In his reconstruction of Kant’s critical philosophy as a whole, Deleuze argues that the cognitive and practical faculties are genetically grounded in the affective, enlivening dynamics of the reflecting power of judgment. In this paper I propose to take Kant’s account of self-organisation as model for understanding this genesis of the faculties in terms of a circular causality that is purposively animated from within by a self-productive and self-maintaining tendency. The key argument I develop is that this generative tendency may (...) be understood as a conatus that is inherent to the power of judgment and comes to the fore in the subject’s feeling of life. (shrink)

In this paper I argue that 1) Kant’s power of judgment is constitutively always reflecting, as its lawful employments involve a preliminary self-reference of the faculties the power of judgment itself is required to connect and let them match with each other. Accordingly, I claim that 2) the principle of purposiveness is the principle of the power of judgment as such, and not just of an allegedly self-standing reflecting branch of this faculty. I criticize the view that Kant draws a (...) dichotomy between reflecting and determining judgments and argue that 3) Kant’s point in the third Critique is to rule out the amphiboly between the reflecting and the determining employment of the principle of purposiveness. The power of judgment is, as such, always reflecting: while in the case of cognition it also works in a determining way, in the case of both aesthetics and teleology it is only reflecting, i.e., self-purposive – as it sets its function as its own end. (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)

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)

Do plants represent according to Kant? This is closely connected to the question of whether he held plants are alive, because he explains life in terms of the faculty to act on one’s own representations. He also explains life as having an immaterial principle of self-motion, and as a body’s interaction with a supersensible soul. I argue that because of the way plants move themselves, Kant is committed to their being alive, to their having a supersensible ground of their self-activity, (...) and to their having desires (although these are not conscious). This has important ramifications for Kant’s teleology and philosophy of mind. (shrink)

My contribution deals directly with the problem of Kant’s apparent commitment to pan- aestheticism, which is in particular attached to the task of explaining the possibility of the free play of the faculties. The aim is to provide an overview of the ways in which this problem can be confronted and eventually solved. In this regard, one way to deal with this problem consists in revisiting the assumption that the free play of the faculties is to be understood as simply (...) occurring without presupposing any concept. By contrast, one can fully endorse Kant’s commitment to pan- aestheticism and hence focus on how Kant’s account explains the fact that one does not actually experience everything as beautiful. Both of these alternatives, I firmly reject. By remarking upon the merely reflecting status of judgments of taste, I explain why Kant’s account of taste does not lend itself to pan-aestheticism. (shrink)

In this essay, I focus on two questions. First, what is Kant's understanding of the sense in which our faculties form a unified system? And, second, what are the implications of this for the metaphysical relationships between the faculties within this system? To consider these questions, I begin with a brief discussion of Longuenesse's groundbreaking work on the teleological unity of the understanding as the faculty for judgment. In doing so, I argue for a generalization of Longuenesse's account along two (...) dimensions. The result is a picture of our faculties as forming a teleological system—unified under the overarching aims of reason as the highest rational faculty. Then I discuss the recent debate between “additive” and “transformative” interpretations of the relationship between sensibility and the understand- ing, before proposing that we should interpret Kant as endorsing a moderate form of the “transformative” reading, which captures important elements of both the “additive” and the “transformative” account. (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)

When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in is cognition (...) of an object, and the faculties that we are feeling to be at work are the cognitive faculties of the understanding and the imagination. This paper locates this interpretation in the text of the Critique of Aesthetic Judgment in the third Critique and uses it to make sense of many otherwise opaque features of Kant’s account of pure aesthetic judgment. (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)

The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...) drawn surprisingly little attention, I argue that the faculty of feeling has the distinct role of making us aware of the way our faculties relate to each other and to the world. As I show, feelings are affective appraisals of our activity, and as such they play an indispensable orientational function in the Kantian mind. After spelling out Kant's distinction between feeling and desire, I turn to the distinction between feeling and cognition and show that while feelings are non-cognitive states, they have a form of derived-intentionality. §4 argues that what feelings are about, in this derived sense, is our relationship to ourselves and the world: they function as affective appraisals of the state of our agency. §5 shows that this function is necessary to the activity of the mind insofar as it is orientational. Finally, §6 discusses the examples of epistemic pleasure and moral contentment and argues that they manifest the conditions of cognitive and moral agency respectively. (shrink)

The aim of this paper is to cast new light on an important and often overlooked notion of perspectival knowledge arising from Kant. In addition to a traditional notion of perspectival knowledge as "knowledge from a vantage point", a second novel notion — "knowledge towards a vantage point" —is here introduced. The origin and rationale of perspectival knowledge 2 are traced back to Kant's so-called transcendental illusion. The legacy of the Kantian notion of perspectival knowledge 2 for contemporary discussions on (...) disagreement and the role of metaphysics in scientific knowledge is discussed. (shrink)

Kant on sex gives most philosophers the following associations: a lifelong celibate philosopher; a natural teleological view of sexuality; a strange incorporation of this natural teleological account within his freedom-based moral theory; and a stark ethical condemnation of most sexual activity. Although this paper provides an interpretation of Kant’s view on sexuality, it neither defends nor offers an apology for everything Kant says about sexuality. Rather, it aims to show that a reconsidered Kant-based account can utilize his many worthwhile insights (...) and that making Kant’s account of sexuality more consistent with his own basic philosophical commitments results in a compelling approach to the complex and complicated phenomena of sexual love, sexual identity, and sexual orientation. (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)

In his essay against Eberhard, Kant denies that there are innate concepts. Several scholars take Kant’s statement at face value. They claim that Kant did not endorse concept innatism, that the categories are not innate concepts, and that Kant’s views on innateness are significantly different from Leibniz’s. This paper takes issue with those claims. It argues that Kant’s views on the origin of the intellectual concepts are remarkably similar to Leibniz’s. Given two widespread notions of innateness, the dispositional notion and (...) the input/output notion, intellectual concepts are innate for Kant no less than for Leibniz. (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)

For Kant, ‘reflection’ is a technical term with a range of senses. I focus here on the senses of reflection that come to light in Kant's account of logic, and then bring the results to bear on the distinction between ‘logical’ and ‘transcendental’ reflection that surfaces in the Amphiboly chapter of the Critique of Pure Reason. Although recent commentary has followed similar cues, I suggest that it labours under a blind spot, as it neglects Kant's distinction between ‘pure’ and ‘applied’ (...) general logic. The foundational text of existing interpretations is a passage in Logik Jäsche that appears to attribute to Kant the view that reflection is a mental operation involved in the generation of concepts from non-conceptual materials. I argue against the received view by attending to Kant's division between ‘pure’ and ‘applied’ general logic, identifying senses of reflection proper to each, and showing that none accords well with the received view. Finally, to take account of Kant's notio.. (shrink)

This highly multidisciplinary collection discusses an increasingly important topic among scholars in science and technology studies: objectivity in science. It features eleven essays on scientific objectivity from a variety of perspectives, including philosophy of science, history of science, and feminist philosophy. Topics addressed in the book include the nature and value of scientific objectivity, the history of objectivity, and objectivity in scientific journals and communities. Taken individually, the essays supply new methodological tools for theorizing what is valuable in the pursuit (...) of objective knowledge and for investigating its history. The essays offer many starting points, while suggesting new avenues of research. Taken collectively, the essays exemplify the very virtues of objectivity that they theorize—in reading them together, the reader can sense various anxieties about the dangerously subjective in our age and locate commonalities of concern as well as differences of approach. As a result, the volume offers an expansive vision of a research community seeking a communal understanding of its own methods and its own epistemic anxieties, struggling to enunciate the key problems of knowledge of our time and offer insight into how to overcome them. -/- (Contributors: Alex Csiszar, Scott Edgar, Peter Galison, Ian Hacking, Sandra Harding, Moira Howes, Paolo Savoia, Judy Segal, Joan Steigerwald, and Alison Wylie). (shrink)

How do we form concepts like those of three, bicycle and red? According to Kant, we form them by carrying out acts of comparison, reflection and abstraction on information provided by the senses. Kant's answer raised numerous objections from philosophers and psychologists alike. "Kant e la formazione dei concetti" argues that Kant is able to rebut those objections. The book shows that, for Kant, it is possible to perceive objects without employing concepts; it explains how, given those perceptions, we can (...) form categories and empirical concepts; and it argues that theories like Kant's - abstractionist theories of concept formation - are more plausible than is often assumed. (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)

This paper investigates conceptions of explanation, teleology, and analogy in the works of Immanuel Kant (1724-1804) and Georges Cuvier (1769-1832). Richards (2000, 2002) and Zammito (2006, 2012, 2018) have argued that Kant’s philosophy provided an obstacle for the project of establishing biology as a proper science around 1800. By contrast, Russell (1916), Outram (1986), and Huneman (2006, 2008) have argued, similar to suggestions from Lenoir (1989), that Kant’s philosophy influenced the influential naturalist Georges Cuvier. In this article, I wish to (...) expand on and further the work of Russell, Outram, and Huneman by adopting a novel perspective on Cuvier and considering (a) the similar conceptions of proper science and explanation of Kant and Cuvier, and (b) the similar conceptions of the role of teleology and analogy in the works of Kant and Cuvier. The similarities between Kant and Cuvier show, contrary to the interpretation of Richards and Zammito, that some of Kant’s philosophical ideas, whether they derived from him or not, were fruitfully applied by some life scientists who wished to transform life sciences into proper sciences around 1800. However, I also show that Cuvier, in contrast to Kant, had a workable strategy for transforming the life sciences into proper sciences, and that he departed from Kant’s philosophy of science in crucial respects. (shrink)

Commentators have shown a steady interest in the role of feeling in Kant’s moral and practical philosophy over the last few decades. Much attention has been given to the notion of ‘moral feeling’ in general, as well as to what Kant calls the ‘feeling of respect’ for the moral law. My focus in this essay is on the role of feeling in practical judgment. My claim in what follows is that the act of judging in the practical domain—i.e., determining what (...) one ought to do, or what action one ought to perform, in a specific case—crucially involves feeling. Put more simply: I argue that practical judgment has an essentially affective dimension. The upshot of the account I will give is that it provides us with a richer and more complex account of moral feeling than has previously been appreciated in the literature. While it is recognized that feeling plays a certain role in moral motivation, what I hope to demonstrate here is that feeling is involved much earlier in the exercise of moral agency. Far from entering only at the point at which we are trying to muster the strength of will to carry out what we know we ought to do, feeling is present the moment we begin to deliberate about what it is that we ought to do. (shrink)

Kant entwickelt in der Kritik der Urteilskraft eine philosophische Ästhetik, eine Theorie der organischen Natur. Die beiden scheinbar heterogenen Gegenstandsbereiche sind durch das Prinzip der reflektierenden Urteilskraft, die Idee der Zweckmäßigkeit, verbunden, die der Mensch sowohl bei der Reflexion über die schönen Gegenstände der Natur und der Kunst als auch bei seiner Erforschung der organischen Natur zugrunde legt. Da sich alle Zwecke zuletzt auf den Endzweck des Menschen als moralisches Wesen beziehen, übersteigt die dritte „Kritik" schließlich die Bereiche von Kunst (...) und Natur und berührt Fragen der Moralphilosophie und der Moraltheologie. Zusätzlich entdeckt Kant im subjektiven Vermögen der Urteilskraft jenes Bindeglied unter den menschlichen Gemütskräften, das einen architektonischen Übergang zwischen den Naturbegriffen des Verstandes in der ersten und dem Freiheitsbegriff der Vernunft in der zweiten „Kritik" ermöglicht und die theoretische und die praktische Philosophie in einem einzigen philosophischen System vereinigt. Der vorliegende kooperative Kommentar bietet eine textnahe, fortlaufende Interpretation der „Kritik der Urteilskraft". Für die 3. Auflage anlässlich des 300. Jubiläums Immanuel Kants wurden alle Beiträge überarbeitet und auf den neuesten Forschungsstand gebracht. Mit Beiträgen von: K. Ameriks, J. Bojanowski, R. Brandt, G. Cunico, M. Foessel, E. Förster, C. Fricke, H. Ginsborg, P. Giordanetti, I. Goy, O. Höffe, A. Kablitz, G. Kohler, S. Mathisen, B. Recki, J. Rivera de Rosales, S. Roth und E. Watkins. (shrink)

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

In the Critique of the Power of Judgment, Kant calls purposiveness the “lawfulness of the contingent”. I argue that this should be interpreted not as lawfulness assumed in order to remove unacceptable mechanical indeterminacy, but rather as an additional kind of lawfulness which, in the case of organisms, inexplicably coincides with mechanical determination. Schelling adapts Kant’s notion of natural purposiveness in his own conception of the relation between mechanism and organism. He states in his 1798 work, On the World Soul, (...) that nature is “lawless in its lawfulness, and lawful in its lawlessness”. This should be interpreted similarly: there is a coincidence of two orders of lawfulness in nature. However, while Kant maintains that the coincidence or unity of these two orders is inexplicable for beings like us, Schelling explains the unity by assigning these laws to distinct levels of operation in nature. Organic organization is generated by a second-order operation of an organic principle on the first-order mechanical forces that are characteristic of matter. Schelling thereby builds on Kant’s third Critique framework in a creative way in order to offer a more fully unified account of nature. In this account, mechanism and organism maintain distinct roles but are both grounded in a further, higher principle. (shrink)

On my interpretation of Kant, feeling plays a central role in the mind: it has the distinct function of tracking and evaluating our activity in relation to ourselves and the world so as to orient us. In this article, I set out to defend this view against a number of objections raised by Melissa Merritt and Uri Eran. I conclude with some reflections on the fact that, despite being very different, Merritt and Eran’s respective views of Kantian feelings turn out (...) to have something potentially problematic in common: they blur the boundary between feelings and other kinds of mental states. (shrink)

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)

According to Friedrich Schlegel: “The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science”; “[P]oetry and philosophy should be made unified”, and “life and society [should be made] poetic”. The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...) worry that was introduced by Friedrich Heinrich Jacobi as nihilism. The aspect of nihilism that I discuss concerns the worry that we are incapable of experiencing individuals qua individuals. According to Schlegel, this skeptical threat requires a reorientation in thought and philosophical method, one that must be modeled on the aesthetic orientation towards the world. More precisely, the experience of individuals qua individuals, which is called into question by the nihilist, depends on the special normative structure of the creative and critical attitude towards art and beauty that Schlegel called Romantic Poesie. Kant failed to address nihilism because he failed to recognize that the normative structure that he himself ascribed to the judgment of taste is required also for experiencing individuals as individuals, and for being properly responsive to persons. (shrink)

Neo-Kantianism emerged over the course of the 1860s and it occupied a leading position in the German universities from the 1870s until the First World War. Demands for getting "back to Kant" had become common since the early 1860s, and these demands were discussed in the meetings of the Philosophical Society of Berlin (Philosophische Gesellschaft zu Berlin; PGB), which was the international organization of Hegelians. In this paper I address some reactions among the PGB members to the 1860s Kant revival. (...) The journal "Der Gedanke", the organ of the PGB, reported closely how Kant returned to the spotlight of German philosophy. The reactions of the PGB members to the Kant revival was not only critical. Over the course of the 1860s the interest on Kant among the members grew little by little. (shrink)

Reconstructions of Romantic-era life science in general, and epigenesis in particular, frequently take the Kantian logic of autotelic “self-organization” as their primary reference point. I argue in this essay that the Kantian conceptual rubric hinders our historical and theoretical understanding of epigenesis, Romantic and otherwise. Neither a neutral gloss on epigenesis, nor separable from the epistemological deflation of biological knowledge that has received intensive scrutiny in the history and philosophy of science, Kant’s heuristics of autonomous “self-organization” in the third Critique (...) amount to the strategic capture of epigenesis from nature, for thought, in thought’s critical transcendence of nature. This essay looks to Jean-Baptiste Lamarck and his English contemporary Erasmus Darwin to begin to reconstruct the rigorously materialist, naturalist, and empiricist theories of epigenesis marginalized by Kantian argumentation. As theorists of environmental and social collaboration in the ontogeny of viable forms, Lamarck and Darwin illuminate features of our own epigenetic turn obscured by the rhetoric of “self-organization,” allowing us to glimpse an alternative Romantic genealogy of the biological present. (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)

Overview of the (non)conceptualism debate in Kant studies.

A Crítica da faculdade de julgar foi recebida com entusiasmo pelos filósofos do idealismo alemão. No caso de Friedrich Schelling, as duas partes da obra foram influentes, de modo que não só a estética kantiana, mas também a teleologia foi marcante em sua trajetória filosófica. Observaremos como o filósofo de Leonberg acolhe, na Introdução às Ideias para uma filosofia da natureza, a noção kantiana de organismo como dotado de autocausalidade, mas pensa-a nos quadros de uma filosofia pós-kantiana, buscando prescindir das (...) noções de juízo reflexionante e também da ideia de “natureza como arte” para se pensar o organismo. Como Schelling vincula essa noção com a proposta de se pensar a unidade entre natureza e espírito a partir do próprio sujeito, e não de algo exterior a ele? Como Kant reagiria a tal proposta? The Critique of Judgment was enthusiastically received by the German Idealists. In the case of Friedrich Schelling, both divisions of the work were influent, thus resulting that not only Kantian aesthetics, but also the teleology was a landmark in his philosophical itinerary. We attempt to observe how the philosopher of Leonberg receives, in the Introduction to the Ideas for a Philosophy of Nature, the Kantian conception of organism as endowed with self-causality, but at the same time thinks it within the frame of a post-Kantian philosophy, leaving aside the reflective judgment and also the idea of nature as a product of art in order to think the organism. How does Schelling connect this notion with the proposal to think the unity between nature and spirit based on the own subject, and not on something external to it? How would Kant react to such a proposal? (shrink)

Uno de los problemas que se le presentan a Kant en la Crítica de la facultad de juzgar es el de la aptitud de la naturaleza en su diversidad particular para ser conformada por las leyes del entendimiento. En este contexto, Kant defi ne los conceptos de naturaleza, materia y fi nalidad de una manera que antes no había tenido cabida en su sistema, y postula la idea de una técnica o arte de la naturaleza. En este artículo se analiza (...) y discute cómo Kant aborda esto, haciendo hincapié en el papel que juega el principio de la conformidad a fi n en el marco de una naciente ciencia de los seres vivos.One of the problems for Kant in the Critique of Judgment is the suitability of nature's particular diversity to the laws of the understanding. In this context, Kant characterizes the concepts of nature, matter and purposiveness in a novel fashion, putting forward the idea of an art or technique of nature. This article considers this new Kantian approach emphasizing the role played by the principle of purposiveness in a context in which a new science of living beings is emerging. (shrink)

En la Crítica de la facultad de juzgar, Kant atribuye al principio mecanicista un carácter meramente regulativo. Esto podría dar lugar a pensar que, en esta obra, se opera una transformación del modo en que el autor concibe la causalidad general, ya que, en las primeras dos Críticas, existe una tendencia a identificar el principio mecanicista con el principio de la segunda analogía de la experiencia. En este trabajo, intentaré mostrar que la presentación del principio que Kant hace en la (...) tercera Crítica es totalmente coherente con las tesis que desarrolla en sus otras obras, y que no supone otra modificación de su teoría más que aquella que surge de dirigir la atención sobre el operar de la facultad de juzgar reflexionante y sobre los problemas con los que este operar se relaciona. (shrink)

Following the revival in the last decades of the concept of “organism”, scholarly literature in philosophy of science has shown growing historical interest in the theory of Immanuel Kant, one of the “fathers” of the concept of self-organisation. Yet some recent theoretical developments suggest that self-organisation alone cannot fully account for the all-important dimension of autonomy of the living. Autonomy appears to also have a genuine “interactive” dimension, which concerns the organism’s functional interactions with the environment and does not simply (...) derive from its internal organisation. Against this background, we focus on a family of natural philosophical approaches that historically have already strongly taken in account this aspect of autonomy, notably going beyond Kant’s perspective on self-organisation. We thus review Hegel, Plessner, and Jonas’ different perspectives on living beings, focussing in particular on four points: the distinction between organic and inorganic, the theory of biological organisation, the processuality of the living, and the “boundary” between inside and outside, through which the organism establishes its relationship to the environment. We, then, compare the three perspectives on these four points, and finally address the question of what advantages their contribution present—especially compared to Kant’s theory—with respect to the topic of organism’s autonomy. This could help—we hope—to better understand what is at the stake still today. (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)

El presente trabajo reconstruye algunos de los momentos principales del debate acerca del concepto de "raza humana" que tuvo lugar hacia finales del siglo xviii entre Kant, Forster y Herder. El objetivo de esta reconstrucción es mostrar, en una primera instancia, que esa polémica se hallaba determinada por la necesidad de adaptar las herramientas histórico-naturales heredadas a la emergencia de una concepción irreversible de la variable temporal. En un segundo momento, es analizada la posición asumida por Kant frente a los (...) problemas epistémicos que generaba la progresiva temporización de los fenómenos naturales. Según se demuestra a partir del presente análisis, la introducción de principios regulativos y el giro kantiano hacia el ámbito de la subjetividad se hallaban orientados a respaldar la vigencia de la comprensión clásica de las formas orgánicas naturales, de modo a garantizar el carácter sistemático del orden natural en un contexto en el cual las transformaciones histórico-naturales ya no resultaban concebibles bajo el modelo clásico de la reversibilidad temporal. This work reconstructs some key moments of the debate on the concept of "human race" that took place in the late eighteenth century among Kant, Forster and Herder. It aims to show, first, that this controversy was defined by the need to adapt the natural-historical tools inherited from the emergence of a conception of irreversible temporality. Secondly, it analyses Kant´s position regarding the epistemic problems generated by the progressive temporization of natural phenomena. Based on this analysis, it is shown that the introduction of regulative principles and the Kantian turn toward subjectivity tended to support the validity of the classic understanding of natural-organic forms, and thus, to guarantee the systematic character of natural order in a context in which historical and natural transformations could no longer be conceived under the classic model of temporal reversibility. (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)

Se busca precisar dos sentidos de mecanismo en Kant, a saber, el “mecanismo de la naturaleza” como sinónimo de la causalidad natural y el concepto de mecanismo que se desprende de la Crítica de la facultad de juzgar, para iluminar lo que este autor entiende por “explicación mecánica” en el juicio teleológico. Eso permite entender por qué los seres orgánicos son inexplicables mecánicamente y, de esta manera, justificar la necesidad de los juicios teleológicos sobre la naturaleza.

ABSTRACTWe know from Nietzsche’s posthumously published notebooks and correspondence of his plan in 1868 to compose a doctoral dissertation in philosophy on the subject of teleology in nature and the concept of the organic, with reference to Kant. The bulk of my discussion represents an attempt to extrapolate from Nietzsche’s letters and preparatory notes the view he arrived at. Since the notes do not defend explicitly any single definitive thesis, their interpretation is unavoidably conjectural. I argue that, if Nietzsche’s remarks (...) are considered with close reference to the philosophers who at that point dominated his horizons, namely Kant, Schopenhauer, and Lange, with Goethe also playing a key role, a plausible account can be given of the broad conclusions Nietzsche reached as a result of his early engagement with the problem of teleology. This outlook maintains the necessity and distinctiveness of philosophical reflection, but takes a skeptical view of its basis. In 1868 Nietzsche had no clear idea of how to proceed from this point, but in the end I propose, as others have done, that Nietzsche’s reflections on Kant and teleology helped to lay the ground for The Birth of Tragedy. In conclusion, I hypothesize that Nietzsche’s later philosophy involves no change of metaphilosophical standpoint. (shrink)

Kant’s treatment of organic phenomena in the third _Critique_ is relatively well-known. Less known is that Schelling offered an original answer to the same problems in his early writings on the philosophy of nature. Even less known is the significance of his rethinking of the role of chemistry in his approach to organic phenomena. In this article, after outlining the problem of organic phenomena at the end of the eighteenth century, I reconstruct Schelling’s account of chemistry against the background of (...) Kant’s theory of matter. I show that, while Schelling endorses Kant’s verdict that chemistry is not a proper science, he nevertheless assigns to it a far greater scope and explanatory power than Kant does. After that, I briefly sketch Schelling’s solution to the problem of organic phenomena while stressing the significance of his thinking about chemistry for this solution. (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)

A well-rehearsed move among teleological realists in the philosophy of biology is to base the idea of genuinely teleological forms of organic self-reproduction on a type of causality derived from Kant. Teleological realists have long argued for the causal possibility of this form of causality—in which a whole is considered the cause of its parts—as well as formulated a set of teleological criteria of adequacy for it. What is missing, to date, is an account of the mereological principles that govern (...) the envisioned whole-to-part causality. When the latter principles are taken into account, we find that there is no version of whole-to-part causality that is mereologically, causally and teleologically possible all at once, as teleological realism requires. (shrink)