In his book “World-Centred Education,” Biesta discusses two themes fundamental for the emergence of subjectivity as a desirable existential humane state of being and for an education that aims to achieve it. The first theme is about freedom and the importance of distancing education and teaching from any act of objectifying students. The second theme concerns the world, its limitations on freedom, and its central role in educational events, which aim to help students fulfill their subjectivity. However, when he analyzes (...) three historical cases to conceptualize and demonstrate his ideas regarding subjectivity and education as subjectification, Biesta seems to focus more on the role of the first theme than the second. This imbalance does not give the world the proper place Biesta’s theory itself inspires to provide, as first and foremost expressed in the book’s title. This article proposes an alternative reading of the book’s theory regarding subjectivity, freedom, the world, and their interrelationships. The suggested reading gives the world a more central role in the emergence of events of subjectivity without harming freedom and thus changes how we can analyze the three cases and how to understand and generate education and teaching aiming at subjectification. (shrink)

The focus of the article is the notion of normativity in logic and politics and their possible intersections. The twentieth-century divide between the analytical and the continental idea of logic is explored, by noting that they both – with significant differences – can be seen as proposing a ‘bottom-up normativity’, which may have immediate political effects. Logical normativity postulates universality, and a connection between reality and reason able to orient actions universalistically. For a bottom-up conception (as specifically advanced by Deleuze’s (...) logic of sense), the universalistic approach does not descend from above on an elusive reality but is a self-organization of multiple processes occurring in a horizon which is typically affected by political facts and choices. (shrink)

Has the renewal of interest in the ostensible agency of living beings signaled an advance from a merely heuristic Kantian sense of purposiveness to an unequivocally, empirically grounded research program or are there as yet hidden tensions or contradictions in, for example, the organizational autonomy approach to natural agency? Can normativity be found to be immanent in nature but only beginning with the living cell or must a thoroughgoing naturalism find the seeds of normativity immanent throughout abiotic as well as (...) biotic nature? Beginning with a brief exposition of Kant´s influential treatment and recommendation for how to methodologically combine what he took to be the inevitable epistemological limit to explaining the origins of ostensible biotic purposefulness with the legitimate intentions of scientific research and explanation, this essay will critically engage with three recent essays that attempt to grapple with the preceding questions. Having putatively raised questions about the consistency and adequacy of each of the individual positions, the essay will attempt to move synthetically, drawing upon aspects of all three contributions, in the direction of a “cooperativity theoretic” approach to incipient natural normativity and agency. (shrink)

There is a tendency to take mounted dinosaur skeletons at face value, as the raw data on which the science of paleontology is founded. But the truth is that mounted dinosaur skeletons are substantially intention-dependent—they are artifacts. More importantly, I argue, they are also substantially imagination-dependent: their production is substantially causally reliant on preparators’ creative imaginations, and their proper reception is predicated on audiences’ recreative imaginations. My main goal here is to show that dinosaur skeletal mounts are plausible candidates for (...) art-status. But, what is more, I think they are artworks—specifically, sculptures. (shrink)

Despite the differences, there is some convergence between Adam Smith's and Immanuel Kant's theories of moral motivation. Both rely on a peculiar feeling, respect, as the proper source of motive in moral matters. An analysis of Smith's and Kant's conception of respect shows that both recognize that it has a specific normative import and plays a decisive role in morality. This convergence offers some support to the idea that Smith's sentimentalism and Kant's rationalism are compatible, at least as far as (...) moral motivation is at issue. (shrink)

New words have found their way into the public sphere: we now commonly talk about “confinement”, “barrier-gesture” or “distancing”. The very idea of public space has been transformed: with restrictions on movement and interaction in public; with the reintegration of lives (certain lives) into the home (if there is one) and private space; with the publicization of private space through internet relationships; with the cities’ space occupied, during confinement, by so-called “essential” workers; with the restriction of gatherings and political demonstrations (...) in public space. With these and other recent changes, it is imperative to revisit the concept of public space, which continues to be used as if it were self-evident, despite its profound transformation over the past few decades, in a process of realization and “literalization”. No longer just a comfortable metaphor for reasonable debates, public space has become a concrete reality in the 21th century. This transformation in the various phenomena, such as the occupation of squares and public spaces; the demand for spaces of conversation and expression for those without a voice; the transition of private matters into the public realm through verbal expression; and the expression and circulation of public issues within popular cultures. As a result, the question of public space is increasingly intertwined with that of private spaces, such as the home or individual subjectivities, forming an internal, logical relationship. (shrink)

We explore the value of the subjunctive mood as a template for understanding ethical action and the theological ontology that undergirds it. We do this by examining the use of a strange but very precisely used word in the writing of a theologian and minister and poet, Samuel Taylor Coleridge: "silly." We do so in the name of exploring the value of contingency, accidentality and abjection to a general theory of ecological thought.

§49 of the Critique of the Power of Judgment concludes with a striking claim regarding the freedom required for artistic expression. Kant classifies Mannerism as aping, but considers manner the only valid means of artistic expression. These opposed uses of maniera echo a historical controversy, which finds reconciliation in Kant in what I call artistic autonomy. For Kant, artistic expression of genuine originality requires autonomous action, the individual manner in which an artist selects, transforms and applies given academic rules, in (...) a way that renders an aesthetic vision meaningful. His grave concern is that artists, in their aspiration to innovate, might make the freedom to modify and transform rules into the very aim of their artistic endeavor. In order to grasp the full significance of Kant’s view, I examine the contradictory attitudes towards maniera articulated by Vasari and Bellori. Kant’s account of artistic autonomy offers an understanding of artistic succession, different from that of his predecessors. (shrink)

This paper is about the opposite of judgement and calculation. This opposition has been a traditional anchor of critiques concerned with the rise of AI decision making over human judgement. Contrary to these approaches, it is argued that human judgement is not and cannot be replaced by calculation, but that it is human judgement that contextualises computational structures and gives them meaning and purpose. The article focuses on the epistemic structure of algorithms and artificial neural networks to find that they (...) always depend on human judgement to be related to real life objects or purposes. By introducing the philosophical concept of judgement, it becomes clear that the property of judgement to provide meaning and purposiveness is based on the temporality of human life and the ambiguity of language, which quantitative processes lack. A juxtaposition shows that calculations and clustering can be used and referred to in more or less prejudiced and reflecting as well as opaque and transparent ways, but thereby always depend on human judgement. The paper clearly asserts that the transparency of AI is necessary for their autonomous use. This transparency requires the explicitness of the judgements that constitute these computational structures, thereby creating an awareness of the conditionality of such epistemic entities. (shrink)

The topic of imaginative resistance attracted considerable philosophical attention in recent years. Yet, with a few exceptions, no historical investigation of the phenomenon has been carried out. This paper amends this gap in the literature by constructing a Humean and a Kantian explanation. The main contributions of this historical analysis to this debate are to make room for emotions in explanations of resistance reactions and to upset the polarization between rival accounts by suggesting that our possible responses to morally flawed (...) works can vary. In some cases, we resist imagining counter‐evaluative claims due to our unwillingness to do so, and in others, due to our inability. (shrink)

In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a community, judgments (...) of taste are issued as invitations to others to engage their faculties towards the goal of shared aesthetic appreciation. (shrink)

In this article, I offer a novel and in-depth account of how, for Kant, free speech is the mechanism that moves a society closer to justice. I argue that the criticism of the legislator preserved by free speech must also be the result of collective agreement. I further argue that structural features of judgements of taste and the sensus communis give guidance for how we should communicate publicly to succeed at the aims Kant has laid out, as judgements of taste, (...) like politics, belong fundamentally to a transitional sphere between nature and freedom. (shrink)

The core of the study is a critical comparison of Nietzsche’s notion of Übermensch, and its transhumanist rewriting into different variants of the posthuman. The first part contextualizes transhumanist thought, primarily in relation to certain evolutionary ideas that, in their totality, exhibit a fundamental anthropological deficit: they speak of the evolutionary overcoming of human, but the limit of sensibility that attempts to imagine a future human being is only the mere negation of what human has been so far. In this (...) way, the posthuman is not removed from the somewhat vague context of the technological “extension” of previous humanity. In this respect, the whole concept is grossly unaesthetic. The second part shows that Nietzsche’s rethinking of the overhuman was intertwined with other anthropological structures, for example, the idea of Mitfreude (‘shared joy’), which is supposed to creatively (in the manner of art) replace the morally misleading notion of compassion. The Übermensch therefore enabled Nietzsche to propose a different conception of intersubjectivity; one that would no longer be reduced to contempt for the human being. The third section traces the causes of the transhumanist failure in productive imagination. It is based on the hypothesis that this failure is driven by an unconscious preference for the figure of the comic book Superman. It postulates, through a Kantian conception of the sublime, that an adequate elaboration of the image of the posthuman cannot do without an affective component that would allow for Bejahung (‘affirmation’). Only the artificial will always appear, to some degree, as alien, and therefore will never transcend the limits of reactive adaptation. A living posthuman could only emerge if he offered anthropological techniques of the art of living. Therefore, transhumanism continuously raises anthropological questions, especially regarding the problem of the extent to which the artificiality of art can be identified with technology. Without proper answers, it will not achieve the complexity of Nietzsche’s overhuman, and will always only dilute him into technological supplements. The posthuman will come into being when he is conceived as a grandiose work of art. (shrink)

Political theory as a discipline has long been skeptical of computational methods. In this paper, I argue that it is time for theory to make a perspectival shift on these methods. Specifically, we should consider integrating recently developed generative large language models like GPT-4 as tools to support our creative work as theorists. Ultimately, I suggest that political theorists should embrace this technology as a method of supporting our capacity for creativity—but that we should do so in a way that (...) is mindful of the content and value of theorizing, the technical constraints of the models, and the ethical questions that the technology raises. (shrink)

Reconstructions of Romantic-era life science in general, and epigenesis in particular, frequently take the Kantian logic of autotelic “self-organization” as their primary reference point. I argue in this essay that the Kantian conceptual rubric hinders our historical and theoretical understanding of epigenesis, Romantic and otherwise. Neither a neutral gloss on epigenesis, nor separable from the epistemological deflation of biological knowledge that has received intensive scrutiny in the history and philosophy of science, Kant’s heuristics of autonomous “self-organization” in the third Critique (...) amount to the strategic capture of epigenesis from nature, for thought, in thought’s critical transcendence of nature. This essay looks to Jean-Baptiste Lamarck and his English contemporary Erasmus Darwin to begin to reconstruct the rigorously materialist, naturalist, and empiricist theories of epigenesis (still) marginalized by Kantian argumentation. As theorists of environmental and social collaboration in the ontogeny of viable forms, Lamarck and Darwin illuminate features of our own epigenetic turn obscured by the rhetoric of “self-organization,” allowing us to glimpse an alternative Romantic genealogy of the biological present. (shrink)

I argue that a Kantian inspired investigation into animal morality is both a plausible and coherent research program. To show that such an investigation is possible, I argue that philosophers, such as Korsgaard, who argue that reason demarcates nonhuman animals from the domain of moral beings are equivocating in their use of the term ‘rationality’. Kant certainly regards rationality as necessary for moral responsibility from a practical standpoint, but his distinction between the noumenal and phenomenal means that he can only (...) establish it as a marker for morality from a theoretical standpoint. This means that when it comes to evaluating the moral capabilities of others, rationality can be neither necessary nor sufficient for morality, leaving open the possibility of other empirical markers for moral responsibility. I argue that the higher faculties, character, implicit knowledge of universality, and antecedent practical pleasures (which provide a way to distinguish between morally motivated behaviour and other types of socially motivated behaviour) can all serve as empirical markers for morality. There is empirical evidence that at least some animals have conceptual capabilities and therefore the empirical marker of the higher faculties. In addition, there is suggestive evidence that merits further investigation for the other three markers. While this will not provide a definitive answer on whether animals are capable of acting morally, it will provide a Kantian outlook that can be used to evaluate empirical and philosophical work on animal morality. (shrink)

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by (...) the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be. (shrink)

Aesthetic statements of the form ‘X is beautiful’ are evaluative; they indicate the speaker’s positive affective attitude regarding X. Why is this so? Is the evaluative content part of the truth conditions, or is it a pragmatic phenomenon (i.e. presupposition, implicature)? First, I argue that semantic approaches as well as these pragmatic ones cannot satisfactorily explain the evaluativity of aesthetic statements. Second, I offer a positive proposal based on a speech-act theoretical version of hybrid expressivism, which states that, with the (...) literal utterance of ‘X is beautiful’, we perform two illocutionary acts simultaneously, an assertive and an expressive one. I will specify this theory in detail and argue that it can satisfactorily account for the evaluative content of aesthetic statements. I will also discuss the advantages of the theory over other variants of expressivism in meta-aesthetics. (shrink)

This paper discusses the phenomenological method’s reliance on imaginative procedures in view of ethnomethodological research. While ethnomethodology has often been seen in continuity with Alfred Schütz’ phenomenological sociology, it mainly parts ways with phenomenology by stressing that the decisive details structuring mutual understanding (gestures, bodily expressions, or the myriad trifles that regulate casual conversation) are „not imaginable, but can only be found out”. This paper reflects from a phenomenological perspective on what such a claim entails by first delineating this line (...) of criticism from other objections raised against the use of imaginative procedures in phenomenology and by showing how this line of questioning departs from the core philosophical debates concerning imaginabilitiy and unimaginability in the Kantian tradition. Further on, the paper offers an in-depth interpretation of the aforementioned ethnomethodological claim in order not only to outline its methodological implications for phenomenology, but also to show that it involves possible key insights for understanding interaction, which phenomenology needs to take into account despite its eidetic scope. (shrink)

Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity.

In the Critique of the Power of Judgment (1790), Kant tells us that.

Ostensibly, Heidegger’s notion of Befindlichkeit isn’t one of the really enigmatic concepts in his oeuvre—for everyone knows that on Heidegger’s account, this phenomenon, which bears at least some connection to what we normally call emotion, provides a basic disclosure of “the Dasein’s” worldly engagement. Nonetheless, there are enigmas here, given that Heidegger connects the phenomenon of Befindlichkeit with the disclosure of the Dasein’s past, as well as to its “thrownness” and its cultural heritage, none of which seems transparently true of (...) emotions. Some clarification is called for, then—and as I attempt to demonstrate in this article, this is possible only by interpreting the notion of Befindlichkeit in the context of an element of Husserl’s account of time- and self-consciousness that Heidegger incorporated as a central feature of his own, amended account of temporality—namely, Husserl’s notion of the protentional fulfillment that, on his reckoning, lies at the heart of this consciousness. Interpreting Heidegger’s account of Befindlichkeit in this fashion, I also show how, so interpreted, it can help us to make headway in both contemporary emotion studies and the currently developing critical theories of affect. (shrink)

In this article, I argue that the current literature on political hope overlooks its non-instrumental value. By proposing a Kant-inspired account of treating reasonable hopes as fundamental hopes, I argue that it is rational for people to hold certain political hopes not only because such hopes promote particular ends but also because they are constitutive of a person’s practical identity as a responsible political agent with limited power to make changes. This view reveals that victims of injustice face an affective (...) injustice because the unjust social system forces them to face a double bind in upholding their fundamental political hopes. (shrink)

This article aims to answer the aesthetic-value question.

This paper offers a novel interpretation of Hans Jonas’ analysis of metabolism, the centrepiece of Jonas’ philosophy of organism, in relation to recent controversies regarding the phenomenological dimension of life-mind continuity as understood within ‘autopoietic’ enactivism (AE). Jonas’ philosophy of organism chiefly inspired AE’s development of what we might call ‘the phenomenological life-mind continuity thesis’ (PLMCT), the claim that certain phenomenological features of human experience are central to a proper scientific understanding of both life and mind, and as such central (...) features of all living organisms. After discussing the understanding of PLMCT within AE, and recent criticisms thereof, I develop a reading of Jonas’ analysis of metabolism, in light of previous commentators, which emphasizes its systematicity and transcendental flavour. The central thought is that, for Jonas, the attribution of certain phenomenological features is a necessary precondition for our understanding of the possibility of metabolism, rather than being derivable from metabolism itself. I argue that my interpretation strengthens Jonas’ contribution to AE’s justification for ascribing certain phenomenological features to life across the board. However, it also emphasises the need to complement Jonas’ analysis with an explanatory account of organic identity in order to vindicate these phenomenological ascriptions in a scientific context. (shrink)

У статті досліджуються форми і особливості виявлення ідеї свободи в теоретичному вимірі кантівського трансценденталізму. Аналізуючи ґрунтовні праці Л. У. Бека і М. Коля з проблеми свободи в кантівській філософії, в яких артикулюються проблеми множинності значень Кантового поняття свободи (Бек) та свободи емпіричного мислення (Коль), авторка звертає увагу на необхідність підважування жорсткої опозиції між царинами природи і свободи та можливість тлумачення в термінах свободи судженнєвої активності розсуду. Акцентується значущість концепту спонтанності як такої форми втілення ідеї свободи, що характеризується певною універсальністю через (...) застосовність як до теоретичного, так і до практичного дискурсів. Встановлено важливість «методологічного повороту» у Кантовому тлумаченні проблеми свободи, який, деконструюючи онтологію «двох світів», дозволяє мислити елементи дистинкції «феноменальне / ноуменальне» як контекстуально зумовлені аспекти, а не відмінні онтологічні домени. Показано зв’язок між чинниками свободи і помилковості, розрізнено «позитивний» і «негативний» модуси свободи в рамках теоретичного мислення. В рамках теоретично-трансцендентального дискурсу виявлено апоретичний зв’язок свободи і зумовленості, встановлено його стосунок до базової апорії трансценденталізму: апріорної «вписаності» принципів іншості та відмінності до царини суб’єктивності, яка характеризується єдністю, автономністю, спонтанністю тощо. (shrink)

In this article I offer an interpretation of the fundamental problem of phenomenology in terms of a philosophy of revelation proposing in this way the renewal of the last important development of Western philosophy both in terms of its metaphysical aspiration and scientific relevance. After the general introduction, I outline the philosophical problem of revelation. I show how this philosophy influenced early phenomenology. I explain the underlying subject matter in the history of phenomenology, i.e. the notion of disclosure. I also (...) outline what I term “apocalyptic phenomenology” in order to focus on the understanding of revelation. In this part I offer details of the notion of newness and the appropriate method applied here. Finally, I summarize the scientific relevance of my approach in the context of logic, methodology, disciplinarity with a special emphasis on the study of religion. (shrink)

This essay considers Kant’s concept of the highest good from a systematic point of view. The two spheres of freedom and nature—of the practical and theoretical—need to be brought into a causal relation for the highest good to be achieved. Kant seems to offer numerous possibilities for how human beings are able to think that it is possible for the highest good to be attainable. I argue that it is only in the third Critique, however, that Kant articulates an answer (...) that also establishes freedom and nature within a larger system. The third Critique does this by positing a third, independent and mediating sphere of human experience that allows a transition between freedom and nature to be effected. This answer to the problem of the highest good is distinctive because the causal efficacy of reason in attaining its own demands is preserved. I examine Kant’s view by way of an analysis of his discussion of ‘territory’ and ‘domain’ in the Introduction to the text. (shrink)

In this paper, I attempt to address a fundamental challenge for machine intelligence: to understand whether and how a machine’s internal states and external outputs can exhibit original non-derivative intentionality. This question has three aspects. First, what does it take for a machine to exhibit original de dicto intentionality? Second, what does it take to exhibit original de re intentionality? Third, what is required for the machine to defer to the external objective world by respecting the word-to-world direction of fit? (...) I attempt to answer the first challenge by providing a constitutive counts-as understanding of de dicto intentionality. This analysis involves repurposing Kant’s vision of a self-legislating agent as a specification of a machine that reprograms itself. I attempt to answer the second and third challenges by extending Kant’s synchronic model of de dicto intentionality with Brandom’s interpretation of Hegel’s diachronic model of de re intentionality, using Hegel’s notion of recollection to provide an understanding of what is involved in achieving deference to the external world. (shrink)

This essay offers a critical rejoinder to affect theories prevalent in the humanities since the 1990s. In film and media studies, affect theories display an opposition to ‘screen’ and apparatus theory of the 1970s and 1980s alleged to have marginalised the spectator's body and affects and privileged cognition over affection. Yet film and media studies’ turn to affect came with its own set of problems: in emphasising the affective over the cognitive aspects of cinematic experience, theories of the affective turn (...) invert and reproduce the dichotomies they seek to contest. Critically reconsidering the turn to affect and its place within film and media studies, this article challenges the relation of affect theories to Gilles Deleuze's concept of affect, highlighting these theories’ failure to account for Deleuze's indebtedness to Immanuel Kant's aesthetics and his theory of the faculties. Suggesting a conception of cinematic affect beyond dichotomies of body and mind, affect and thought, this essay instead shows how cinematic experience instigates transformations in spectators that are simultaneously affective and cognitive. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...) rather than philosophical necessity. I conclude that a robustly cognitive notion of the aesthetic remains an option for us. (shrink)

Nature aesthetics is concerned with four core questions: What is a natural environment? What is relevant, psychologically speaking, to the aesthetic appreciation of natural environments? How ought we to aesthetically appreciate natural environments? What is the relationship between nature aesthetics and environmental ethics? In this essay, I first address in Section 2 whether theorizing about nature aesthetics is possible by challenging the non‐aesthetics view, according to which aesthetic appreciation of nature is not possible, and the relativity view, according to which (...) aesthetic appreciation of nature is possible, but it is an anything goes affair. In Section 3, I outline the core arguments for scientific cognitivism and provide objections to those arguments, making room for alternative views. In Section 4, I outline the distinction between cognitivism and non‐cognitivism and discuss the benefits of the engagement view. In Section 5, I outline the sympathetic imagination view of nature aesthetics. In Section 6, I discuss the emotions view. In Section 7, after summarizing the lessons learned from these debates, I argue for a new view— Enacting Nature's Value— which proposes that we need to rethink nature aesthetics in terms of an enactivist account of aesthetic agency according to which the aesthetic appreciation of nature is a skilled action. In Section 8, I close by considering four future directions for nature aesthetics in the second generation of inquiry. (shrink)

This paper explores a distinctive form of social interaction—interpersonal inquiry—in which two or more people attempt to understand one another by engaging in conversation. Like many modes of inquiry into human beings, interpersonal inquiry partly shapes its own objects. How we conduct it thus affects who we become. I present an ethical ideal of conversation to which, I argue, at least some of our interpersonal inquiry ought to aspire. I then consider how this ideal might influence philosophical conceptions of the (...) self. (shrink)

In the 1780s Kant’s critique of rational cosmology clearly identified the limits of theoretical cosmology in agreement with the doctrine of transcendental idealism of space and time. However, what seems to be less explored, and remains still a desideratum for the literature, is a thorough investigation of the implications of transcendental philosophy for Kant’s view of cosmology in the 1790s. This contribution fills this gap by investigating Kant’s view of teleology and measurement in the Critique of Judgment, exploring their implications (...) for Kant’s late view of cosmology. Considering the historical and scientific context in which Kant developed his reflections motivates my proposal to read Kant’s late view of the universe in terms of “functional cosmology.” -/- . (shrink)

The rise of the mechanistic worldview in the seventeenth century had a major impact on views of biological generation. Many seventeenth century naturalists rejected the old animist thesis. However, the alternative view of gradual mechanistic formation in embryology didn’t convince either. How to articulate the peculiarity of life? Researchers in the seventeenth century proposed both “animist” and mechanistic theories of life. In the eighteenth century again a controversy in biology arose regarding the explanation of generation. Some adhered to the view (...) that life is a physical property of matter (e.g. Buffon), others saw living entities as the result of the development of pre-existing germs (e.g. Bonnet). Naturalists, lacked a convincing account that could guide their research. In interaction with leading naturalists of his time Immanuel Kant articulated an approach to explaining generation. Kant’s account, delineated in his Kritik der Urteilskraft (Critique of the power of judgment) (1790), is a combination of Newtonian non-reductionist mechanism in explanation, and a concept of natural end comparable to Stahl’s formal conception of organic bodies. It consists of two claims: a) in biology only mechanical explanation is explanatory, and b) living entities contain some original organisation, which is mechanically unexplainable. In the nineteenth century this approach influenced naturalists as Müller, Virchow, and Von Baer, in their physiological research. Dissatisfied with a sheer mechanistic or, on the other hand, a sheer teleological approach, they appreciated the Kantian account of mechanical explanation of natural ends. In Germany, in the second halve of the nineteenth century, Ernst Haeckel reopened the debate about abiogenesis, which still continuous. (shrink)

It is common to distinguish between disagreement in the state sense (being in disagreement) and disagreement in the activity sense (having a disagreement). This paper deals with the question of what it is for two people to have a disagreement. First, I present and reject the thesis according to which having a disagreement is a matter of expressing conflicting attitudes. I argue that this is not sufficient for having a disagreement: two people can express conflicting attitudes without having a disagreement. (...) Second, I present and reject the thesis according to which having a disagreement involves not only the expression of conflicting attitudes, but also the persuasive attempt to bring the other around to one’s view. I argue that this is not necessary for having a disagreement: two people can have a disagreement without trying to change each other’s minds. Finally, I put forward an alternative account that goes beyond the mere expression of conflicting attitudes, but that does not go as far as to posit the attempt to change someone’s mind. Having a disagreement, I submit, is a matter of expressing conflicting attitudes and demanding agreement, that is, advancing the normative claim that the other should share one’s attitude. (shrink)

Journal of Philosophy of Education, EarlyView.

In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

Kant's Incorporation Thesis states that inclinations do not determine the will independently of reason. But do inclinations represent objects as desirable independently of reason? Or, is reason involved in the very constitution of an inclination so that inclinations without reason are impossible? The former interpretation is held by Christine Korsgaard and Tamar Schapiro. The latter is given by Janelle DeWitt and Allen Wood. I argue for a novel version of the latter interpretation by appealing to Kant's hylomorphism. On my interpretation, (...) reason makes inclinations possible in the way that form does matter. Reason orders the objects of our possible inclinations amongst all our ends in a system. Rather than these relations being consequent to or dependent upon the contents of our inclinations, I argue that these relations are a priori conditions of the possibility of our inclinations. For, we come to have particular inclinations only by their objects coming to occupy places in our system of ends, where such places are antecedently marked out by reason's determination of the interrelations among all our ends. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

I offer a new reconstruction of Hegel’s criticism of Kant’s idealism. Kant held that we impose categorial form on experience, while sensation provides its matter. Hegel argues that the matter we receive cannot guide our imposition of form on it. Contra recent interpretations, Hegel’s argument does not depend on a conceptualist account of perception or a view of the categories as empirically conditioned. His objection is that given Kant’s dualistic metaphysics, the categories cannot have material conditions for correct application. This (...) leads to subjectivism in the content of experience: the subject is given an implausibly strong role in determining what is the case. Hegel’s own absolute idealism solves this problem. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

Transcendental philosophy was not born like Athena out of Zeus’s head, mature and in full armour from the very beginning. That is why in both prefaces to the Critique of Pure Reason (1781 and 1787) Kant introduces the concept of transcendental philosophy as an “idea.” The idea understood architectonically develops slowly and only gradually acquires a definite form. As witnessed by the works of Kant himself and of his predecessors and followers, the idea of transcendental philosophy has undergone a series (...) of changes and adjustments compared to the initial plan. In this context, my goal is not simply exegesis and historical investigation of transcendental philosophy, but also to look at it from a systematic and methodological perspective. I examine the concept of transcendental philosophy from the viewpoint of programmatic metaphilosophy. The first part discusses programmatics as a distinct subsection of metaphilosophy. I argue that Kant’s architectonic methodology and the methodology of Lakatos can be used to understand the inception, development and degradation of philosophical systems. In the second part I look at the project of transcendental philosophy and the stages of its development from the standpoint of architectonics. The third part shows that Lakatos’s methodology can provide a detailed insight into the elements of transcendental philosophy, a clear idea of its logic and identify the component parts that can be improved and developed. In spite of the different levels of detailing and epistemological prerequisites, the methodologies of Kant and Lakatos can be combined to achieve a metaphilosophically informed and progressive understanding of philosophical projects. (shrink)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

For Kant the definitive end of art is the expression of aesthetic ideas that are sensible counterparts of rational ideas. But there is another type of aesthetic idea: ‘Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful nature the mere reflection on a given intuition, without a concept of what the object ought to be, is sufficient for arousing and communicating the idea of which that object is considered as the _expression_.’ What are these aesthetic (...) ideas? I argue that Kant is drawing on the idealist conception of art, associated with Vasari, Bellori and Winckelmann, as presenting idealized spatial forms characteristic of natural kinds. He incorporates this conception into his analysis of the beauty of nature and adds that we have non-conceptual access to it. These idealized forms he names aesthetic normal ideas of natural species. §51 of Kant’s Critique of the Aesthetic Power of Judgment opens with an unexpected claim, described by readers as ‘puzzling’, ‘perplexing’ and even as a ‘notorious mystery’.1 1 Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful art this idea must be occasioned by a concept of the object, but in beautiful nature the mere reflection on a given intuition, without a concept of what the object ought to be, is sufficient for arousing and communicating the idea of which that object is considered as the _expression_. 2 2 I will argue that, in this passage, Kant states that there are two types of aesthetic ideas—namely, aesthetic ideas expressed in beautiful art and aesthetic ideas expressed by beautiful nature. This distinction is surprising for, before this juncture, there is no explicit claim that there are different types of aesthetic ideas. In fact, although Kant offers several seemingly general characterizations of aesthetic ideas, in none of them does he indicate that there is a subdivision of the genus. Noteworthy, too, is the claim that the distinct pleasure we take in beautiful nature is independent of concepts; for strikingly, it can be considered as the expression of what the passage above expressly calls ideas. In his analysis of fine art, Kant draws the distinction between natural and artistic beauty—a distinction that is succinctly repeated in the passage above.3 3 But when he goes on to explicate the notion of an aesthetic idea, he refers only to aesthetic ideas expressed in art. This fact is taken to support the assumption that aesthetic ideas are connected solely to art. This is the heart of the mystery of the passage, for in it, Kant explicitly talks about aesthetic ideas expressed by beautiful nature. This raises a crucial question: Does the explication of aesthetic ideas in the sections on art apply to aesthetic ideas of beautiful nature?I maintain that the answer is negative. Although, in the passage above, Kant uses the same term in relation to both kinds of beauty, he has a clear distinction in mind: Beauty in art is an aesthetically or sensuously unified expression of the conceptual richness of an idea of reason; beauty in nature is an expression of a purely aesthetically or sensuously unified richness. Obviously, this distinction is connected to other significant differences between the two kinds of beauty. But it is important to point out at the outset that the two types of aesthetic ideas have in common only the quality of being a sensuously unified richness. It is in this sense that they are both species of a single genus. But what more precisely does Kant mean by aesthetic ideas expressed by beautiful nature, and what unified richness do they express and how precisely do they express it? It is to the historical genealogy of this notion of aesthetic ideas of beautiful nature and its implications for Kant’s theory of beauty that this paper is devoted. This historical genealogy will reveal a sense of the notion of aesthetic ideas that we easily overlook but would have been familiar to Kant and his contemporaries. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)