In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...) present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)

Kant is often considered to have argued that perceptual awareness of objects in one's environment depends on the subject's possession of conceptual capacities. This conceptualist interpretation raises an immediate problem concerning the nature of perceptual awareness in non-rational, non-concept using animals. In this paper I argue that Kant’s claims concerning animal representation and consciousness do not foreclose the possibility of attributing to animals the capacity for objective perceptual consciousness, and that a non-conceptualist interpretation of Kant’s position concerning perceptual awareness can (...) actively endorse this attribution. Kant can consistently allow that animals have a point of view on the objective world which possesses a distinctive phenomenal character while denying what seems most important to him – viz. that animals have the capacity to take cognitive attitudes towards, and thus self-ascribe, their own representational states. (shrink)

The concept of trauma has recently expanded its reach to include what otherwise might be understood as intimate experience. This overextension represents a threat to our ability to conceptualize intimate experiences, hence to use concepts to engage in intimate communication. An analysis of Wallace Stevens’s poem “The Auroras of Autumn”, demonstrates how poetry provides a supplemental vehicle for the communication of intimate experiences. Poetry is therefore characterized as an essential element in ethical life.

Le présent essai tente de tirer au clair les différentes significations des termes « conscient » et « conscience » dans la philosophie critique de Kant et en particulier dans la Critique de la raison pure. On considère d’abord les divers types de représentations et ce que veut dire Kant lorsqu’il les dit « avec » ou « sans » conscience. On considère ensuite le concept de conscience tel qu’il apparaît dans la Déduction transcendantale des catégories, où il ne réfère (...) pas à une qualité de représentations particulières, mais à une attitude active de l’esprit. Considérée dans son ensemble, la conception kantienne de la « conscience » mêle inséparablement un aspect que nous appelons, après T. Nagel, « conscience phénoménale », et un aspect proche de la « conscience d’accès » selon N. Block, dans lequel cependant la conscience de soi, exprimable par la proposition « Je pense », joue un rôle central. Cette combinaison fait de Kant un interlocuteur unique dans les débats contemporains sur la conscience et son rôle dans notre vie mentale, ainsi que sur l’IA et sa signification pour l’avenir de l’humanité. (shrink)

Béatrice Longuenesse presents an original exploration of our understanding of ourselves and the way we talk about ourselves. In the first part of the book she discusses contemporary analyses of our use of 'I' in language and thought, and compares them to Kant's account of self-consciousness, especially the type of self-consciousness expressed in the proposition 'I think.' According to many contemporary philosophers, necessarily, any instance of our use of 'I' is backed by our consciousness of our own body. For Kant, (...) in contrast, 'I think' just expresses our consciousness of being engaged in bringing rational unity into the contents of our mental states. In the second part of the book, Longuenesse analyzes the details of Kant's view and argues that contemporary discussions in philosophy and psychology stand to benefit from Kant's insights into self-consciousness and the unity of consciousness. The third and final part of the book outlines similarities between Kant's view of the structure of mental life grounding our uses of 'I' in 'I think' and in the moral 'I ought to, ' on the one hand; and Freud's analysis of the organizations of mental processes he calls 'ego' and 'superego' on the other hand. Longuenesse argues that Freudian metapsychology offers a path to a naturalization of Kant's transcendental view of the mind. It offers a developmental account of the normative capacities that ground our uses of 'I, ' which Kant thought could not be accounted for without appealing to a world of pure intelligences, distinct from the empirical, natural world of physical entities. (shrink)

The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to objects in (...) aesthetic experience, we can explain how the faculties are free, even when the subject already possesses a concept of the object and is bound to the determinate form of the object in perception. (shrink)

Philosophers often characterize discourse in general as aiming at some sort of convergence (in beliefs, plans, dispositions, feelings, etc.), and many views about aesthetic discourse in particular affirm this thought. I argue that a convergence norm does not govern aesthetic discourse. The conversational dynamics of aesthetic discourse suggest that typical aesthetic claims have directive force. I distinguish between dynamic and illocutionary force and develop related theories of each for aesthetic discourse. I argue that the illocutionary force of aesthetic utterances is (...) typically invitational because its dynamic force is influenced by a ‘communal’ norm. I draw on dynamic pragmatics to develop a formal account of this dynamic force that explains why invitation has pride of place in aesthetic conversation. It turns out that the end of aesthetic discourse is not convergence but a distinctive form of community, a kind of harmony of individuality, that is compatible with aesthetic disagreement. If this is right, then convergence theories of aesthetic and normative discourse, and of conversation in general, need to be revised. (shrink)

This paper examines Kant’s anthropological project and its relationship to his conception of ‘man’ in order to show that Kant’s answer to the question ‘what is man?’ entails a decisive re-evaluation of traditional conceptions of human nature. I argue that Kant redirects the question ‘what is man?’ away from defining man in terms of what he is, and towards defining him in terms of what he does, in particular through the distinction between three levels of what I will call ‘man’s (...) praxis’: the levels of technicality, prudence, and morality. As soon as man is understood in terms of what he makes of himself rather than in terms of what he is, two crucial issues arise: what is the purpose of his making? And how can he reach this destination? My claim is that whilst the first question is answered by ethics and a doctrine of prudence, the second question is answered by anthropology. In this sense, anthropology plays the crucial role of identifying the worldly helps and hindrances to the realisation of man’s purposes—and this is the reason why it should be understood as a ‘pragmatic’ discipline.Keywords: Immanuel; Kant; Pragmatic; Anthropology; Praxis; Aliens; Human nature. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and desire, (...) and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

The notion of the ‘free harmony of the faculties’ has baffled many of Kant's readers and also attracted much criticism. In this paper I attempt to shed light on this puzzling notion. By doing so, I aim to challenge some of the criticisms that this notion has attracted, and to point to its relevance to contemporary debates in aesthetics. While most of the literature on the free harmony is characterized by what I regard as an ‘extra-aesthetic approach’, I propose ‘an (...) aesthetic approach’ to the harmony. Such an aesthetic interpretation explains why aesthetic judgement, but not cognitive judgement, is based on a free agreement of the faculties in distinctively aesthetic terms. By contrast, an extra-aesthetic approach to Kant's aesthetic theory does not explain what it is in beautiful objects as beautiful that calls for a free agreement of the faculties. I argue that this approach is limited, and suggest an alternative to it by articulating the necessary reciprocity and explanatory interdependence between the form and value of beautiful objects and the form of the mental activity that underlies judgements of taste. My proposal is not only aesthetic, but also normative in its attempt to carve up a space for a distinct form of aesthetic normativity, the one that Kant describes as ‘free lawfulness’ or ‘lawfulness without a law’. I opt for a specifically normative variant of aesthetic interpretation because I believe that Kant is committed to the view of aesthetic judgement as normatively autonomous and irreducible. (shrink)

In this illuminating study of Kant's theory of imagination and its role in interpretation, Rudolf A. Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, and the (...) purposiveness of history. (shrink)

Allen Wood “What is the human being?” Kant sometimes treated this question as the most fundamental question of all philosophy: “The field of philosophy in the cosmopolitan sense can be brought down to the following questions: 1. What can I know? 1. What ought I to do? 1. What may I hope? 1. What is the human being? Metaphysics answers the first question, morals the second, religion the third, and anthropology the fourth. Fundamentally, however, we could reckon all of this (...) to anthropology, because the first three questions refer to the last one”.[i]. (shrink)

There can be no doubt that Kant thought we should be reflective: we ought to care to make up our own minds about how things are and what is worth doing. Philosophical objections to the Kantian reflective ideal have centred on concerns about the excessive control that the reflective person is supposed to exert over her own mental life, and Kantians who feel the force of these objections have recently drawn attention to Kant’s conception of moral virtue as it is (...) developed in his later work, chiefly the Metaphysics of Morals. Melissa Merritt’s book is a distinctive contribution to this recent turn to virtue in Kant scholarship. Merritt argues that we need a clearer, and textually more comprehensive, account of what reflection is, in order not only to understand Kant’s account of virtue, but also to appreciate how it effectively rebuts long-standing objections to the Kantian reflective ideal. (shrink)

Why taunt and flout us, as Beckett's writing does? Why discourage us from seeing, as Mark Rothko's paintings often can? Why immobilize and daze us, as Alain Resnais' films sometimes will? Why, Leo Bersnai and Ulysse Dutoit ask, would three acknowledged masters of their media make work deliberately opaque and inhospitable to an audience? This book shows how such crippling moves may signal a profoundly original - and profoundly anti-modernist - renunciation of art's authority.

This Element is a study of how the power of imagination is, according to Kant, supposed to contribute to cognition. It is meant to be an immanent and a reconstructive endeavor, relying solely on Kant's own resources when he tries to determine what material, faculties, and operations are necessary for cognition of objects. The main discourse is divided into two sections. The first deals with Kant's views concerning the power of imagination as outlined in the A- and B- edition of (...) the Critique of Pure Reason. The second focuses on the power of imagination in the first part of the Critique of Judgment. (shrink)

The highest principle of Kant’s theoretical philosophy is that all cognition must “be combined in one single self-consciousness”. Elsewhere I have tried to explain why he believed that all cognition must belong to a single self ; here I try to clarify the other half of the doctrine. What led him to the claim that all cognition involved self-consciousness? This question is pressing, because the thesis strikes many as obviously false.