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

Kant describes the understanding as a faculty of spontaneity. What this means is that our capacity to judge what is true is responsible for its own exercises, which is to say that we issue our judgments for ourselves. To issue our judgments for ourselves is to be self-conscious – i.e., conscious of the grounds upon which we judge. To grasp the spontaneity of the understanding, then, we must grasp the self-consciousness of the understanding. I argue that what Kant requires for (...) explaining spontaneity is a conception of judgment as an intrinsic self-consciousness of the total unity of possible knowledge. This excludes what have been called ‘relative’ accounts of the spontaneity of the understanding, according to which our judgments are issued through a capacity fixed by external conditions. If so, then Kant conceives of understanding as entirely active. Or, to put it another way, he conceives of this capacity as absolutely spontaneous. (shrink)

Kant advertises his Critique of Pure Reason as fulfilling reason's "most difficult" task: self-knowledge. As it is carried out in the Critique, this investigation is meant to be "scientific and fully illuminating"; for Kant, this means that it must follow a proper method. Commentators writing in English have tended to dismiss Kant's claim that the Critique is the scientific expression of reason's self-knowledge---either taking it to be sheer rhetoric, or worrying that it pollutes the Critique with an unfortunate residue of (...) rationalism. As a result, there is little sustained treatment of the method of the Critique in the secondary literature. Since Kant holds that the substantive insights of critical philosophy are not separable from the methodological context in which they come to light, this is a serious mistake. My dissertation corrects for this, by approaching the Critique through an examination of its method. In doing so, it yields a reading of the Transcendental Deduction that not only promises to resolve current debates about its "proof structure", but also fully accounts for the Deduction's pivotal role in the work as a whole. (shrink)