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)

There have been more articles on Kant's aesthetics in the history of the Journal than on the next four leading figures in the history of aesthetics combined. I argue that this is because Kant's aesthetic theory consists of multiple levels of theory that makes it accessible to and important for multiple approaches to the subject itself. Continuing issues for both Kant interpretation and for aesthetics in general arise at each of these levels, including the plausibility of the claim to universal (...) validity in judgments of taste, the nature of the free play of the imagination in aesthetic experience, the character of aesthetic pleasure, the proper objects of aesthetic judgment, and the moral significance of aesthetic experience. (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)

The aim of this paper is to resolve some of the inconsistencies within Kant’s theory of aesthetic ideas that have been left unaddressed by previous interpretations. Specifically, Kant’s text appears to be imbued with the following two tensions. First, there appears to be a conflict between his commitment to the view that mere sensations cannot function as vehicles for the communication of aesthetic ideas and his claim that musical tones, on account of being mere sensations, can express aesthetic ideas. Second, (...) his description of musical form as consisting of a play of aesthetic ideas that leave behind no thoughts appears to be incongruous with his formulation of aesthetic ideas as free imaginative representations that contain a wealth of thoughts and meanings. If what it means to express aesthetic ideas is precisely to stimulate much thinking, then how can an object exist that expresses aesthetic ideas, but without leaving any thoughts behind? I attempt to resolve these two perceived tensions by proposing a distinction between reflective and non-reflective aesthetic ideas communicated by form and mere sensations respectively. (shrink)

It is well known that Kant’s aesthetics is framed intersubjectively because he upholds the claim of taste to universality. However, the transcendental foundation of this shared universality is a supersensible ground which is taken for granted but which cannot be brought directly into communicative experience. Kant’s reliance on the synthetic a priori structure of aesthetic judgment also removes it from the sphere of observable personal interaction. This argumentative strategy exposes it to skeptical challenge and generates inaccessible references to inner representations (...) (be they intuitions, categories of the understanding or rational ideas). It is not sufficient, as Kant did, to propose a description of aesthetic experience that is subjectively plausible and thereby claim its intersubjective validity. It is indispensable to embody intersubjectivity in behavior and language. In practical intersubjectivity, aesthetic attitudes are dealt with in a concrete and accessible manner without relying on mentalistic assumptions as a foundation. Conceptual terms such as ‘agreeable’, ‘beauty’, ‘sublime’, ‘ugly’, ‘universality’ acquire new meaning. (shrink)

Intelligence augmentation was one of the original goals of computing. Artificial Intelligence (AI) inherits this project and is at the leading edge of computing today. Computing can be considered an extension of brain and body, with mathematical prowess and logic fundamental to the infrastructure of computing. Multimedia computing—sensing, analyzing, and translating data to and from visual images, animation, sound and music, touch and haptics, as well as smell—is based on our human senses and is now commonplace. We use data visualization (...) and sonification, as well as data mining and analysis, to sort through the complexity and vast volume of data coming from the world inside and around us. It helps us ‘see’ in new ways. We can think of this capacity as a new kind of “digital glasses”. The Internet of Living Things (IOLT) is potentially an even more profound extension of ourselves to the world: a network of electronic devices embedded into objects, but now with subcutaneous, ingestible devices, and embedded sensors that include people and other living things. Like the Internet of Things (IOT), living things are connected; we call those connections “ecology”. As the IOT becomes increasingly synonymous with the IOLT, the question of ethics that is at the centre of aesthetics and the arts will move to the forefront of our experience of and regard for the world in and around us. (shrink)

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)

I argue that the difficulty Kant encounters in evaluating music in the third Critique is caused by his problematic attempt to separate sound from meaning. Analogously, Wordsworth attempts in the Preface to divide metrical pleasure and the feeling derived from the semantic meaning of poems. In both cases, this separation can be overcome by a radical, Romantic understanding of musicality, whereby music not only participates in meaning but becomes its grounds. While this remains latent in Kant, Wordsworth's ‘Tintern Abbey’ can (...) assert the centrality of listening to thinking, which has important implications for his poetics. (shrink)