In light of the central role scientific research plays in Merleau-Ponty’s phenomenology, the question has arisen whether his phenomenology involves some sort of commitment to naturalism or whether it is better understood along transcendental lines. In order to make headway on this issue, I focus specifically on Merleau-Ponty’s method and its relationship to Kant’s transcendental method. On the one hand, I argue that Merleau-Ponty rejects Kant’s method, the ‘method-without-which’, which seeks the a priori conditions of the possibility of experience. On (...) the other hand, I show that this does not amount to a methodological rejection of the transcendental altogether. To the contrary, I claim that Merleau-Ponty offers a new account of the transcendental and a priori that he takes to be the proper subject matter of his phenomenological method, the method of ‘radical reflection’. And I submit that this method has important affinities with aesthetic themes in Kant’s philosophy. (shrink)

Se busca precisar dos sentidos de mecanismo en Kant, a saber, el “mecanismo de la naturaleza” como sinónimo de la causalidad natural y el concepto de mecanismo que se desprende de la Crítica de la facultad de juzgar, para iluminar lo que este autor entiende por “explicación mecánica” en el juicio teleológico. Eso permite entender por qué los seres orgánicos son inexplicables mecánicamente y, de esta manera, justificar la necesidad de los juicios teleológicos sobre la naturaleza.

Kant held that the moral vocation of the human species was to strive toward moral perfection. But in Religion within the Boundaries of Mere Reason, he at least entertained as part of the hu...

This is the first English translation of a remarkable two-part lecture given by Cornelius Castoriadis at the École des hautes etudes en sciences sociales in January 1992. The lecture features within a series on social transformation and the task of creative forms of labour. In this installment Castoriadis explores the significance of art through a creative reading of Aristotle's famous definition of tragedy in the Poetics. He rejects Aristotle's dependence on the mimetic tradition in search for a vision of art (...) as the unveiling of the creative resources that lie within the human being. Yet he retains Aristotle's vivid depiction of art as a form of production that is at once cognitive, emotive and social. Art, for Castoriadis, affects a transformation on the level of imagination that opens us anew to the fundamental questions of human being and doing. Through his extensive knowledge of western forms of artistic production Castoriadis draws lucid connections between Aristotle, Shakespeare, Kant, Hegel, Greek sculpture, renaissance painting, modern literature and folk music to explore the work of art as a ‘window into chaos’, a creative production that gives form to what cannot be formed: the ground of creativity at the heart of the imagination. (shrink)

Many of us have experienced a peculiar feeling of freedom, of the world being open before us. This is the feeling that is captured by phrases like “the freedom of the open road” and “free spirits,” and, to quote Phillip Larkin, “free bloody birds” going “down the long slide / To happiness, endlessly.” This feeling is associated with the ideas that my life could go in many different directions and that there is a vast range of things that I could (...) become. It arises in concert with a wide range of human experiences, including experiences of artistic creation, play, fun, and resistance to authority. This freedom of openness and spontaneity, which I call spontaneous freedom, is central to our ordinary talk about freedom. Yet it is a phenomenon largely ignored in discussions of freedom in contemporary moral philosophy. This is because moral philosophers are primarily concerned to identify the sort of freedom that is a prerequisite for moral responsibility, and so focus on deliberate, voluntary action rooted in rational choice. When moral philosophers do discuss spontaneous freedom, it is often to disparage it as, in the words of Harry Frankfurt, the freedom of “the wanton” whose liberty is merely that of “anarchic impulsive behavior.” My dissertation develops a theory of spontaneous freedom and of the role it does and should play in our lives, including our moral and political lives. I argue that, to do full justice to the human aspiration for freedom, moral and political theory must recognize the value of spontaneity. Through a study of characters from stories and films by Virginia Woolf, Saki, Akira Kurosawa, and Aman Sethi, I develop a phenomenological account of the nature of spontaneous freedom. I argue that we experience spontaneous freedom when we experience our actions as arising out of ourselves but not fixed in advance either by the decisions of other agents or by our own preexisting commitments or plans. I further argue that spontaneous freedom is valuable because it allows for the distinctive pleasure of feeling that one’s life is unforetold and that one is among the sources of novelty in the world, a feeling that is central to artistic creativity. It also affords solace from the anxiety associated with the inevitability of death. As with many experiences, like falling in love or seeing an alpine lake, experiences of spontaneous freedom are most valuable when they are veridical. But even the subjective experience of spontaneous freedom, I suggest, activates our awareness of and openness to possibility. Achieving this awareness, at least on occasion, is valuable because it provides us with a sense of our own psychological potential and sharpens a skill that contributes to practical deliberation. My claim that spontaneous freedom is valuable conflicts with a popular account of the self. According to that account—endorsed by a number of moral philosophers but most famously associated with Christine Korsgaard—the ideal self is one that is well-ordered, actively constituted through rational deliberation. Such integrity theories of the self are attractive because they provide an account of agency according to which ideal moral agents invariably endorse their own actions and beliefs. Integrity theories view freedom as involving rational, deliberative control of one’s actions. But I argue that integrity theories forbid well-constituted moral agents to seek out experiences of spontaneous freedom: such agents must act in a manner that they antecedently and reflectively endorse, while spontaneous freedom requires acting in a manner not antecedently fixed by one’s own decisions. Insofar as spontaneous freedom is a kind of freedom that we do and should value, my account exerts pressure on this standard view of agency and the self. My account of spontaneous freedom also has important political implications. One version of liberal theory holds that the only sort of political freedom worth having is the freedom of each individual to effectively exercise choice compatibly with every other individual doing likewise. On this picture, I have all of the freedom that I could want if I am able to choose autonomously and act in accordance with my choices. But I argue that a community that secures this liberal variety of freedom does not yet provide its members with all the freedom for which people rightly yearn. When public and private institutions arrange our circumstances in ways that make the courses of our lives predictable, our own choices about how to act may be largely settled by the plans and decisions of other agents. This in turn makes it difficult for us to regard our futures as open in the way that is characteristic of experiences of spontaneous freedom. States should promote spontaneous freedom by providing the material and social preconditions for us to feel that our lives could head in radically different and unanticipated directions. (shrink)

As feminist scholars, we hope that our own work is exempt from structural problems such as racism, sexism, and Eurocentricism, that is, the kind of problems that are exemplified and enacted by Kant’s works. In other words, we hope that we do not re-enact, implicitly or explicitly, Kant’s problematic claims, which range from the unnaturalness of a female philosopher, “who might as well have a beard,” the stupid things that a black carpenter said “because he was black from head to (...) foot,” the poor women “living in the greatest slavery in the Orient,” to the “sheep-like existence of the inhabitants of Tahiti.” In this piece, I argue that we cannot simply hope to avoid these problems unless we are vigilant about incorporating the full picture of Kant’s and Kantian philosophy into our feminist appropriations. I will show that one way to minimize if not altogether avoid this risk is to follow the model of a new methodology that establishes the continued relevance of all of Kant’s claims for our present. Inspired by Spivak’s A Critique of Postcolonial Reason, I will call this alternative methodology the “constructive complicity” approach. (shrink)

In the young Henrik Ibsen's intellectual quarters, abroad as well as in his native Norway, Hegelianism was very much the philosophical systemde rigueur. Hegel's student Marcus Jacob Monrad taught phenomenology and aesthetics at the University of Christiania throughout the 1850s, and promoted a wider Hegelian way of thinking through frequent book reviews and newspaper articles. In Italy, soon to be his home away from home, Ibsen socialised with the art-historian Lorentz Dietrichson, whose views on the history of art were outspokenly (...) Hegelian. Ibsen was also in touch with the Hegelian circle gathering around the painter I. C. Dahl at the Academy of Art in Dresden. While Ibsen rarely engages in explicit philosophical discussion, he makes a significant exception when responding to the Danish translation of John Stuart Mill'sUtilitarianism. He admits that he has no professional expertise in this area but continues to observe that, insofar as ‘there are writers [like Mill] who lay down the law about philosophy without any knowledge of Hegel or German thought in general,’ it seems to him that ‘anything is allowed.’ To think philosophically without Hegel appears to Ibsen as tantamount to thinking without a reference point or standard. (shrink)

Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...) within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste. (shrink)

In the article I demonstrate some of the possible ways by which counterfactual im⁠agination can lead people to innovation and the creation of novel and valuable solutions. I start with adopting the broad definition of counterfactuals, by which counterfactual imagination is understood as the ability to imagine alternative states of affairs which can relate to the past, present or future. I explain how counterfactual imagination differs from other sorts of imaginative and creative thoughts, pointing out that counterfactual types of thinking (...) always rely on facts and involve a change in some features of the actual world, leaving other such features unaltered. I also show that the concept of counterfactual imagination can be useful when we aim to describe the very earliest manifestations of imaginative capacities in children, which can be seen in their make-believe games. All the mentioned characteristics of counterfactual imagination are further used to examine how what if and would be sorts of thinking and imagining might influence people’s creative performance. I conclude with the suggestion that—if guided properly—counterfactual imagination could be a truly valuable mental tool for innovation. This demonstration is partly influenced by Ruth Byrne’s multi-faceted analysis of counterfactual imagination, mainly from her book, The Rational Imagination: How People Create Alternatives to Reality. (shrink)

In this paper, I set out to consider the extent to which Horkheimer and Adorno's account of the transition from Kant's philosophy to key features of the novels of the Marquis de Sade in the Second Excursus of their Dialectic of Enlightenment can be viewed as a fragment of the ‘history of philosophy’ and to explain this account in a way that allows us to ask whether it succeeds in establishing a necessary connection between Kant's philosophy and Sade's novels. In (...) connection with, a particular problem emerges. This problem concerns the role played by a non-instrumental form of reason in Horkheimer and Adorno's attempt to establish an essential connection between Kant's theoretical philosophy and Sade's novels, in which the practical implications of the theoretical employment of reason allegedly become explicit. It will be shown that, despite appearances to the contrary, an employment of reason of the relevant type is not identified by Kant in the Critique of Pure Reason. (shrink)

Discussing two common critiques on theological interpretations of the concept of the highest good in Kant’s moral philosophy in his paper, Two Conceptions of the Highest Good in Kant, Reath has invited readers to have a secular interpretation of this concept and pointed out its advantages. In the present paper, we will attempt to provide the main principles of Reath’s claims and demonstrate why Kant has stated both of these interpretations in all of his critical works—a subject that has confused (...) Reath. For this purpose, we will indicate that in both of the above interpretations, Kant has offered the concept of the highest good in a historical context, in which the intellectual idea of the highest good as a desired ultimate totality makes the intellect to grow in history and cultivate the talents of human kind through numerous conflicts embedded in nature. (shrink)

This paper concerns Hegel's early treatment of the productive imagination in his 1803–1804 Faith and Knowledge. I show how he articulates that activity in terms of a pair of speculative unities, which solve lingering problems of self-knowledge and self-constitution from Kant's B-deduction. On the one hand, I argue that the familiar unity of spontaneity and receptivity makes possible knowledge of the moment of self-positing. On the other hand, I contend that Hegel's talk of imagination as both an “organic idea” and (...) an “intuitive intellect” refers to a self-constituting capacity that intellects like ours possess. I show that self-constitution is possible, for Hegel, only in so far as intellects like ours possess a capacity to unify possibility and actuality in thought, or to think themselves into being. (shrink)

Recently Samuel Fleischacker has developed Kant’s model of enlightenment as a “minimalist enlightenment” in the tradition of a relatively thin proceduralism focused on the form of public debate and interaction. I want to discuss the possibility that such a minimalism, endorsed by Fleischacker, Habermas, Rawls, and others, benefits from a metaphysics of critical individual subjectivity as a prerequisite for the social proceduralism of the minimalist enlightenment. I argue that Kant’s enlightenment, metaphysically thicker than much contemporary proceduralism, constitutes a recovery and (...) transformation of a subjective interiority deeply Cartesian in spirit and central to the reciprocity of the community of subjects in What is Enlightenment. This opens a space for a site of resistance to the social. Descartes’ solus secedo describes the analogical space of such a resistance for Kant’s sapere aude. The Meditations thus point forward implicitly to how a rational subject might achieve critical distance from tradition in its various forms, epistemic, ethical, moral, and political. (shrink)

Commentators have claimed that the philosophies of Merleau-Ponty and Deleuze converge upon a spatial field of sensation which is prior to representation. This essay will contest these readings by showing that, for Deleuze, the pre-representational spatial field of intensity is fundamentally split from thought. This “gap” between sensation and thought is, for Deleuze, fundamentally temporal, in that thought is continually open and passive to being violated and transformed by the sensible and the sensible is continually being pushed beyond itself by (...) a certain kind of thought. This violent exchange across the gap between thought and sensibility is found, by Deleuze, in Kant's notion of the aesthetic idea. On the contrary, for Merleau-Ponty, Kant's aesthetics imply a non-conceptual “ground” shared by both thought and sensibility. By contrasting these two readings of Kant's aesthetics, this paper reveals the basic divergence between the philosophies of Deleuze and Merleau-Ponty. (shrink)

Solidarity is crucial for realizing justice, securing public goods, and reducing domination. Yet there have been few theoretical studies of its threats and vulnerabilities. In this paper I fill this lacuna, outlining four approaches to what undermines solidarity and considering their implications for contemporary political theory. I begin by reviewing the empirical literature on solidarity, noting that its focus on diversity and individuation has yielded inconclusive results. I then develop four alternative threats to solidarity by drawing from the history of (...) political thought, social theory, and religious studies: interpersonal dependence (Jean-Jacques Rousseau); radical evil (Immanuel Kant); self-dissolution (Émile Durkheim); and moral spectatorship (Emmanuel Levinas). Taking these threats into account, I conclude, should significantly impact our normative theorizing about solidarity. In particular, it should encourage a research agenda that attends to solidarity’s affective, esthetic, and non-rational sources. (shrink)

This article reconsiders the relationship between Simmel and Heidegger. Scholars commonly argue that Simmel’s work on the topic of death and mortality influenced the early Heidegger’s work on the same topic, as evidenced in Being and Time. I argue however that Simmel’s work particularly in the Lebensanschauung should be read as challenging the basic presuppositions of Heidegger on death. I then compare the two on the issue of immortality in order to show that Simmel is much closer to the subsequent (...) critics of Heidegger than he is to Heidegger himself. (shrink)

Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)

Prolegomena §38 is intended to elucidate the claim that the understanding legislates a priori laws to nature. Kant cites various laws of geometry as examples and discusses a derivation of the inverse-square law from such laws. I address 4 key interpretive questions about this cryptic text that have not yet received satisfying answers: How exactly are Kant's examples of laws supposed to elucidate the Legislation Thesis? What is Kant's view of the epistemic status of the inverse-square law and, relatedly, of (...) the legitimacy of the geometric derivation of that law? Whose account of laws, the understanding, and space is Kant critiquing in the passage? What positive account of the relationship between laws, the understanding, and space is Kant offering in the passage? My answer to depends crucially on my answers to –. As I interpret Kant, he holds that a wide range of a priori laws—including geometric laws, the inverse-square law, and the universal laws discussed in the Analytic of Principles—are ‘grounded’ in categorial syntheses rather than the intrinsic nature of the space given to us in pure intuition. (shrink)

This essay argues that Simone Weil appropriates Marx's notion of labor as life activity in order to reposition work as the site of spirituality. Rather than locating spirituality in a religious tradition, doctrine, profession of faith, or in personal piety, Weil places it in the capacity to work. Spirit arises in the activity of living, and more specifically in laboring—in one's engagement with materiality. Utilizing Marx's distinction between living and dead labor, I show how Weil develops a critique of capital (...) as a “force” that disrupts the individual's relation to her own work by reducing it to the mere activity of calculable “production.” Capital reduces labor to an abstraction and thereby uproots human subjectivity, on a systemic scale, from its connection to living praxis, or what Weil calls spirituality. Life itself is exchanged for a simulacrum of life. In positioning living labor as spiritual, Weil's work offers a corrective to these deadening practices. (shrink)

Hegel's theory of tragedy has polarized critics. In the past, many philosophers have claimed that Hegel's theory of tragedy removes Kant's critical insights and returns to pre-critical metaphysics. More recently, several have argued that Hegel does not break faith with tragic experience but allows philosophy to be transformed by tragedy. In this paper I examine the strength of this revised position. First I show that it identifies Hegel's insightful critique of Kant's theoretical assumptions. Yet I then argue that it fails (...) to note the practical importance of Kant's separation of knowledge and aesthetics. I propose an alternative approach to tragedy that builds from the revised view and yet maintains the autonomy of aesthetics. Tragedy represents an action, a set of events that are internally unified and yet cannot be reduced to theory. This is to say that tragedy confronts us with an aesthetic sphere of making and doing that, while constrained, is incessantly open and free. (shrink)

In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...) or so in its company, Fry said he was completely ‘under its spell’. A subsequent encounter with an aye-aye in the wild supported Fry's judgment of ugliness and fascination for the creature: ‘The aye-aye is beguiling, certainly bizarre, for some even a little revolting. And I say, long may it continue being so.’. (shrink)

The word ‘genius’ is often associated with the idea that artistic creativity is entirely a matter of an involuntary sort of inspiration visited upon the individual artist. My aim in referring to cinematic genius is not, however, to defend that dubious thesis, but to direct attention to the remarkable artistic achievements that some film-makers, working individually or in collaborative teams, have managed to bring about in their intentional and often painstaking creation of cinematic works. Genius, as I understand it, is (...) the exceptional ability to do something difficult, such as the intentional making of an innovative and valuable work of art. My central claim in what follows is that our longstanding and legitimate interest in manifestations of this kind of skill has important implications for a number of interrelated issues in the philosophy of art, and in particular, for some of the questions taken up in the ever-expanding literature on the ontology of works of art. (shrink)

The article explores German philosopher Arthur Schopenhauer's view on aesthetics and the values of art. It contends that some important aspects of Schopenhauer's discussion of tragedy indicate that the theory that the value of art is deductible to the aesthetic pleasure it affords is inadequate. Moreover, it claims that Schopenhauer attaches great importance to the distinction between concept and idea. It also asserts that Schopenhauer's account of aesthetic experience is inspired by Plato's ideas.

Contrary to both his own intentions and the views of both older and more recent commentators, I argue that Kant’s aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly ‘a priori’ or ‘transcendental’ (...) in his claim that this state of mind is what causes our pleasure in beauty or other aesthetic properties. Nor did Kant establish a genuinely a priori or transcendental principle that all human beings have the same disposition to experience a free play of their cognitive powers, let alone in response to the same objects. This failure, however, in no way limits the continuing significance of Kant’s aesthetic theory.Keywords: Alexander Gerard; Henry Home, Lord Kames; Immanuel Kant; Beauty; Taste; Free play of the cognitive powers. (shrink)

One of the perennially intriguing questions regarding Kant’s approach to the human sciences is the relation between his ‘transcendental psychology’ and empirical cognitive psychology. In this paper I compare his analysis of the a priori conditions of human cognition in the Critique of pure reason with his empirical account of the human cognitive faculties in his Anthropology from a pragmatic point of view. In comparing his approach to self-consciousness, sensibility, imagination, and understanding in these two works, I argue that Kant (...) distinguishes between the transcendental and empirical aspects of the human cognitive faculties, and regards the transcendental functions as configuring the empirical faculties of human consciousness, or as giving them the structure that they require to become faculties of cognition. I then show that the cognitive faculties of human beings may vary in their empirical operation, even while they are configured by the same transcendental structure. Finally, I characterize Kant’s transcendental psychology in the first Critique as an account of the faculties that are required for a mind to be an agent or subject of cognition, corresponding to his account of the conditions that are required universally and necessarily for something to be an object of cognition.Keywords: Immanuel Kant; Anthropology; Psychology; Cognition; Transcendental; Empirical. (shrink)

The overall goal of this article is to show that aesthetics plays a major role in a debate at the very center of philosophy. Drawing on the work of David Bell, the article spells out how Kant and Wittgenstein use reflective judgment, epitomized by a judgment of beauty, as a key in their respective solutions to the rule-following problem they share. The more specific goal is to offer a Kantian account of semantic normativity as understood by Wittgenstein. The article argues (...) that Wittgenstein's reason for describing language as a collection of language games is to allow for a perspective that shows those games as internally purposive without any extralinguistic purpose. This perspective also allows for that union of the general rule and its particular application in practice that the original paradox of rule-following is wanting. (shrink)

Several works published in the last decades defend the claim that the concept of creativity should be demystified. With the aim of showing that creativity is not an obscure power owned by only few individuals and free from constraints, authors working at the intersection field between philosophy and cognitive science have notably focused on the structure and evolution of cognitive mechanisms underlying our creative capacities. While taking up the suggestion that we should try not to mystify creativity, this article argues (...) that what is required for such demystification is primarily a transcendental and phenomenological inquiry. Kant’s and Merleau-Ponty’s works are here discussed in order to develop such a transcendental inquiry into creativity. Both Kant and Merleau-Ponty bring to the fore the conditions of possibility for creative acts, and highlight fundamental role of creativity itself in the formation of meaningfulness. The keystone of both philosophers’ inquiries is the emphasis on the interdependence between creativity and rules. Yet, due to the different approaches to the transcendental, Kant’s and Merleau-Ponty’s accounts do not fully converge, but should rather be considered as complementary. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...) an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

This volume - the joint effort of the research groups on practical philosophy and the history of political thought of the Institute of Philosophy of the Research Centre for the Humanities of the Hungarian Academy of Sciences - brings together scholarly essays that attempt to face the challenges of the contemporary situation. The authors come from rather divergent disciplinary backgrounds, including philosophy, law, history, literature and the social sciences, from different cultural and political contexts, including Central, Eastern and Western Europe, (...) and belong to different generations. But they all share an interest to bravely answer the large topical issues concerning universal morality, here and now. (shrink)

In the aftermath of national or international tragedies, appeals for action such as, “Never Forget” or “Never Again” are ubiquitous. Theodor Adorno makes a similar call in the wake of the Holocaust, proclaiming that all education should be focused on the prevention of another genocide. While most would agree with such a statement, practically how do we respond to such a call, specifically in light of Adorno’s work? Answering this question is at the heart of this project and I argue (...) that imaginative memorials can fulfill Adorno’s criteria for post-Auschwitz education. I first present a theory of moral imagination by relying on contemporary accounts of the theory and then show how it complements Adorno’s work, specifically by offering an explanatory foundation to a number of his claims. I reveal that many of Adorno’s observations about the world are supported by recent advancements in the understanding of imagination and I argue that the combination of contemporary accounts of moral imagination and Adorno’s thought are mutually beneficial. After the two theories have been sufficiently discussed and integrated, I focus on Adorno’s arguments regarding education following Auschwitz. Adorno argues that we should investigate how such a horror could occur, and the people who committed the acts of genocide. Such information will be helpful for the prevention of another Auschwitz because we can attempt to overcome the values and ideas of those who perpetrated genocide. This dissertation is unique and of philosophical importance because it fleshes out Adorno’s discussion of the characteristics that led to the Holocaust and argues for a specific form of education that meets all of the criteria of Adorno’s post-Auschwitz education: memorials that stimulate the visitor’s imagination. In order to make this point, I highlight specific Holocaust memorials that are imaginative and argue for their efficacy. My goal for the project is to actualize Adorno’s post-Auschwitz education initiative through imaginative memorials. (shrink)

This paper proposes laying the groundwork for principled moral reasoning as a seminal goal of ethics interventions in higher education, and on this basis, makes a case for educating future specialists and professionals with a foundation in philosophical ethics. Identification of such a seminal goal is warranted by the progressive dissociation of scientific practice and ethical deliberation since the onset of a problematic relationship between science and ethics around the mid-19th century, and the extensive mistrust of integrating ethics in science (...) and engineering curricula beyond its “applied,” “practical,” or “professional” implications. Although calls by international scientific and educational bodies to strengthen ethics teaching in scientific education over the past quarter century have brought about a notion of combining competence in a certain field with competence in ethics, this is neither entrenched in the academic community, nor fleshed out as regards its core or instruments to realize it. The legitimate goals of ethics teaching in higher education, almost settled since the 1980s, can be subsumed under the proposed seminal goal, and the latter also would safeguard content and methods of ethics interventions against the intrusion of indoctrinative approaches. In this paper, derivation of the proposed seminal goal rests on an interpretation of the Kohlbergian cognitive-developmental conception of moral adulthood consisting in autonomous principled moral reasoning. This interpretation involves, based on Kant’s conception of the virtuous person, integrating questions about the “good life” into the domain of principled reasoning. (shrink)

Paradoxically, the practical necessity of love seems to combine the personal character of psychological necessity with the inescapable and authoritative quality of moral necessity. Traditionally, philosophers have avoided this paradox by treating love as an amalgam of impersonal evaluative judgments and affective responses. On my account, love participates in a different form of practical necessity, one characterized by a non-moral yet normative type of expectation. This expectation is best understood as a kind of second-personal address that does not support derivative (...) third-personal demands. It is revealed when we react with hurt feelings instead of resentment upon its disappointment. (shrink)

If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.

In this paper, I investigate Kant’s view of the cognitive role of perceptions, judgements, and the three categories of Quality in representing negative states of affairs. The paper addresses the following problem. In his account of empirical cognition, Kant seems to limit the legitimate application of the categories to things perceptually available to us, or, more generally, to positive cases. However, Kant also seems to hold that negative states of affairs, such as the absence of a thing, cannot be perceived. (...) This raises the question of how we can represent and make warranted empirical judgements about cases that lack positive instances given in perception. At worst, Kant’s view would imply that thoughts about negative cases are ‘empty’. In order to avoid such a consequence, I wish to draw attention to Kant’s holistic way of thinking. In particular, I shall argue that perception is a process-like temporal phenomenon, and that experience itself is not strictly about the here and now. The paper shows that the cognitive contribution of the categories, according to Kant, is most explicit in representing negative states of affairs, which requires overcoming the main limitation of sense perception, namely the incapacity of negative representation. Even so, positive representation can be seen cognitively primary for Kant. (shrink)

Tom Hanauer's thoughtful discussion of my article “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human” puts pressure on two important issues concerning the affective phenomenology of the sublime. My aim in that article was to present an analysis of the sublime that does not suffer from the problems identified by Jane Forsey in “Is a Theory of the Sublime Possible?”. I argued that Kant's notion of reflective judgment can help with this task, because it allows us to capture (...) the experience of failure that characterizes the sublime without committing us to ontologically transcendent items. In a significant departure from Kant, however, my account does not require references to our moral vocation to explain the pleasure we take in the sublime; the pleasure comes from getting the right measure of our agency. For Hanauer, trouble for my analysis comes both from the discursive presentation of the sublime, its focus on judgment, and from the removal of references to our moral vocation. (shrink)

In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...) conclude by showing that even if Kant's aesthetic theory is reduced to its most fundamental claims, the logic of formalist music criticism precludes its practice within even a kantian perspective. (shrink)

Is tragedy, as Nietzsche declared, dead? In recent years many philosophers have reconsidered tragedy's relation to philosophy. While tragedy is deemed to contain important lessons for philosophy, there is a consensus that it remains a thing of the past. This article calls this consensus into question, arguing that it reifies tragedy, keeping tragedy at arm's length. With the interest of identifying the necessity of tragedy to philosophy, it draws from Quentin Skinner to put forward an alternative approach to genre as (...) living form. This approach alters our understanding of the philosopher at the heart of philosophy's dialogue with tragedy, Immanuel Kant. Moreover, it shows that tragedy is closer to contemporary philosophy than we might think. (shrink)

Human beings orient themselves in the world via judgments; factual, moral, prudential, aesthetic, and all kinds of mixed judgments. Particularly for normative orientation in complex and contested contexts of action, it can be challenging to form judgments. This paper explores what one can reasonably expect from a theory of the power of judgment from a Kantian approach to ethics. We reconstruct practical judgments on basis of the self-reflexive capacities of human beings, and argue that for the subject to see himself (...) as committed to prudential goods it is necessarily implied that he understands himself as committed to moral judgment. However, to understand the normativity of understanding oneself as a being with practical commitments at all, the aesthetic judgment is introduced: the power of judgment in its pure form of selfreflexivity. We claim that aesthetic reflection and judgment is conditional on the possibility for human beings to enter the space of reasons, and therewith for practical self-understanding as such. The paper concludes with a preliminary sketch of different conceptual possibilities in fleshing out the role of the power of judgment in its aesthetic employment in developing mixed judgments. (shrink)

While Kants political thought, which downplay or dismiss the role of teleology, I restore Zweckms politics as a theoretically and practically useful material principle, and show that a teleological perspective complements the perspective stipulated by the formal principle of Recht. By means of a systematic reconstruction of what I call ssigkeits political thought.

This paper shows how we can plausibly extend the guise of the good thesis in a way that avoids intellectualist challenge, allows animals to be included, and is consistent with the possibility of performing action under the cognition of their badness. The paper also presents some independent arguments for the plausibility of this interpretation of the thesis. To this aim, a teleological conception of practical attitudes as well as a cognitivist account of arational desires is offered.

Exploring emotions, in terms of their evolutionary origin; their basic neurobiological substratum, and their functional significance in autonomous agents, we propose a model of minimal functionality of emotions. Our aim is to provide a naturalized explanation – mostly based on an interactivist model of emergent representation and appraisal theory of emotions – concerning basic aesthetic emotions in the formation of aesthetic judgment. We suggest two processes the Cognitive Variables Subsystem (CVS) which is fundamental for the accomplishment of the function of (...) heuristic learning; and Aesthetic Appraisal Subsystem (AAS) which primarily affects the elicitation of aesthetic emotional meanings. These two subsystems (CVS and AAS) are organizationally connected and affect the action readiness of the autonomous agent. More specifically, we consider the emotional outcome of these two subsystems as a functional indication that strengthens or weakens the anticipation for the resolution of the dynamic uncertainty that emerges in the particular interaction. (shrink)

This paper shows that Kant's investigation into mathematical purposiveness was central to the development of his understanding of synthetic a priori knowledge. Specifically, it provides a clear historical explanation as to why Kant points to mathematics as an exemplary case of the synthetic a priori, argues that his early analysis of mathematical purposiveness provides a clue to the metaphysical context and motives from which his understanding of synthetic a-priori knowledge emerged, and provides an analysis of the underlying structure of mathematical (...) purposiveness itself, which can be described as unintentional, but also as objective and unlimited. (shrink)

In a very influential paper Rota stresses the relevance of mathematical beauty to mathematical research, and claims that a piece of mathematics is beautiful when it is enlightening. He stops short, however, of explaining what he means by ‘enlightening’. This paper proposes an alternative approach, according to which a mathematical demonstration or theorem is beautiful when it provides understanding. Mathematical beauty thus considered can have a role in mathematical discovery because it can guide the mathematician in selecting which hypothesis to (...) consider and which to disregard. Thus aesthetic factors can have an epistemic role qua aesthetic factors in mathematical research. (shrink)

This paper discusses Kant’s assessment of the religious idea of grace in relation to autonomous ethical practice. Following Kant’s own explanation of his methods and goals in interpreting religious ideas, my focus is on the ethical import of inherited religious concepts for human beings, rather than on literal theological dogmas concerning supernatural matters. I focus on how Kant’s inquiry into the ethical significance of the idea of grace is intertwined with another less recognized concept, that of favor. The latter concept (...) plays a crucial role in understanding Kant’s analyses, because it establishes a criterion by which to adjudicate historically-formed ideas of grace. Insofar as grace is understood in ways that assimilate it to endeavors to win favor, it works against our capacity to follow the moral law. On the constructive side, insofar as the concept of grace is understood to support ethical practice based on the moral law, it can be a vehicle for what Kant calls rational religion. This two-sided analysis of grace is a key component of the project of the Religion and other related writings, wherein Kant offers both critical and constructive investigations of historically-formed religious ideas found in scripture, ecclesiastical institutions and other sources. (shrink)

“de-extinction” refers to the process of resurrecting extinct species by genetic methods. This science-fiction-sounding idea is in fact already in early processes of scientific implementation. Although this recent “revival of the dead” raises deep ethical questions, the ethics of de-extinction has barely received philosophical treatment. Rather than seeking a verdict for or against de-extinction, this paper attempts an overview and some novel analyses of the main ethical considerations. Five dimensions of the ethics of de-extinction are explored: (a) the possible contribution (...) of de-extinction to promoting ecological values, (b) the deontological argument that we owe de-extinction to species we rendered extinct, (c) the question of “playing God” through de-extinction, (d) the utilitarian perspective, and (e) the role of aesthetic considerations in the ethics of de-extinction. A general feature arising from the paper’s discussion is that, due to de-extinction’s special character, it repeatedly tests the limits of our ethical notions. (shrink)