Helmuth Plessner’s philosophical anthropology is framed by a comprehensive theory of living nature. Central to this philosophical biology is the claim that animals lack self-consciousness but their awareness of their surroundings is nevertheless anchored in a self. Since Plessner does not explain how this unselfconscious self is manifest to the animal, the warrant for his claim remains unclear. Following Plessner’s construal of human existence as a radically transformed variant of animal life, I argue that he leaves animals’ selfhood unaccounted for (...) because he overlooks the animal precursor of the feeling of pleasure and displeasure, which affords a pre-reflective self-awareness. I fill this lacuna by drawing on Kant’s and Plessner’s theories of human feelings, Hans Jonas’s conception of animal emotion,and recent arguments that make evaluative affects fundamental to animal consciousness. Revised along these lines, Plessner’s framework allows us to specify how animal affectivity is transformed in self-conscious human life. (shrink)

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

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)

Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only the (...) ground of judgements of beauty and the basis of pleasure in the beautiful, but is also essential, I argue, for the reflecting judgements through which we acquire empirical concepts. (shrink)

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

This article develops some conceptual correlations between Kant’s theory of aesthetic judgment and the common law tradition of legal judgment. The article argues that legal judgment, like aesthetic judgment, is best conceived in terms of intersubjective validity rather than objective truth. Understanding the parallel between aesthetic and legal judgment allows us to appreciate better the relationship between subjectivity and intersubjectivity, the individual and the community, in the formulation and communication of judgments, which combine a personal response and a reasoned determination (...) intended for a discrete audience. The article frames and pursues these themes in relation to four core concepts in Kant’s aesthetic theory: judgment, communication, community, and disinterestedness. Through sustained comparison and application of these concepts in aesthetic judgment and legal judgment, the article provides a conception of judging that more accurately captures the common law role and relationship of the individual judge and the institutional judiciary as integral parts of the broader legal and political community. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

Im ersten Teil des Aufsatzes diskutiere ich die Bedeutung des Syntagmas „Erkenntnis überhaupt“, das Kant im § 9 der KU einführt, um sowohl das Problem der allgemeinen Mitteilbarkeit des dem Geschmacksurteil zugrundeliegenden „Gemütszustandes“, als auch das Problem der Natur der ästhetischen Übereinstimmung zwischen Verstand und Einbildungskraft aufzulösen: Während der ästhetischen Erfahrung ist es zwar notwendig, dass sie sich miteinander verbinden, als ob sie auf die Gegenstandserkenntnis ausgerichtet wären, aber ihre Beziehung besteht in einem freien Spiel auf dem vortheoretischen Niveau der (...) reinen Erkenntnisform. Ich erforsche auch eine interessante, wenn auch zu wenig studierte, Folge der Vermögensharmonie: das Entstehen eines besonderen Zeitbewusstseins im Betrachtungssubjekt. Im zweiten Teil, auf der Basis von einigen Textstellen bewerte ich die möglichen Antworten auf einen von einigen Auslegern erhobenen Einwand, nämlich dass aus Kants Lösung des Problems der Vermögensharmonie die Notwendigkeit folgt, alle Erfahrungsobjekte als schön zu definieren. (shrink)