philosophical attention. In this essay, I present the textual case that Kant also makes extensive reference to what he terms “images” that are generated by the imagination. Beyond this, as I argue, images are fundamentally distinct from empirical and pure intuitions. Images and empirical intuitions differ in how they relate to sensation, and all images (even “pure images”) actually depend on pure intuitions. Moreover, all images differ from intuitions in (...) their structure or format. I then turn to a question that naturally arises on the resulting view: if the imagination produces images, and if images are fundamentally distinct from intuitions, then how do intuitions relate to the imagination? I outline reasons for thinking that intuitions and their essential features do not depend on the imagination at all. Though this essay does not decisively argue for this thesis, the resulting view provides a clear account of the distinction between the senses and the imagination in Kant’s theory of sensibility. (shrink)

In this paper I explicate the notion of “presence” [Gegenwart] as it pertains to intuition. Specifically, I examine two central problems for the position that an empirical intuition is an immediate relation to an existing particular in one’s environment. The first stems from Kant’s description of the faculty of imagination, while the second stems from Kant’s discussion of hallucination. I shall suggest that Kant’s writings indicate at least one possible means of reconciling our two problems with a conception of “presence” (...) such that perceptual and hallucinatory states might be understood as different kinds of intuition. This may not be sufficient to secure the relationalist’s claim that intuition is an immediate relation to an existing particular in one’s environment, but it does show that opposition to this claim will require further argument. (shrink)

In this paper I return to the question of whether intuition is object-dependent. Kant’s account of the imagination appears to suggest that intuition is not object-dependent. On a recent proposal, however, the imagination is a faculty of merely inner intuition, the inner objects of which exist and are present in the way demanded by object-dependence views, such as Lucy Allais’s relational account. I argue against this proposal on both textual and philosophical grounds. It is inconsistent with what Kant says about (...) how the imagination functions and is ultimately incompatible with the relational account it is supposed to support. Kant’s account of the imagination remains a serious obstacle for the view that intuition is object-dependent. (shrink)

It has become typical to read Kant and Merleau-Ponty as offering competing approaches to perceptual experience. Kant is interpreted as an ‘intellectualist’ who regards perception as conceptual ‘all the way out’, while Merleau-Ponty is seen as Kant’s challenger, who argues that perception involves non-conceptual, embodied ‘coping’. In this paper, however, I argue that a closer examination of their views of perception, especially with respect to the notion of ‘schematism’, reveals a great deal of historical and philosophical continuity between them. By (...) analyzing Kant’s theory of schematism, the interpretation of it by the Neo-Kantian Pierre Lachièze-Rey, and Merleau-Ponty’s theory of the body schema, we find that aspects of Merleau-Ponty’s theory of perception are better understood as a development of Kant’s theory of perception. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to an earlier philosophical study (...) of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (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)

In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...) present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)

In the transcendental deduction, the central argument of the Critique of Pure Reason, Kant seeks to secure the objective validity of our basic categories of thought. He distinguishes objective and subjective sides of this argument. The latter side, the subjective deduction, is normally understood as an investigation of our cognitive faculties. It is identified with Kant’s account of a threefold synthesis involved in our cognition of objects of experience, and it is said to precede and ground Kant’s proof of the (...) validity of the categories in the objective deduction. I challenge this standard reading of the subjective deduction, arguing, first, that there is little textual evidence for it, and, second, that it encourages a problematic conception of how the deduction works. In its place, I present a new reading of the subjective deduction. Rather than being a broad investigation of our cognitive faculties, it should be seen as addressing a specific worry that arises in the course of the objective deduction. The latter establishes the need for a necessary connection between our capacities for thinking and being given objects, but Kant acknowledges that his readers might struggle to comprehend how these seemingly independent capacities are coordinated. Even worse, they might well believe that in asserting this necessary connection, Kant’s position amounts to an implausible subjective idealism. The subjective deduction ismeant to allay these concerns by showing that they rest on a misunderstanding of the relation between these faculties. This new reading of the subjective deduction offers a better fit with Kant’s text. It also has broader implications, for it reveals the more philosophically plausible account of our relation to the world as thinkers that Kant is defending – an account that is largely obscured by the standard reading of the subjective deduction. (shrink)

Kant argues in the Critique of Judgment (CJ) that there are two distinct modes of the sublime. This essay will concentrate on the mathematical mode. It is helpful to begin an examination of the mathematical sublime by elucidating the difference between logical estimation and aesthetic estimation; it is aesthetic estimation under strain, so Kant argues, that instigates the moment of the sublime. Logical estimation forms the cognitive basis of scientific calculations. He argues that scientific enquiry only requires an understanding of (...) the logical relationship of numbers and so does not require an aesthetic experience of those numbers. (shrink)