In the Transcendental Aesthetic, Kant famously characterizes space as a unity, understood as an essentially singular whole. He further develops his account of the unity of space in the B-Deduction, where he relates the unity of space to the original synthetic unity of apperception, and draws an infamous distinction between form of intuition and formal intuition. Kant ’s cryptic remarks in this part of the Critique have given rise to two widespread and diametrically opposed readings, which I call the Synthesis (...) and Brute Given Readings. I argue for an entirely new reading, which I call the Part-Whole Reading, in part by considering the development of Kant ’s views on the unity of space from his earliest works up through crucial reflections written during the silent decade. (shrink)

In his argument for the possibility of knowledge of spatial objects, in the Transcendental Deduction of the B-version of the Critique of Pure Reason, Kant makes a crucial distinction between space as “form of intuition” and space as “formal intuition.” The traditional interpretation regards the distinction between the two notions as reflecting a distinction between indeterminate space and determinations of space by the understanding, respectively. By contrast, a recent influential reading has argued that the two notions can be fused into (...) one and that space as such is first generated by the understanding through an act of synthesis of the imagination. Against this reading, this article argues that a key characteristic of space as a form of intuition is its nonconceptual unity, which defines the properties of space and is as such necessarily independent of determination by the understanding through the transcendental synthesis of the imagination. The conceptual unity that the understanding prescribes to the manifold in intuition, by means of the categories, defines the formal intuition. Furthermore, this article argues that it is the sui generis, nonconceptual unity of space, when takenas a unity for the understanding by means of conceptual determination, that first enables geometric knowledge and knowledge of spatially located particulars. (shrink)

"Kant and the Capacity to Judge" will prove to be an important and influential event in Kant studies and in philosophy.

I argue that Kant’s distinction between the cognitive roles of sensibility and understanding raises a question concerning the conditions necessary for objective representation. I distinguish two opposing interpretive positions—viz. Intellectualism and Sensibilism. According to Intellectualism all objective representation depends, at least in part, on the unifying synthetic activity of the mind. In contrast, Sensibilism argues that at least some forms of objective representation, specifically intuitions, do not require synthesis. I argue that there are deep reasons for thinking that Intellectualism is (...) incompatible with Kant's view as expressed in the Transcendental Aesthetic. We can better see how Kant’s arguments in the first Critique may be integrated, I suggest, by examining his notion of the 'unity' [Einheit] of a representation. I articulate two distinct ways in which a representation may possess unity and claim that we can use these notions to integrate Kant’s arguments in the Aesthetic and the Transcendental Deduction without compromising the core claims of either Sensibilism or Intellectualism—that intuition is a form of objective representation independent of synthesis, and that the kind of objective representations that ground scientific knowledge of the world require synthesis by the categories. (shrink)

According to non-conceptualist interpretations, Kant held that the application of concepts is not necessary for perceptual experience. Some have motivated non-conceptualism by noting the affinities between Kant's account of perception and contemporary relational theories of perception. In this paper I argue (i) that non-conceptualism cannot provide an account of the Transcendental Deduction and thus ought to be rejected; and (ii) that this has no bearing on the issue of whether Kant endorsed a relational account of perceptual experience.

Despite Kant's belief in a universal causal determinism among phenomena and his rejection of any noumenal agency in brutes, he nevertheless rejected Descartes's hypothesis that brutes are machines. Explaining Kant's response to Descartes forms the basis for this discussion of the nature of consciousness and matter in Kant's system. Kant's numerous remarks on animal psychology-as found in his lecture notes and reflections on metaphysics and anthropology-suggest a theory of consciousness and self-consciousness at odds with that traditionally ascribed to him.

I use recent work on Kant and diagrammatic reasoning to develop a reconsideration of central aspects of Kant’s philosophy of geometry and its relation to spatial intuition. In particular, I reconsider in this light the relations between geometrical concepts and their schemata, and the relationship between pure and empirical intuition. I argue that diagrammatic interpretations of Kant’s theory of geometrical intuition can, at best, capture only part of what Kant’s conception involves and that, for example, they cannot explain why Kant (...) takes geometrical constructions in the style of Euclid to provide us with an a priori framework for physical space. I attempt, along the way, to shed new light on the relationship between Kant’s theory of space and the debate between Newton and Leibniz to which he was reacting, and also on the role of geometry and spatial intuition in the transcendental deduction of the categories. (shrink)

By taking into account some texts published between the first and the second edition of the Critique of Pure Reason that have been neglected by most of those who have dealt with the deduction of the categories, I argue that the core of the deduction is to be identified as the ‘almost single inference from the precisely determined definition of a judgment in general’, which Kant adumbrates in the Metaphysical Foundations in order to ‘make up for the deficiency’ of the (...) A-deduction. Whereas the first step of the B-deduction is an attempt to show that the manifold of an intuition belongs to the ‘necessary unity of self-consciousness’ by means of the synthesis of the understanding, the second step has the task of showing that the very same synthesis is responsible for the spatio-temporal unity of the manifold. Thus, Kant's ‘answer to Hume’ is that no spatio-temporal objects of experience at all are merely ‘given’, independently of the conceptual activities of the understanding. Against the established view I substantiate the claim that with this ‘almost single inference’ of the second proof step the distinction between judgments of perception and judgments of experience consequently vanished from Kant's thinking. (shrink)

:Space is not an empirical concept that has been drawn from outer experiences. For in order for certain sensations to be related to something outside me , thus in order for me to represent them as outside and next to one another, thus not merely different but as in different places, the representation of space must already be their ground. Thus the representation of space cannot be obtained from the relations of outer appearance through experience, but this outer experience is (...) itself first possible only through this representation. 1Abstract:Der Raum is kein empirischer Begriff, der von äußeren Erfahrungen abgezogen worden. Denn damit gewisse Empfindungen auf etwas außer mir bezogen werden, imgleichen damit ich sie als außer und neben einander, mithin nicht bloß verschieden, sondern als in verschiedenen Orten vorstellen können, dazu muß die Vorstellung des Raumes schon zum Grunde liegen. (shrink)

As most of its readers are aware, the Critique of Pure Reason is primarily concerned not with empirical, but with a priori knowledge. For the most part, the Kant of the first Critique tends to assume that experience, and the knowledge that is based on it, is unproblematic. The problem with which he is concerned is that of how we can be capable of substantive knowledge independently of experience. At the same time, however, the notion of experience plays a crucial (...) role in the central arguments of the Critique. For, again as most readers of the Critique know, Kant aims to show how we can have synthetic a priori knowledge by showing that the categories, or pure concepts of the understanding, are conditions of the possibility of experience. This means that, whether or not Kant is concerned with the notion of experience for its own sake, his account of a priori knowledge carries with it at least some commitments regarding the character of experience. If the account of a priori knowledge is to be successful, then experience has to be the kind of thing for which the categories can, in principle, serve as conditions of possibility. More specifically, experience must involve not only the senses, but also thought or understanding, for otherwise the claim that it presupposes a certain specific set of concepts is simply unintelligible. And indeed at least some parts of the Critique, in particular the so-called subjective deduction in the first edition, and the briefer passages which correspond to it in the second edition, seem to be intended to show how this requirement is met. That is, they are concerned not so much with showing that experience is governed by the categories, as with elaborating a view of experience as involving conceptual activity überhaupt. (shrink)

This paper contains a critical analysis of the interpretation of Kant's second edition version of the Transcendental Deduction offered by Béatrice Longuenesse in her recent book: Kant and the Capacity to Judge. Though agreeing with much of Longuenesse's analysis of the logical function of judgment, I question the way in which she tends to assign them the objectifying role traditionally given to the categories. More particularly, by way of defending my own interpretation of the Deduction against some of her criticisms, (...) I argue that Longuenesse fails to show how either part of the two-part proof may be plausibly thought to have established the necessity of the categories (as opposed to the logical functions). Finally, I question certain aspects of her 'radical' interpretation of the famous footnote at B160-1, where Kant distinguishes between 'form of intuition' and 'formal intuition'. (shrink)

This article is an explication and defense of Kant’s view that ‘imagination is a necessary ingredient of perception itself’ (Critique of Pure Reason, A120, fn.). Imagination comes into perception at a far more basic level than Strawson allows, and it is required for the constitution of intuitions (= sense experiences) out of sense impressions. It also plays an important part in explaining how it is possible for intuitions to have intentional contents. These functions do not involve the application of contents, (...) and I offer a schematic account of how they arise from preconceptual synthesis. (shrink)

Wonderfully clear, scholarly, and well argued, Kant’s Intuitionism offers a bold new interpretation of the thesis of the Transcendental Aesthetic. Falkenstein reads Kant as a “formal intuitionist.” That is, he takes Kant to have maintained that the forms of intuition, space, and time were given along with sensations. They were neither preexisting representations, nor intellectual or imaginative constructions out of sensations. In this context “given” contrasts with “constructed”; subjects’ representations of space and time derived from their sensory constitutions. When subjects’ (...) senses were stimulated, that produced sensations with intensities varying according to the stimulus; because of the subjects’ constitutions, the intensity values were ordered after one another in time and adjacent to one another in space. Falkenstein characterizes space and time as “presentational orders” of sensations. (shrink)

In this paper I advance an account of Kant’s Schematism according to which a schema in general is a pattern of imaginative synthesis that explains how intuitions have the content required for them to fall under a concept corresponding to the schema. An empirical schema is a pattern of imaginative synthesis that is responsive to the qualities of the sensations involved in the intuition which it synthesizes. A transcendental schema, in contrast, is not responsive to the particular qualities of the (...) sensations involved in intuitions but only to structural relations between intuitions. So a transcendental schema is a form of imaginative synthesis that explains how intuitions have the content required for them to fall under a category corresponding to the schema. This account can be grounded in the text of the Critique of Pure Reason, and it also does justice to Kant’s commitment to sensible and empirical schemata as well as transcendental schemata, his association of schemata with imagination and imaginative synthesis, and his claim that “schematism … is an art concealed in the depths of the human soul” (A141/B180). (shrink)

I criticize recent nonconceptualist readings of Kant’s account of perception on the grounds that the strategy of the Deduction requires that understanding be involved in the synthesis of imagination responsible for the intentionality of perceptual experience. I offer an interpretation of the role of understanding in perceptual experience as the consciousness of normativity in the association of one’s representations. This leads to a reading of Kant which is conceptualist, but in a way which accommodates considerations favoring nonconceptualism, in particular the (...) primitive character of perceptual experience relative to thought and judgment. (shrink)

It's well-known that Kant believed that intuition was central to an account of mathematical knowledge. What that role is and how Kant argues for it are, however, still open to debate. There are, broadly speaking, two tendencies in interpreting Kant's account of intuition in mathematics, each emphasizing different aspects of Kant's general doctrine of intuition. On one view, most recently put forward by Michael Friedman, this central role for intuition is a direct result of the limitations of the syllogistic logic (...) available to Kant. On this view, Kant's reasons for introducing intuition are taken to be logical or mathematical, rather than philosophical. The other tendency, which I shall try to develop here, emphasizes an epistemological or phenomenological role for intuition in mathematics arising out of what may loosely be called Kant's ‘antiformalism.’This paper, which focuses specifically on the case of geometry, falls into two parts. First, I consider Kant's discussion of intuition in the Metaphysical Exposition of the concept of space. (shrink)

Kant's Critique of Pure Reason makes important claims about space, time and mathematics in both the Transcendental Aesthetic and the Axioms of Intuition, claims that appear to overlap in some ways and contradict in others. Various interpretations have been offered to resolve these tensions; I argue for an interpretation that accords the Axioms of Intuition a more important role in explaining mathematical cognition than it is usually given. Appreciation for this larger role reveals that magnitudes are central to Kant's philosophy (...) of mathematics and to the part that intuition plays in it. (shrink)