According to rationalist conceptions of moral agency, the constitutive capacities of moral agency are rational capacities. So understood, rationalists are often thought to have a problem with feeling. For example, many believe that rationalists must reject the attractive Aristotelian thought that moral activity is by nature pleasant. I disagree. It is easy to go wrong here because it is easy to assume that pleasure is empirical rather than rational and so extrinsic rather than intrinsic to moral agency, rationalistically conceived. Drawing (...) on underappreciated elements of Kant’s moral psychology, I sketch an alternative form of rationalism, according to which moral activity is by nature pleasant because at least some pleasures are by nature rational. (shrink)

This paper discusses an apparent contrast between Kant’s accounts of the mathematical antinomies in the first Critique and in the Prolegomena. The Critique claims that the antitheses are infinite judgements. The Prolegomena seem to claim that they are negative judgements. For the Critique, theses and antitheses are false because they presuppose that the world has a determinate magnitude, and this is not the case. For the Prolegomena, theses and antitheses are false because they presuppose an inconsistent notion of world. The (...) paper argues that the contrast between the two works is only apparent, and provides an interpretation which removes it. (shrink)

A curious feature in Immanuel Kant’s account of the mathematical sublime is the choice of examples, namely, the Pyramids of Egypt and St. Peter’s Basilica. In the paragraph following these examples, Kant suggests that the sublime does not exhibit itself in works of art. This ambiguity has led scholars to question the possibility of “artistic sublimity.” The scholarship has prompted discussions about whether works of art that evoke the sublime feeling are genuine sublime experiences. A representational account of artistic sublimity (...) restricts the sublime to experiences in raw nature. Art can depict the sublime stylistically; however, it cannot evoke the feeling of sublimity. On an opposing interpretation, the sublime occurs because of a conflict between imagination and reason; any work of art that provokes this conflict is sublime. As a result, the power of the sublime overrides and annihilates determinate ends, allowing pure aesthetic judgments. The alleged contradiction in Kant’s account of the mathematical sublime is also read as an interpretive issue regarding purity, prompting the pure-impure distinction. Art that has the power to evoke the feeling of sublimity is deemed “impurely sublime” because of the admixture of interest. Alternatively, if aesthetic judgments of the sublime are satisfied irrespective of the object, then art is purely sublime without needing a further determination. Following Henry Allison, I defend the view that we should preserve a pure–impure distinction. A concept of impure sublimity allows us to account for an emotionally motiving satisfaction akin to the sublime in the presence of some works of art while maintaining a close reading of the Kantian account of pure sublimity as an exclusive consequence of raw nature. (shrink)

The concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy autonomy is a context-sensitive concept and autonomy applies (...) to several different moments or stages of aesthetic appreciation. Throughout this critical discussion, important issues concerning the nature of aesthetic appreciation are also explored. (shrink)

Kant makes a striking reference to Spinoza in the 1788 Critique of Practical Reason. This chapter begins by investigating whether Kant directly concerned himself with Spinoza, focusing on Omri Boehm's recent affirmative argument. Kant thinks the objective principle yields radical metaphysical conclusions only in conjunction with further claims about specific conditioning relations. Kant's privileging of Spinozism among realist views seems generally detached from Spinoza's actual thought. The chapter deals with points of convergence or near‐convergence between Kant and Spinoza. It identifies (...) two philosophically interesting points on which Spinoza's and Kant's views come surprisingly close: their arguments for the limitations of our sensory knowledge and their arguments for the timelessness of the mind. Spinoza's official argument for the timelessness of the mind appeals to his doctrines of the body's eternal essence, the parallel between bodies and ideas, and the identity of the human mind with God's idea of the human body. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Contrary to the belief of most Kantians and Kant scholars, Kant is in fact an anarchist. In this paper, I distinguish sharply between two concepts of enlightenment, enlightenment lite and heavy duty or radical enlightement ; show how there is an unbridgeable gap between Kant’s official political theory in The Doctrine of Right and his ethics; show how Kant’s real political theory is worked out in Religion Within the Boundaries of Mere Reason, and is in fact a heavy-duty, radically enlightened (...) version of anarchism; refute and debunk widely-believed Hobbesian assumptions about human nature, which are in fact nothing but cognitive illusions; and propose a de-biasing strategy in political aesthetics for ridding ourselves of these Hobbesian cognitive illusions. (shrink)

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...) why many experimental studies do not belong to a psycho-historical science of art. (shrink)

Kant’s moral philosophy is challenged by the so-called “Socratic Paradox”: If free will and pure practical reason are to be identified, as Kant argues, then there seems to be no room for immoral actions that are to be imputed to our individual freedom. The paper argues that Kant’s conception of rationalizing helps us to avoid the Socratic Paradox, and to understand how immoral actions can be imputed to our individual freedom and responsibility. In rationalizing, we misuse our capacity of reason (...) in order to construct the illusion according to which we are not bound to the absolute demand of the moral law, but rather subject to exceptions and excuses. Finally, the paper interprets the three rules of “common sense” in Kant’s Critique of the Power of Judgment in terms of an antidote to rationalizing. (shrink)

The notion of ‘power of judgement’ in the title of Kant'sCritique of the Power of Judgementis commonly taken to refer to a cognitive power inclusive of both determining judgement and reflecting judgement. I argue, first, that this seemingly innocuous view is in conflict both with the textual fact that Kant attempts a Critical justification of the reflecting power of judgement – only – and with the systematic impossibility of a transcendentally grounded determining power of judgement. The conventional response to these (...) difficulties is to point out that, Kant's systematic ambitions in the thirdCritiquenotwithstanding, reflection, qua concept-forming synthesis, is too closely tied to determination to be a cognitive power in its own right. I argue, second, that this response is question-begging, since the notion of reflection it employs is not only not one central to the thirdCritiquebut one antecedently tied to the understanding. I argue, third, that Kant's discussion, in the pivotal § § 76–7, of our cognitive relation to sensible particularity addresses an epistemic problem present (but not raised) in theCritique of Pure Reason. This is the problem of the synthesizability, qua absolute unity, of unsynthesized intuitions. Solving this problem requires Critical justification of a principle of reflection. It follows that Kant's systematic ambitions in the thirdCritiqueare appropriate. Given the problem Kant seeks to address, he must offer what he takes himself to be offering: aCritique of the(Reflecting)Power of Judgement. (shrink)

Climate change is the first anthropogenic alteration of a global Earth system. It is globally catastrophic in terms of food production, sea level rise, fresh water availability, temperature elevation, ocean acidification, species disturbance and destruction to name just a few crisis concerns. In addition, while those changes are occurring now, they are amplifying over decadal periods and will last for centuries and possibly millennia. While there are a number of pollutants involved, carbon dioxide which results from the combustion of any (...) fossil fuel is the primary pollutant. It has not been considered a pollutant until recently because of its natural dissociation into oxygen and carbon compounds like wood. However, because of its molecular durability and ability to acidify water, it has become the primary pollutant as a result of the exponential increase in fossil fuel use for the production of energy by Earth’s population that has doubled over the last six decades. That increase has exceeded Earth’s ability to handle humanity’s waste CO2. Obviously, the involved changes detrimentally affect all life on Earth. Because of the evolving nature of the changes, climate change is presently denied primarily in the United States because of the costs of eliminating our carbon addiction. Because no similar global natural or anthropogenic situation has previously occurred during the lifetime of Homo sapiens, our extant ethical theories are incapable of confronting the crisis. Consequently, new ethical paradigms are necessary. This dissertation attempts to provide thoughts about the use of Aristotelian ethical theory, the aidōs feeling, Aquinian psychology and a possible new virtue of proper primility in an effort to further nurture the growth of the new climate change ethics. (shrink)

Three encyclopedia entries: "Immigration," published in Ethics, Revised Edition, pages 715-17, reprinted by permission of the publisher Salem Press. Copyright, ©, 2004 by Salem Press. "Immanuel Kant," published in Ethics, Revised Edition, pages 804-06, reprinted by permission of the publisher Salem Press. Copyright, ©, 2004 by Salem Press. "Kantian Ethics," published in Ethics, Revised Edition, pages 806-08, reprinted by permission of the publisher Salem Press. Copyright, ©, 2004 by Salem Press.

While Kant introduces his critical philosophy in continuity with the experimental tradition begun by Francis Bacon, it is widely accepted that his Copernican revolution places experimental physics outside the bounds of science. Yet scholars have recently contested this view. They argue that in Critique of the Power of Judgment Kant’s engagement with the growing influence of vitalism in the 1780s leads to an account of nature’s formative power that returns experimental physics within scientific parameters. Several critics are sceptical of this (...) revised reading. They argue that Kant’s third Critique serves precisely to deflate the epistemological status of experimental physics, thereby protecting science from the threat of vitalism. In this paper I examine Kant’s account of science in the context of the experimental tradition of philosophy, particularly in relation to the generation dilemma of the eighteenth century. I argue that Kant does not deflate the epistemological status of experimental physics but rather introduces systematicity to the experimental tradition. By identifying the reflective use of reason to organize laws of experience into a systematic whole, Kant aims to ground experimental inquiry on the secure course of a science, opening a conception of science as a research programme. (shrink)

Wittgenstein: Lectures, Cambridge 1930–1933, From the Notes of G. E. Moore, edited by SternDavid G, RogersBrian, and CitronGabriel. Cambridge: Cambridge University Press, 2016. Pp. lxxiv + 420.