Michel Chaouli invites novice and expert alike to set out on the path of thinking, with help from Kant’s Critique of Judgment, about the force of aesthetic experience, the essence of art, and the relationship of beauty and meaning. Each chapter unfolds the significance of a key concept for Kant’s thought and our own ideas.

Kant famously declares that “although all our cognition commences with experience, … it does not on that account all arise from experience”. This marks Kant’s disagreement with empiricism, and his contention that human knowledge and experience require both sensation and the use of certain a priori concepts, the Categories. However, this is only the surface of Kant’s much deeper, though neglected view about the nature of reason and judgment. Kant holds that even our a priori concepts are acquired, not from (...) sensation, but “originally,” because our mind has a fundamental capacity to judge that, upon sensory stimulation, generates the Categories through its basic logical functions of judgment. This “epigenesis” of reason and our fundamental capacity to judge that drives it is the topic of Longuenesse’s fascinating book, and the source of her title. (shrink)

This paper shows that moral progress is a substantive and plausible idea. Moral progress in belief involves deepening our grasp of existing moral concepts, while moral progress in practices involves realizing deepened moral understandings in behavior or social institutions. Moral insights could not be assimilated or widely disseminated if they involved devising and applying totally new moral concepts. Thus, it is argued, moral failures of past societies cannot be explained by appeal to ignorance of new moral ideas, but must be (...) understood as resulting from refusals to subject social practices to critical scrutiny. Moral philosophy is not the main vehicle for disseminating morally progressive insights, though it has an important role in processes that lead to moral progress. Yet we have grounds for cautious optimism, since progressive moral insights can be disseminated and can, sometimes, have constructive social effects. (shrink)

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)

At A71/B96–7 Kant explains that singular judgements are ‘special’ because they stand to the general ones as Einheit to Unendlichkeit. The reference to Einheit brings to mind the category of unity and hence raises a spectre of circularity in Kant’s explanation. I aim to remove this spectre by interpreting the Einheit-Unendlichkeit contrast in light of the logical distinctions among universal, particular and singular judgments shared by Kant and his logician predecessors. This interpretation has a further implication for resolving a controversy (...) over the correlation between the logical moments of quantity (universal, particular, singular) and the categorial ones (unity, plurality, totality). (shrink)

This paper addresses a problem about aesthetic normativity raised by Kant. Can aesthetic experiences be appropriate or inappropriate to their objects? And, if so, how is that possible given that, according to Kant, aesthetic experience is not objective? Kant thought the answer to the first question was yes. But his official answer to the second question, in terms of the free play of the faculties, is obscure. The paper offers a clearer answer, inspired by Kant, which invokes Wittgenstein’s notion of (...) “knowing how to go on.” Aesthetic normativity is problematic only on the assumption that claims to the normativity of one’s responses to things must be based on the recognition of objective properties of those things. However, Wittgenstein’s discussion shows that we need not accept that assumption. There can be legitimate claims to the normativity of one’s responses which do not rely on those responses’ reflecting appreciation of objective facts. (shrink)

The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...) present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality. (shrink)

In the Introduction to the Critique of the Power of Judgment, Kant claims that the Critique of Pure Reason accounted for the necessary conditions of experience and knowledge in general, but that it was not a complete transcendental account of the possibility of a particular empirical experience of objects and knowledge of empirical laws of nature. To fill this gap the third Critique puts forward, as an additional transcendental condition, the regulative principle of the purposiveness of nature. In this paper, (...) I will attempt to show how Kant’s account of pure aesthetic judgment can be read as articulating an aesthetic non-conceptual condition of the search for the conceptual order of nature and so as constituting an essential part of the account of the transcendental conditions of empirical experience and knowledge. (shrink)

I argue that Kant’s theory of art meets the challenge of strong non-perceptual art, an idea I extrapolate from James Shelley’s account of non-perceptual art. I endorse the spirit of Shelley’s account, but argue that his examples fail to support his case because he does not distinguish between strong and weak non-perceptual art. The former has no perceptible properties relevant to its appreciation as art; the latter is not exhausted by appreciation of those perceptible properties it does have. I show (...) this by comparing Marcel Duchamp’s Fountain and Robert Barry’s All the things I know. For Kant, appreciating art aesthetically as art requires: (1) awareness that it is art and (2) responsiveness to the ideas presented. Taken together, this allows Kant to accommodate strong non-perceptual art. I consider three challenges to this view: (a) Kant is committed to a representational theory of art; (b) Kant is committed to a restrictive formalism about aesthetic judgements of art; (c) Kant’s understanding of aesthetic pleasure commits him to a perceptual theory of art. I reply that: (i) this is grounded in empirical generalizations external to Kant’s theory; (ii) Kant’s strong formalist views are at odds with his account of ‘subjective purposiveness’, and the latter has priority; (iii) Kant is offering a general theory of art, which must accommodate both literature and strong non-perceptual art. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal to (...) Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Andre Breton discusses the meaning, aims, and political position of the Surrealist movement.

Kant and the Claims of Taste, published here for the first time in paperback in a revised version, has become, since its initial publication in 1979, the standard commentary on Kant's aesthetic theory. The book offers a detailed account of Kant's views on judgments of taste, aesthetic pleasure, imagination and many other topics. For this new edition, Paul Guyer has provided a new foreword and has added a chapter on Kant's conception of fine art. This re-issue will complement the author's (...) companion volume, Kant and the Experience of Freedom, which places Kant's aesthetics in its historical context and examines the fundamental connection between Kant's aesthetics and his moral theory. (shrink)

In a well-known passage from the Introduction to Kant’s Critique of Judgment, Kant defines the power or faculty of judgment [Urteilskraft] as "the capacity to think the particular as contained under the universal" (Introduction IV, 5:179).1 He then distinguishes two ways in which this faculty can be exercised, namely as determining or as reflecting. These two ways are defined as follows: "If the universal (the rule, the principle, the law) is given, then judgment, which subsumes the particular under it... is (...) determining. But if merely the particular is given, for which the universal is to be found, then judgment is merely reflecting" (ibid.) As Kant goes on to make clear, the Critique of Judgment is particularly concerned with judgment in its capacity as reflecting rather than determining. It is concerned, that is, with how we are to find universals (which he glosses as rules, principles, or laws) for given particulars. Despite the fact that the term "concept" does not appear in this set of definitions, Kant’s discussions of judgment elsewhere make it clear that this faculty can be identified at least in part with our capacity to think particular objects under concepts, in particular empirical concepts.2 The.. (shrink)