My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended by (...) its ability to explain some important but otherwise recondite features of aesthetic practice and, more importantly, by allowing us to ground the normativity of aesthetic judgement in the familiar normativity of practice. It also offers a more systematic way of understanding the rivalry between the ideals of aesthetic universality and diversity. (shrink)

This paper reconstructs and defends Kant's argument for the transcendental status of reason's principles of the systematic unity of nature in the Appendix to the Transcendental Dialectic. On the present account, these principles are neither mere methodological recommendations for conducting scientific inquiry nor do they have the normative force of categorical imperatives, two extant interpretations of Kant's discussion of reason in the Appendix. Instead, they are regulative yet transcendental principles restricted to theoretical cognition. The principles of the systematic unity of (...) nature count as transcendental in virtue of their role as conditions of the inferential articulation of empirical concepts. (shrink)

This paper examines Kant’s treatment of the design argument for the existence of God, or physicotheology. It criticizes the interpretation that, for Kant, the assumption of intelligent design satisfies an internal demand of inquiry. It argues that Kant’s positive appraisal of physicotheology is instead better understood on account of its polemical utility for rebutting objections to practical belief in God upon which Kant’s ethicotheological argument rests, and thus as an instrument in the transition from theoretical to practical philosophy. Kantian physicotheology (...) plays this role a) by criticizing alternative speculative accounts of the ground of nature, and b) by analogizing from the structure of finite rational agency in order to represent more clearly the action of an ideal agent. (shrink)

Bu çalışma, Yargı Gücünün Eleştirisi’nde estetik beğenide, hayalgücü (Einbildungskraft) ve “özgür oyun” tanımı temelinde, hayalgücü ve anlama yetisi (Verstand) arasındaki ilişki sorununu ele almaktadır. Kant transendental felsefeyle hayalgücüne kendinden önceki filozoflardan ayrı bir saygınlık kazandırmış, bu yetiyi hem bilişin hem estetik deneyimin temel yetileri arasına yerleştirmiştir. Saf Aklın Eleştirisi’nde (A basımı) duyusallık (Sinnlichkeit) ve anlama yetisiyle transendental üç yetiden biri olan hayalgücü, üçüncü Kritik’te reflektif yargı ve estetik deneyimin zeminini oluşturmada önemli bir konumdadır. Üçüncü Kritik’in hemen her bölümünde bir işlevi (...) haiz olan hayalgücü ile anlama yetisinin girdiği özgür ve kavramlara dayanmayan oyun transendental felsefeye ilişkin pek çok meseleyi de açığa çıkaran özelliklere sahiptir. Bu oyunda, birinci Kritik’te nesnenin kavramsal belirlenimine yönelik olan anlama yetisinin kavramlarıyla devrede olmaması tartışmanın önemli ögelerinden biridir. Bu bakımdan özgür oyun tanımı, yetilerin konumlarına ilişkin birinci Kritik’teki iddialara uzanan kapsam ve içeriktedir. Bu çalışmada bu iddialara açıklık kazandırılarak, hayalgücü merkezinde yetiler ve yetilerle bağlantılı tartışmalara ışık tutulacaktır. (shrink)

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in therevisionof concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of aesthetic ideas, or how (...) such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them. (shrink)

This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and freedom, while in the (...) Critique of Aesthetic Judgment, the connection between art and morality passes through culture. In either case, Kant offers distinct, yet interdependent, arguments for how culture demonstrates the amenability of nature to its supersensible ground: the central question Kant claims in the Introduction that the work seeks to answer. Thus, not only does this account advance a concept essential to both parts of the work; it also demonstrates how the two parts can be conceived as complementary, with each supplementing the other to solve Kant’s central question. As such, understanding the Critique of Judgment in terms of culture enables us to see how the two parts of the work do not merely share points of similarity or common themes, but presuppose one another in order to understand how nature is amenable to freedom. (shrink)

Though the notion of common-sense plays an important role in Kant’s aesthetic theory, it is not immediately clear what Kant means by this term. This essay works to clarify the role that common-sense plays in the logic of Kant’s argument. My interpretive hypothesis is that a careful examination of the way common-sense functions in Kant’s account of judgments of taste can help explain what this notion means. I argue that common-sense names the capacity to discern the relation between the cognitive (...) faculties by means of a feeling, and I conclude that this understanding of common-sense lays the groundwork for an account of the unity of judgments of taste. I conclude that attending to Kant’s notion of common-sense is especially important because it highlights the anthropological significance of Kant’s account of beauty. (shrink)

بررسی تبییین کانت از قوای تخیل و فاهمه در نقدهای اول و سوم.

El objetivo principal de este artículo es sostener que el sentimiento de lo sublime - tal como es planteado por Kant en la Crítica de la facultad de juzgar- supone el vínculo de la mente con el cuerpo propio. De otro modo, no podríamos explicar la variación de las fuerzas vitales que caracteriza al sentimiento de lo sublime. Ahora bien, la conciencia de la propia corporalidad constituye una condición necesaria - aunque no suficiente- del sentimiento de lo sublime. Consideramos que (...) además de la conciencia de las propias fuerzas vitales, el sentimiento de lo sublime supone la referencia a un principio espiritual. Por estos motivos, creemos que el sentimiento de lo sublime implica una superposición del sentimiento de vida y el sentimiento del espíritu. Con el fin de iluminar algunos aspectos problemáticos presentes en la Crítica de la facultad de juzgar, analizaremos algunos pasajes pertenecientes a la Antropología en sentido pragmático. The principal aim of this article is to support that the feeling of the sublime -as it is considered by Kant in the Critique of the power of Judgment- supposes the link of the mind with the own body. Otherwise, we might not explain the variation of the vital forces that characterizes the feeling of the sublime. However, the conscience of the own corporeality constitutes a necessary condition -though not sufficient- of the feeling of the sublime. We think that besides the conscience of the own vital forces, the feeling of the sublime supposes the reference to a spiritual principle. For these reasons, we think that the feeling of the sublime implies an overlapping of the feeling of life and the feeling of the spirit. In order to illuminate some problematic aspects in the Critique of the Power of Judgment, we will analyze some passages belonging to the Anthropology from a Pragmatic Point of View. (shrink)

In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...) the reason that it leads to the ‘everythingisbeautiful’ problem. In this paper I argue, contrary to these objections, that both finding an object beautiful and acquiring the concept represent the satisfaction of the same principle of nature’s purposiveness, which refers to the same cognitive need we have, that is, to systematize experience. I avoid the ‘everything is beautiful’ problem by arguing that aesthetic reflection refers to the synthesis of object’s individual and distinctive properties, while logical reflection refers to the synthesis of object’s general properties that it shares with other objects of its kind. Because aesthetic purposiveness is different from logical purposiveness, this allows for the possibility that we can have an object of cognition, without finding this object beautiful. (shrink)

An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...) that something is beautiful and the path to an epistemology of art is effectively blocked. The article places the existence aesthetic properties in the proper context; presents a logically correct argument for the existence of such properties; identifies strategies for responding to this argument; explains why objections by Hume, Kant, and several other philosophers fail; and sketches a realization account of beauty influenced by Hogarth. (shrink)

Pretendemos neste artigo examinar a aparente incompatibilidade entre a concepção, exposta na terceira Crítica kantiana, do jogo livre ou harmonia entre as faculdades da Imaginação e do Entendimento e a Dedução Transcendental das Categorias da primeira das Críticas kantianas, na medida em que a primeira parece afirmar que a Imaginação pode apreender “sem conceitos” um objeto intuído, ao passo que a última parece submeter todas estas apreensões à posse a priori de um conceito. De modo a realizar este exame, vamos (...) considerar as posições assumidas por alguns dos mais proeminentes interpretes da filosofia de Kant. (shrink)

Um dos pontos mais polêmicos da teoria estética de Kant, tratada na primeira parte da Crítica da Faculdade do Juízo, é a questão da validade universal do juízo de gosto. Não sendo um juízo determinante, nem de conhecimento, nem de caráter moral, mas reflexionante, ele exige uma justificação própria. A figura crucial da argumentação que Kant usa para provar que o juízo de gosto estético pode reivindicar, com direito, o assentimento de todos é a de uma “universalidade subjetiva”. Pretendo mostrar, (...) contrariamente à maioria dos intérpretes da doutrina estética kantiana, que das três vias de fundamentação desta universalidade que Kant apresenta – uma baseada no momento da falta de interesse, outra na relação do juízo de gosto com a faculdade de conhecimento e a terceira, na sua ligação com a razão prática – é só a terceira via, esboçada nos últimos parágrafos da Crítica da Faculdade de Juízo Estética, com base na qual a universalidade reclamada do juízo de gosto pode ser defendida de forma conveniente. (shrink)

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 article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to meaning (...) is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

This paper discusses a structural analogy between Kant’s theory of regulative ideas, as he develops it in the Appendix to the Transcendental Dialectic, and Crispin Wright’s theory of epistemic entitlements. First, I argue that certain exegetical difficulties with respect to the Appendix rest on serious systematic problems, which – given other assumptions of the Critique of Pure Reason – Kant is unable to solve. Second, I argue that because of the identified structural analogy between Kant’s and Wright’s views the project (...) Kant pursues in the Appendix can be rehabilitated by recourse to Wright’s theory. (shrink)

This paper attacks an account of Kant's controversial distinction between "free" and "dependent" beauty. I present three problems—The Lorland problem, The Crawford Problem, and the problem of intrinsic relation—that are shown to be a consequence of various interpretations of Kant's distinction. Next, I reconstruct Robert Wicks' well-known account of dependent beauty as "the appreciation of teleological style" and point out a key equivocation in the statement of Wicks' account: the judgment of dependent beauty can be thought to consist in comparing (...) any two objects' teleological styles either in respect of how or in respect of how well each realizes a common purpose. I argue that this equivocation forces Wicks into a dilemma: either he must assert the impossibility of ugliness or he must assert that the judgment of dependent beauty is reducible to the judgment of perfection. Either way, he denies important theoretic desiderata. (shrink)

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view (...) that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non-conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition. (shrink)

When Kant announces in a letter to Reinhold that he has discovered a new domain of a priori principles, he situates these principles in a ‘faculty of feeling pleasure and displeasure ’. And it is indeed in his Critique of Aesthetic Judgement, named in this letter the Critique of Taste, that we find his elucidation of the relation of the principle of purposiveness to the feeling of pleasure. The kinds of judgements in which our feelings are evaluated in accordance with (...) a principle are what Kant names reflective judgements. And while reflective judgements emerge in the third Critique to include not only judgements of taste, but also judgements of the sublime and teleological judgements of nature, in this paper I will focus on the first, as the question of the relatedness of reflection to pleasure is most pronounced in this context. There is no consensus in Kant scholarship as to what the structure of reflective judgements is, as evidenced by the widely disparate views of those such as Guyer, Allison, Pippin, Ginsborg, Lyotard, and others. (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

Abstract: Kant declares the judgment of beauty to be neither ‘objective’ nor ‘merely subjective’. This essay takes up the question of what this might mean and whether it can be taken seriously. It is often supposed that Kant's denials of ‘objectivity’ to the judgment of beauty express a rejection of realism about beauty. I suggest that Kant's thought is not to be understood in these terms—that it does not properly belong in the arena of debates about the constituents of ‘reality’—motivating (...) the suggestion by first considering a pair of opposing views on the question of whether Kant can be understood to develop a real alternative to realism about beauty at all. (shrink)

Maclntyre's refurbishing of Aristotelian ethics aims to restore both intelligibility and rationality to moral discourse. In After Virtue he concentrates on showing how intelligible action requires that lives be led within institutional and cultural traditions. But he does not offer a developed account of practical reason which could provide grounds for seeking some rather than other intelligible continuations of lives and traditions. Despite Maclntyre's criticisms of Kant's ethics, a Kantian account of practical reasoning may complement his account of intelligibility. An (...) appropriate interpretation of Kantian ethics is outlined, which escapes Maclntyre's criticisms, allows both for the universal character of basic moral principles and for the historical variability of intelligible action, and which makes moral worth or virtue the centre of the moral life. The refurbishing of Aristotelian ethics may be achieved by a Kantian completion. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...) Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

We often speak about religious experience, and sometimes we speak about metaphysical experience. Yet we seldom hear about philosophical experience. Is philosophy purely a matter of theories and theses, or does it have an experiential aspect? In this article, I argue for the following three claims. First, there is something we might call philosophical experience, and there is nothing mystical about it. Second, philosophical experiences are expressed in something quite similar to what Kant called "aesthetic judgements." Third, philosophical experiences are (...) expressed by using words in what Wittgenstein called "secondary sense." Finally, I try to show the educational significance of pursing philosophical experiences. Through articulating them one might find one's ground, and through articulating them in a less private and more universal form one might raise oneself to universality. Thus, in expressing philosophical experiences one aspires to speak in a universal voice. (shrink)

The hypothetical approach to the supersensible developed by Kant in his three Critiques, exemplified by his analysis of the aesthetic and reflective judgment in his third Critique, with their principle fortuitous purposiveness, can be considered as the basis for a new foundation of metaphysics. According to Kant’s limitation of cognition to the realm of sense intuition, theoretical knowledge of God, the subject, things-in-themselves, transcendental ideas is impossible. This leads to a kind of “negative theology” of the highest principle and the (...) supersensible as a whole. The reasons are rooted in the character of propositional thought, which can only circumscribe a singular, supersensible reality by means of predicative sentences and discursive thought. Taking Kant’s lead, but in contrast to his terminology, I call really existent singularities, including the thinking, knowing, desiring, feeling unique individuals we know as human beings, spontaneities, in order to distinguish them from descriptive characteristics attributed to them by predicative thought. Kant’s “practico-dogmatic” account of the postulates of God and immortality of the soul, based on the “fact of freedom” and its connection to the moral imperative, ensure the possibility of the “highest good” as final aim of moral behaviour — but cannot satisfy our need for knowledge of the supersensible. To “lay the groundwork” for experience of our own self-conscious reality, the reality of others like ourselves, of things which transcend the boundaries of sense intuition, and of true reciprocity, a different method is needed, one which leads us “beyond being and thought” to the unconditional beginning of conditional reality. (shrink)

This paper aims to contribute to an ongoing and controversial debate about non-conceptuality in Kantian aesthetics. It is a replica on a paper of Dietmar Heidemann in Con-Textos Kantianos N.° 12, to which I do consent, but I’d like to give some additional comments on a specific issue: I show in this paper that the problem about whether or not the understanding contributes to aesthetic judgment can be elucidated by means of a revaluation of the imagination’s capacity of formal representation (...) and the subsuming activity of the power of reflective judgment. I argue that the understanding is considered by the power of reflective judgment merely in his lawfulness in order to find a universal under which the imagination’s particular, the formal representation of the beautiful shape, can be subsumed. (shrink)

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding. (shrink)

The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...) present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality. (shrink)

Our main concern in this paper is the semantics of predicates of personal taste. However, in order to see these predicates in the right perspective, we had to broaden the scope to the wider class of relative gradable adjectives. We present an analysis of the meaning of these adjectives in the framework of update semantics. In this framework the meaning of a sentence is not identified with its truth conditions, but with its impact on people’s intentional states. In this respect, (...) an important characteristic of relative gradable adjectives is the interplay between their evaluative features and people’s expectations. The dynamic set-up also makes it possible to model the interpretation of a relative gradable adjective without supposing that the context always supplies a ‘cut-off’ point determining its application, and to deal in a pragmatic way with situations in which the Sorites paradox arises. (shrink)

I propose in this paper an interpretation of Kant’s fascinating notion of “aesthetic ideas”. I contend that aesthetic ideas, in spite of Kant’s way of explicating them in those terms, are not mirror images, sensible counterparts or translations of intellectual or rational ideas. Rather, they have independent life. They present what cannot be available by any other means and thereby make a poem a unique, singular, insubstitutable individual. This reading of the notion can shed a different light on Kant’s view (...) that a poem should look like nature. If we focus on Kant’s description of “genius” as a source of aesthetic ideas, this seemingly mysterious concept begins to make a nuanced sense: concepts of genius and aesthetic ideas are what I call “medium-centric” notions. To write a poem is to play upon the medium and discover aesthetic ideas; a poet who can achieve this is or has genius. (shrink)

Feeling, for any animal, is a faculty of comparing objects or representations with regard to whether they promote its vital powers or hinder them. But whereas these comparisons presuppose a species-concept in non-rational animals, nature has not equipped the human being with a universal principle or life-form that would determine what agrees or disagrees with it. As humans, we must determine our mode of life for ourselves. Contrary to other interpretations, I argue that this places the human capacity for pleasure (...) and displeasure outside of nature and in a realm of spirit. (shrink)

The aim of this paper is to elucidate what Kant describes as the "free lawfulness of the imagination" in judgments of beauty in aesthetic terms, as called for by the distinctive nature of beauty. I argue that the aesthetic activity of the imagination differs from the theoretical activity of the imagination, and that the difference between the two has an aesthetic ground in terms of the special form of beautiful objects and the special value of beauty. In contrast to the (...) theoretical activity of the imagination, the aesthetic activity of the imagination must be free of concepts and laws but nonetheless lawful otherwise it would not be able to unify the forms of beautiful objects, to attribute necessity to them, and by so doing to be adequate to the value of those objects as beautiful objects. On that basis, I aim to show that Kant's theory is not committed to the absurd view that some scholars have attributed to him: the view that everything we judge must be judged to be beautiful. (shrink)

Abstract In the Critique of the Power of Judgment, Kant refers to the pleasure that we feel when judging that an object is beautiful as the pleasure of "mere reflection". Yet Kant never makes explicit what exactly is the relationship between the activity of "mere reflection" and the feeling of pleasure. I discuss several contemporary accounts of the pleasure of taste and argue that none of them is fully accurate, since, in each case, they leave open the possibility that one (...) can reflect without having a feeling of pleasure, and hence allow a possible skepticism of taste. I then present my own account, which can better explain why Kant thinks that when one reflects one must also have a feeling of pleasure. My view, which emphasizes the role of attention in Kant, depicts well what we do when we judge something to be beautiful. It can also suggest a way to explain the relation between judgments of taste and moral feeling, and begin to show how the faculty of feeling fills a gap in the system of our cognitive faculties. (shrink)

Abstract Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to its (...) qualities, and that, accordingly, feelings of pleasure or displeasure are no different from other representations, such as colors or smells. While I agree that the judgment of taste is best understood as asserting a claim about an object's qualities, I argue that the distinction Kant makes between feelings of pleasure or displeasure and other representations should not be ignored. I show that one's liking or disliking for an object is merely subjective in the sense that its significance depends on what one has made of oneself through one's aesthetic education. The judgment of taste, then, is merely subjective because one must first become the kind of person whose feelings have the right significance at the right time before one can determine whether an object's qualities make it beautiful. (shrink)

In the recent debate on the nature of Kantian ‘content of cognition’, some scholars argue that Kantian judgments of taste bear a nonconceptual mental content because these judgments lack any conceptual determining functions of some kind. In this article, I challenge the latter standpoint for the very simple reason that judgments of taste are no propositions, but rather formative evaluations. This implies as well the fact that we are initially in possession of no aesthetic representation. Hence, neither propositionally nor non-propositionally (...) is an aesthetic representation eligible to be counted as mental content. Instead, as the representation of the beautiful just contents oneself with itself, it refers to its objects relationally, yet not representationally in the full-fledged sense. Regarding the properties of objects, it remains consequently always ineffectively monotonous. On the occasion of agreement of the relevant cognitive faculties, we may, however, count the representation of the beautiful as phenomenal content. -/- . (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)

Im ersten Teil des Anhangs zur Transzendentalen Dialektik entwickelt Kant einen Übergang zwischen dem logischen Gebrauch der Vernunft und den transzendentalen Prinzipien der Vernunft. Basierend auf methodologischen Überlegungen zur Chemie, zur physiologischen Anthropologie und zur Entwicklungsgeschichte astronomischer Grundannahmen versucht Kant, diese Prinzipien in ihrem transzendentalen Status zu rechtfertigen und ihre Kompatibilität mit anderen Teilen der Kritik der reinen Vernunft nachzuweisen. Ausgehend von diesen wissenschaftstheoretischen Beispielen wird für eine heuristisch- pragmatische Rechtfertigung der transzendentalen Prinzipien der Vernunft und eine ideelle Funktion der (...) durch diese Prinzipien gewonnenen Ideen argumentiert. Dabei lässt sich die enge Verbindung zwischen den transzendentalen Prinzipien des ersten Teils des Anhangs zur Transzendentalen Dialektik und Kants Konzept der rationalen Naturwissenschaft in den Metaphysischen Anfangsgründen der Naturwissenschaft nachweisen. (shrink)

Kant often seems to suggest that a cognition – whether an everyday cognition or a scientific cognition – cannot be beautiful. In the Critique of Judgment and the Lectures on Logic, he writes: ‘a science which, as such, is supposed to be beautiful, is absurd.’ (CJ 184 (5:305)) ‘The expression "beautiful cognition" is not fitting at all’ (LL 446 (24:708)). These claims are usually understood rather straightforwardly. On the one hand, cognition cannot be beautiful since on Kant’s account, it is (...) all about concepts whilst beauty is defined by its non-conceptual nature. On the other hand, beauty cannot contribute to cognition since the former is grounded on subjective feelings whilst cognition is all about objective knowledge. However, I will argue that Kant’s view of the relationship between cognition and beauty is not as straightforward as it may seem, and that both of these claims are in fact false. As I will show, cognition can be beautiful, and the feeling of beauty is cognitively valuable. Yet it is not because beauty is a sign of the truthfulness of a theory. Nor is it because the process that gives rise to the feeling of beauty, the free play, furthers scientific progress. Rather, it is because the experience of beauty stimulates our cognitive powers and thereby enhances our cognitive activity. On this basis, contrary to what is usually thought, cognition can, and in fact should, be beautiful for Kant. (shrink)

El principio de finalidad que Kant introduce en la Crítica del juicio expresa el supuesto de que la naturaleza opera con una uniformidad adecuada a nuestra facultad de juzgar. Sin embargo, en la medida en que el principio es sólo regulativo, él no puede asegurar que dicha uniformidad tenga lugar. La posibilidad de un caos empírico queda, pues, abierta.El principio de finalidad que Kant introduce en la Crítica del juicio expresa el supuesto de que la naturaleza opera con una uniformidad (...) adecuada a nuestra facultad de juzgar. Sin embargo, en la medida en que el principio es sólo regulativo, él no puede asegurar que dicha uniformidad tenga lugar. La posibilidad de un caos empírico queda, pues, abierta. En el artículo tratamos de demostrar que esto no es así. Las regularidades empíricas no son condiciones de la objetividad de la experiencia; pero ellas sin duda colaboran con el progreso del conocimiento y con la posibilidad de su organización sistemática. Pero la formación de los conceptos empíricos, la formulación de las leyes empíricas y la posibilidad del conocimiento empírico en general requieren la existencia de regularidades empíricas. Podría pensarse, en consecuencia, que éstas son una suerte de condición “material” de posibilidad de la experiencia, de la cual el idealismo trascendental no puede dar cuenta. En el artículo tratamos de demostrar que esto no es así. Las regularidades empíricas no son condiciones de la objetividad de la experiencia; pero ellas sin duda colaboran con el progreso del conocimiento y con la posibilidad de su organización sistemática. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)

In this paper, we consider various ways in which aesthetic value bears on, if not serves as evidence for, the truth of independent statements in set theory.... the aesthetic issue, which in practice will also for me be the decisive factor—John von Neumann, letter to Carnap, 1931For me, it is the aesthetics which may very well be the final arbiter—P. J. Cohen, 2002.

É bem sabido que a estética de Kant está estruturada intersubjetivamente, porque ele honra a reivindicação do gosto pela universalidade. No entanto, o fundamento transcendental desta universalidade compartilhada é uma base suprasensível tida por certa, mas que não pode ser trazida diretamente para dentro da experiência comunicativa. O apelo kantiano à estrutura sintética a priori do juízo estético também remove-o da esfera da interação pessoal observável. Esta estratégia argumentativa expõe-no a desafios céticos e gera referências inacessíveis às representações internas (sejam (...) elas intuições, categorias do entendimento ou idéias racionais). Não é suficiente, como faz Kant, propor uma descrição da experiência estética que seja subjetivamente plausível e, a partir disso, reivindicar sua validade intersubjetiva. É indispensável encarnar a intersubjetividade no comportamento e na linguagem. Na intersubjetividade prática, lida-se com as atitudes estéticas em um modo concreto e acessível, sem depender de pressupostos mentalistas como fundamento. Termos conceituais como 'agradável', 'belo', 'sublime', 'feio', 'universalidade' adquirem novo significado em um contexto interativo e reivindicações estéticas são testadas em um modelo dialógico de jogo semântico. (shrink)

There are two familiar strategic approaches to Kant's Critique of Judgement which commentators have not always found easy to combine. One would regard the work as fitting snugly into Kant's enterprise as the keystone that absorbs the forces of his theoretical and practical philosophies, uniting them and itself into a single sound structure. That Kant saw it this way is obvious from his Introduction to the Critique. But the other approach has sometimes seemed more fruitful: start with the Analytic of (...) the Beautiful and take it not as the completion but as the beginning of something, a treatise which, in offering possibly the fullest and most rigorous account of the autonomy of aesthetic judgement, plays a foundational role in the discipline now known as aesthetics. On this approach questions concerning morality and the unity of Kant's philosophy can be set aside for attention later, if ever. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)