In this paper, I intend to show that it’s a serious mistake to construe the role of sensible representation in Kant’s work as a nonconceptual content (in the contemporary and technical sense of “content”), which, like a mental indexical would refer to what appears in space and time in the so-called de re form. The interpretation I advance and further support is this: without possessing a representational content, sensible representation must be understood as the basic epistemic relation between (...) the subject and the physical entities in space and time she is acquainted with. Immediate reference of sensible intuition to their respective objects is to be understood as a form of knowledge by acquaintance. I call my own interpretation relationalism. (shrink)

Abstract Both parties in the active philosophical debate concerning the conceptual character of perception trace their roots back to Kant's account of sensible intuition in the Critique of Pure Reason. This striking fact can be attributed to Kant's tendency both to assert and to deny the involvement of our conceptual capacities in sensible intuition. He appears to waver between these two positions in different passages, and can thus seem thoroughly confused on this issue. But this is (...) not, in fact, the case, for, as I will argue, the appearance of contradiction in his account stems from the failure of some commentators to pay sufficient attention to Kant's developmental approach to philosophy. Although he begins by asserting the independence of intuition, Kant proceeds from this nonconceptualist starting point to reveal a deeper connection between intuitions and concepts. On this reading, Kant's seemingly conflicting claims are actually the result of a careful and deliberate strategy for gradually convincing his readers of the conceptual nature of perception. (shrink)

This paper aims to offer a critical review of the recent nonconceptualist reading of the Kantian notion of sensible intuition. I raise two main objections. First, nonconceptualist readers fail to distinguish connected but different anti-intellectualist claims in the contemporary philosophy of mind and language. Second, I will argue that nonconceptual readings fail because Kan- tian intuitions do not possess a representational content of their own that can be veridical or falsidical in a similar way to how the content (...) of propositional attitudes is true or false. In this paper, I will support my own reading that sensible intuition is better seen as what Evans and McDowell have called a de re sense, whose main characteristic is object dependence. In this sense, Kantian sensible intuitions can be seen as a sensible mode of donation of objects. In my reading, the Kantian opposition between intuitions and concepts is best seen as the opposition between the objectual de re perception of something and the propositional de dicto apperception that something is the case rather than the opposition between nonconceptual and conceptual contents. However, if Kantian sensible intuition is not a mental state with nonconceptual content, it is certainly in the general anti-intellectualist neighborhood. (shrink)

Abstract: This essay addresses three specific moments in the history of the role played by intuition in Kant's system. Part one develops Kant's attitude toward intuition in order to understand how ‘sensible intuition’ becomes the first step in his development of transcendental idealism and how this in turn requires him to reject the possibility of an ‘intellectual intuition’ for human cognition. Part two considers the role of Jacobi when it came to interpreting both Kant's epistemic (...) achievement and what were taken to be the outstanding problems of freedom's relation to nature; problems interpreted to be resolvable only via an appeal to ‘intellectual intuition’. Part three begins with Kant's subsequent return to the question of freedom and nature in his Critique of Judgment. With Goethe's contemporaneous Metamorphoses of Plants as a contrast case, it becomes clear that whereas Goethe can embrace the role of an intuitive understanding in his account of nature and within the logic of polarity in particular, Kant could never allow an intuition of nature that in his system would spell the very impossibility of freedom itself. (shrink)

Show more ▾ There are various dichotomies in Kant’s philosophy: sensibility vs. rationality, nature vs. freedom, cognition vs. morality, noumenon vs. phenomenon, among others. There are also different ways of mediating these dichotomies, which is the systematic undertaking of Kant’s Critique of the Power of Judgment. One of the most important concepts in this work is the sublime, which exemplifies the connections between the different dichotomies; this fact means the concept’s construction is full of tension. On the one hand, as (...) a pure reflection of aesthetic judgment the sublime must be without interest or purpose, but on the other hand it is “based on the concept of reason” (KU AA:292). On the one hand, the sublime “represents merely the subjective play of the powers of the mind (imagination and reason) as harmonious” (KU AA5:258), but on the other hand, reason “exercises dominion over sensibility” and the imagination is “purposively determined in accordance with a law” of reason (KU AA5:268f). Taking into account these problems concerning the essential definition the sublime, this paper will first illustrate how the sublime embodies the a priori principle of aesthetic judgment through contrasting the judgment of the sublime with the judgment of taste in order to establish a basic logical frame for the judgment of the sublime. Second, this paper redefines the boundary between the mathematically and dynamically sublime in order to reveal both the coexistence of contemplation and movement within the sublime and the unrevealed function of reason and imagination. Finally, contrasting the sublime with moral feeling, this paper elaborates the turning-structure (from sensibility to rationality and from object-intuition to idea-exhibition) of the sublime. (shrink)

The aim of this paper is to critically review several interpretations of Kantian sensible intuition. The first interpretation is the recent construal of Kantian sensible intuition as a mental analogue of a direct referential term. The second is the old, widespread assumption that Kantian intuitions do not refer to mind-independent entities, such as bodies and their physical properties, unless they are brought under categories. The third is the assumption that, by referring to mind-independent entities, sensible (...) intuitions represent objectively in the sense that they represent in a relative, perspective-independent manner. The fourth is the construal of Kantian sensible intuitions as non-conceptual content. In this paper, I support the alternative view that Kantian sensible representation is to be seen as iconic de re presentation of objects without representational content. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 1 These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about (...) particular works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. (shrink)

Kant mentions two faculties of the mind that are involved in the knowing process, namely, sensibility and understanding. Through the former, the objects are “given” while through the latter, objects are “thought of.” The receiving faculty, that of sensibility, deals with space and time as pure intuitions. On the other, the thinking faculty - that of understanding, treats concepts or categories. Thus, these faculties of the human reason presuppose the two elements of knowledge: contents or intuitions and thoughts or concepts (...) for sensibility and understanding, respectively. This paper aims at presenting the coming-to-be of knowledge through the operations of the mind in Kant’s Critique of Pure Reason and critically exposes the correlation of sensibility and of understanding in the knowing process. (shrink)

In this paper, I propose a novel interpretation of the role of the understanding in generating the unity of space and time. On the account I propose, we must distinguish between the unity that belongs to determinate spaces and times – which is a result of category-guided synthesis and which is Kant’s primary focus in §26 of the B-Deduction, including the famous B160–1n – and the unity that belongs to space and time themselves as all-encompassing structures. Non-conceptualist readers of Kant (...) have argued that this latter unity cannot be the product of categorial synthesis. While they are correct that this unity is not the product of any particular act of category-guided synthesis, I argue that conceptualists are right to nevertheless attribute this unity to the understanding. I argue that it is a result of what we can think of as the ‘original’ synthesis of understanding and sensibility themselves – it is a synthesis, moreover, in which the whole is logically prior to the parts. (shrink)

The role of intuition in Kant’s account of experience receives perennial philosophical attention. In this essay, I present the textual case that Kant also makes extensive reference to what he terms “images” that are generated by the imagination. Beyond this, as I argue, images are fundamentally distinct from empirical and pure intuitions. Images and empirical intuitions differ in how they relate to sensation, and all images (even “pure images”) actually depend on pure intuitions. Moreover, all images differ from intuitions (...) in their structure or format. I then turn to a question that naturally arises on the resulting view: if the imagination produces images, and if images are fundamentally distinct from intuitions, then how do intuitions relate to the imagination? I outline reasons for thinking that intuitions and their essential features do not depend on the imagination at all. Though this essay does not decisively argue for this thesis, the resulting view provides a clear account of the distinction between the senses and the imagination in Kant’s theory of sensibility. (shrink)

I characterize Nishida Kitarō’s metaethical perspective throughout his work but focus especially on his later papers, most notably his writings on kōiteki chokkan, or active intuition. These include Kōiteki Chokkan no Tachiba (published in 1935), Kōiteki Chokkan (published in 1937), as well as Nothingness and the Religious Worldview (Bashoteki Ronri to Shūkyōteki Sekaikan, published in 1945, and widely available in translation). I explore affinities between Nishida’s approach to ethics and metaethical intuitionism and sensibility theory. I then use this analysis (...) to identify a lesson that Nishida offers to contemporary metaethicists. (shrink)

The repugnant conclusion poses a conundrum in population ethics that has evaded satisfactory solution for four decades. In this article, I show that the repugnant conclusion can be avoided without sacrificing key moral intuitions. This is achieved using non-Archimedean orders, which admit the possibility of pairs of goods for which no amount of one is better than a single unit of the other. I show that with minimal assumptions, not only are such goods sensible, they are compulsory. I show (...) that utilitarianism and expected utility theory in their canonical forms are not in general suitable in this setting, and using these tools naively can lead to ethical errors that are arbitrarily serious. Multi-dimensional lexicographic expected utility representations may be required. I use fuzzy sets to show that there needn't be a clear boundary separating goods that are not Archimedean equivalent. This may be unavoidable due to intrinsic physical limits on the ability to discriminate between different goods arising from e.g. quantum mechanics. Limited discriminatory power can cause preferences to be non-transitive, which can resolve problems related to so-called `fanaticism' and `recklessness' wherein `rational' decision-makers counterintuitively prefer arbitrary long shot bets to a guaranteed lesser outcome. (shrink)

Le sens commun distingue le corps de l’esprit. Il considère par exemple que les désirs et les souvenirs sont des phénomènes mentaux alors que les sons et les courants d’air sont des phénomènes physiques. Au sein de l’esprit, il distingue diverses facultés mentales : il considère par exemple que l’imagination est distincte de la volonté, qui est elle-même distincte de la perception. Au sein de la faculté perceptive, il distingue cinq sens : l’odorat, le goût, la vue, le toucher et (...) l’ouïe. Cette distinction entre différentes modalités perceptives s’avère tout à fait opératoire : nous n’avons le plus souvent aucun mal à répondre à la question « comment avez- vous perçu X : l’avez-vous vu, entendu, touché, ... ? ». En outre, cette distinction semble robuste : elle résiste par exemple à la co-occurrence d’expériences de modalités distinctes. Ainsi pouvons-nous voir et entendre un planeur à la fois. Enfin, nous semblons convaincus, en ce qui concerne les humains, du caractère exhaustif de cette distinction : il nous arrive certes de parler de l’intuition comme d’un sixième sens, ou de parler du sens de l’humour ou des affaires, mais ces expressions sont entendues en un sens figuré. (shrink)

Kant’s Metaphysical Deduction of the Categories justifies their apriority, i.e. that their contents originate in the understanding itself, while the Transcendental Deduction justifies their objectivity, both in that they purport to represent objects of experience and that they do so successfully. The apriority of the categories, as explained in terms of acts of synthesis required for having sensible intuitions of objects, is justified by establishing their generic identity with logical functions of judgment, i.e. acts of judgment required for referring (...) concepts to objects. The objective purport of the categories is justified by establishing that sensible intuitions fall under them. To finally justify that the categories represent successfully, i.e. that the objects of our intuitions fall under them, it is established that the representations of space and time do, namely by showing that the features addressed in their Metaphysical Expositions, too, are to be explained in terms of acts of synthesis. (shrink)

This paper is a new non-descriptivist defense of nonconceptualism based on a new interpretation of Kant’s metaphysics of concepts. We advance the following claim: What distinguishes non-conceptual from conceptual singular representations is the way partial representations of the object’s features are integrated into the whole representation of the object, while at the non-conceptual level, this integration takes the form of images of the object’s features that are stored and projected, at the conceptual level this integration takes the form of the (...) recognition that those features are properties of a same object, what Kant calls “synthetic unity of Aperception”. (shrink)

This paper is a new defense of type-B materialism against Jackson’s knowledge argument (1982) inspired by the Kantian main opposition between concepts and sensible intuitions. Like all materialists of type B, I argue that on her release from her black-and-white room, Mary makes cognitive progress. However, contrary to the so-called phenomenal concept strategy (henceforth PCS), I do not think that such progress can be accounted for in terms of the acquisition of new concepts. I also reject Tye’s recent account (...) of Mary’s cognitive progress as the acquisition of a “thing-knowledge.” What is crucial is not the Russellian opposition between knowing things and knowing truths but rather the Kantian opposition between conceptual and nonconceptual representations of the same thing (property). Mary’s phenomenal knowledge is here accounted for as the result of the cooperation of her newly acquired nonconceptual representation of the same phenomenal redness (the same thing) she had a conceptual representation before. As that new nonconceptual representation carries information about the same physical property she already represented but is now coded in analog rather than in digital form (Dretske, 1981), that nonconceptual representation can be accounted for in physical terms as Chalmers’s Master argument requires. Nevertheless, that representation can account for Mary’s cognitive progress since it carries information coded in analog form, something that the imprisoned she could never possess. (shrink)

Kant posits the schema as a hybrid bridging the generality of pure concepts and the particularity of sensible intuitions. However, I argue that countenancing such schemata leads to a third-man regress. Siding with those who think that the mid-way posit of the Critique of Pure Reason's schematism section is untenable, my diagnosis is that Kant's transcendental inquiry goes awry because it attempts to analyse a form/matter union that is primitive. I therefore sketch a nonrepresentational stance aimed at respecting this (...) primitivity. (shrink)

In this paper, I present a new interpretation of Kant’s notion of consciousness of oneself as a Subject on behalf of a polemic with a recent reading suggested by Longuenesse. My central aim is to provide a systematic interpretation of Kant’s metaphysics of consciousness in general. I present and defend new interpretations for four capital Kant’s notions. First, I present a reading of Kant’s sensible intuition as a de re form of mental representation without conceptual content and any (...) structure. It makes the subject aware only in the limited sense of demonstratively representing what appears to him. In the sequence, I present a reading of empirical consciousness as the result of a first-order representation. The important introduction of §16 of the first Critique is construed here as expressing what is known today as the access consciousness. Lastly, I propose a new reading for the transcendental Apperception as an intransitive form of consciousness. (shrink)

This work examines Kant’s remarkable decision to rewrite the core argument of the first Critique, the Transcendental Deduction of the Categories. I identify a two-part structure common to both versions: first establishing an essential role for the categories in unifying sensible intuitions; and then addressing a worry about how the connection between our faculties asserted in the first part is possible. I employ this structure to show how Kant rewrote the argument, focusing on Kant’s response to the concerns raised (...) in an early review by Johann Schultz. Schultz’s dissatisfaction with the original Deduction lies in its second part, and Kant’s subsequent revisions are focused on providing a better answer to this how-possible question. The new Deduction offers a more direct and convincing account of how our faculties work together to make experience possible. (shrink)

Almost any mainstream reading about the nature of Kant's 'content of cognition' in both non-conceptualist and conceptualist camps agree that 'singular representations' (sensible intuitions) are, at least in some weak sense, objectdependent because they supervene on a manifold of sensations that are given through the disposition of our sensibility and parallel thus the real and physical components of the world (cf. McDowell 1996, Allison 1983, Ginsborg 2008, Allais 2009). The relevant class of sensible intuitions should refer, as they (...) argue, only to empirical and not to pure ones. Kant's transcendental argument creates, however, no implications as to the metaphysics of properties. Neither does he consider the world to be consisted of sensory content simpliciter nor do sensations refer to objects per se. Instead, he provides an all-encompassing pattern for sensible intuitions of any kind through the representation of space as a cognitive map in that an object can be represented if spatial properties are attributed to it. Sensible intuitions of any kind could be referring, that is to say, and can be conceptualized if they are spatial. Consequently and unlike the contemporary philosophy of perception, Kant contrasts sensible intuitions and pure concepts of understanding 'altogether' against one single experience, from which the justification of objects should proceed. In other words, what stands at the core of exposing the content of cognition concerns not the phenomenological status and actuality of sensible intuitions in the sense of 'bits of experiential intake', but the logical structure of possibility of sensible intuitions of any (external or internal) causal background. The aim of this discussion is to clarify that Kant's transcendental idealism mutatis mutandis reviews multiple and diverse kinds of 'data of mind' and cognition in the background, without reducing the content of cognition to metaphysically determined referents as 'matters of fact' and to pure concepts of understanding. Sensible intuitions in the sense of content of cognition vary, most importantly, from unstructured and unjustifiable data of mind including (physical) contents of perception and stuff of mind and also from reflective and intellectual intuitions that are the cognates of the structured complex singular representations. Put it in simple terms, Kant advocates the thesis that 'facts' are objects for concepts if they are already well-founded trough the cognitive map of the representation of space. -/- . (shrink)

According to a familiar reading of Kant, he denies the possibility alleged by the rationalists of our having non-sensible or intellectual intuition. I argue in this article that he simply holds the possibility to be groundless. To put the contrast in terms of a distinction Kant makes in the A-Paralogisms, he raises a “dogmatic” objection to the rationalists in the former case, and a “critical” one in the latter. By analyzing the two-step argument in the B-Deduction, I defend (...) the “critical” reading, which may, I hope, shed light on how Kant can justify his claim – which may be regarded as a second-order, methodological one pivotal to his Critical project – that possible experience serves as the only guideline for proving that we can cognize objects a priori. (shrink)

I defend the thesis that Kantian analytic judgments are about objects (as opposed to concepts) against two challenges raised by recent scholars. First, can it accommodate cases like “A two-sided polygon is two-sided”, where no object really falls under the subject-concept as Kant sees it? Second, is it compatible with Kant’s view that analytic judgments make no claims about objects in the world and that we can know them to be true without going beyond the given concepts? I address these (...) challenges in two steps. First, given Kant’s distinction between an object in general = x from an object of sensible intuition, I argue that analytic judgments are about objects in the former sense, no matter whether the purported objects can be given in our intuition. Second, using Kant’s method of representing certain logical relations of concepts with such figures as circles, I construct a model to show that analytic truths are truths about objects in general = x and yet can be determined solely by the intensional relation between the given concepts plus certain Kantian-logical laws. Analytic truths are thus shown as formal in the Kantian sense that they do not presuppose the purported objects as givable in our intuition. This account of the formality of analytic truths captures Kant’s diagnosis of the Leibnizian illusion that we can make material claims about the world by analytically true judgments. (shrink)

I discuss the difference and the connections between Kant’s notions of cognition (Erkenntnis) and knowledge (Wissen). Unlike knowledge, cognition is a representational state which need not have the propositional structure of a judgments. Even cognitions that have such a structure need not coincide with knowledge, because they might rather have the doxastic status of opinion or faith, or they might be false (whereas knowledge is a certain recognition of truth). I argue that while Kant distinguishes between many different species of (...) cognition, he uses the term ‘knowledge’ univocally across his theoretical and practical philosophy. All knowledge is based upon some kind of cognition that provides the sufficient objective, certain ground for a knowing assent to a proposition. However, not all knowledge must be based upon the demanding type of cognition that is central to Kant’s overall argument in the first Critique, which requires a synthesis of concepts and sensible intuition. We have a lot of determinate knowledge, including knowledge that we possess transcendental freedom of will, that is based upon purely conceptual practical cognition. We can also have some indeterminate philosophical knowledge (e.g. knowledge that there are non-sensible, noumenal beings) that is based upon purely conceptual theoretical cognition. (shrink)

In this paper, I present a new reading of transcendental idealism. For a start, I endorse Allison’s rejection of the traditional so-called two-world view and, hence, of Guyer and Van Cleve’s ontological phenomenalism. But following Allais, I also reject Allison’s metaphysical deflacionism: transcendental idealism is metaphysically committed to the existence of things in themselves, noumena in the negative sense. Nevertheless, in opposition to Allais, I take Kant’s claim that appearances are “mere representations” inside our minds seriously. In the empirical sense, (...) appearances are the undetermined object of our sensible intuition. Yet, in the transcendental sense, appearances are nothing but the mind-dependent way that noumena manifest inside our minds and, hence, our mind-dependent way of knowing the mind-independent reality in itself (epistemological phenomenalism). (shrink)

In Van Cleve's "Problems from Kant," it is suggested that his interpretation of Kant's metaphysics resolves the problem of "The Neglected Alternative"--the worry that Kant failed to consider that space and time, while perhaps necessary for sensible intuition, could also be objectively real in-themselves. However, it is far from clear how Van Cleve is supposed to have solved this objection. This paper examines why Van Cleve might have thought the problem resolved on his view, and argues that there (...) is no reason to think the problem has in fact been resolved. (shrink)

In this paper I present an interpretation of Immanuel Kant’s transcendental deduction of the categories (a dangerous interpretation it turns out), based primarily on the “two-step” argument of the B deduction of the Critique of Pure Reason. I undertake to show that Kant’s distinction between the “pure forms of intuition” and “pure formal intuition” is successful in its attempt to prove that all sensible intuitions presuppose the a priori categories, in a way which is compatible, I claim, (...) with Kant’s statements (in the Aesthetic and elsewhere) that sensible intuition is prior to all concepts; and therefore that the Transcendental Aesthetic presupposes the Transcendental Analytic. Thus my Interpretation is a "conceptualist" reading of the deduction, in holding that perception, as receptivity, presupposes an underlying spontaneity of the pure understanding and categories. The categories are held to be not just compatible with all possible sensible intuitions, but through their "transcendental content" constitutive of the relation of sensible intuitions to objects - and this explains how our thought can represent objects a priori. It is one of the claims of my interpretation that the logical forms of judgment of general logic derive from the pure categories of transcendental logic, rather than vice-versa. I.e. that the logical forms through which we make empirical judgments by combining analytical concepts in inner sense in time, are originally grounded in an atemporal categorial synthesis in pure intuition (i.e. in the form of time but not the dimension of time), referring an outer intuition in general to the transcendental object of intuition (as “something in general” outside sensibility or receptivity), thereby providing the synthetic unity of the manifold which “..all analysis presupposes.” My conceptualist reading of the deduction, I claim, avoids the problems associated with other conceptualist readings, for example inconsistency with the text (“Intuitions are prior to all concepts.” etc.) and blurring of the distinction between receptivity and spontaneity. In my paper I prove that the categories can correctly be held to provide the a priori unity of intuitions, notwithstanding the fact that the latter are “prior to all concepts,” because this unity is not provided by the categories as fully-fledged concepts in the empirical subject, but as the transcendental logical form of these concepts, as a unity in the pure understanding - and the categories therefore require their empirical content or application for their objective reality as concepts. I.e. the categories, as logical functions of judgment for transcendental apperception, in the pure forms of intuition, are prior to all "concepts", correctly speaking, as well as prior to all intuitions, and provide the necessary unity of both. Likewise, at the empirical level my version of conceptualism cannot be accused of blurring the distinction between receptivity and spontaneity, or sensibility and understanding, because although the transcendental content of the categories, as a logical function of judgment in the pure forms of intuition, in transcendental apperception, is in necessary relation to sensibility (in combining the manifold in the pure or formal representation of the transcendental object) their empirical content is not. - At the empirical level the divide between spontaneity (as judgment in the empirical subject) and receptivity (as the effect of transcendental synthesis and the transcendental object on outer and inner sense) remains intact. Conceptualist readings of the deduction also have to avoid infringing Kant’s requirement that the sensible manifold originally be given prior to and independently of all acts of the understanding, or otherwise to qualify the requirement in some way - e.g. by taking a Hegelian direction, such as that taken by John McDowell.1 On my reading of the deduction the sensible manifold given indeterminately in the pure forms of space and time must be given prior to the categorial synthesis of the manifold in the pure representation of the transcendental object, i.e. in the pure 'concept' of an object in general affecting sensibility. Therefore Kant’s requirement for an undetermined manifold given prior to, and independently of, all acts of the understanding (“..the manifold to be intuited must be given prior to the synthesis of understanding, and independently of it. How this takes place, remains here undetermined” [cf.B145/146]) is not infringed. In a later section of the paper, however, I will argue that the transcendental object (of intuition) does have pure theoretical reason as one of its two interacting immanent aspects, but is distinct from pure theoretical reason in the other of its (the transcendental object of intuition's) two interacting immanent aspects, i.e. pure will, which adds a Schopenhauerian element to my interpretation (which will be argued for in a way which supports Kantian optimism over Schopenhauerian pessimism however, in regard to the freedom of the will). Another perceived inconsistency in the deduction, which my interpretation can explain, is Kant’s description (in the B deduction) of the principle of the necessary synthetic unity of apperception as analytic, while in the A deduction it is described as synthetic. I explain this as a difference in the reference of terms such as “my representations” in the two versions - a transcendental reference in the B version but an empirical and transcendental reference in the A version of the principle. I also show that the first part of the two-step B deduction can correctly be characterised by Kant as analytic and the second, concluding part, synthetic (a point of dispute amongst Kant scholars) because transcendental logic (which refers to both the analytic and synthetic aspects of the principle of apperception) “does not abstract from the pure content of knowledge.” While being a “double aspect” rather than “two world” view of transcendental Idealism (because objects of intuition are comprised of both the empirical and transcendental object, i.e. transcendental referent, of intuition, my view differs significantly from the “double aspect” interpretation of Henry Allison (which distinguishes empirical reality from the “God’s eye” view). The view of transcendental idealism resulting from my reading of the deduction, I claim, allows a full empirical realism, because empirical intuitions, as objects of cognition, are the appearance of both the transcendental subject and the transcendental object (i.e. transcendental referent ) of transcendental synthesis (both as “something in general” outside sensibility or receptivity, or rather outside sensibility as receptivity). I conclude that Kant succeeds (although only with the addition of what I have called my 'Schopenhauerian element') in his attempt to prove that we have a transcendental unity of apperception which both constitutes, and is constituted by, the relation of sensible representations to objects, and that since transcendental apperception is the a priori underlying ground of empirical apperception, the categories (as the logical functions of judgment by which transcendental apperception relates sensible representations to objects) are the a priori underlying ground of all experience, and are therefore valid synthetically a priori for all objects of experience. 1 E.g. in “On Pippin’s Postscript.” European Journal of Philosophy 15:3 pp. 395-410. (shrink)

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)

In this paper, I discuss the debate on Kant and nonconceptual content. Inspired by Kant’s account of the intimate relation between intuition and concepts, McDowell (1996) has forcefully argued that the relation between sensible content and concepts is such that sensible content does not severally contribute to cognition but always only in conjunction with concepts. This view is known as conceptualism. Recently, Kantians Robert Hanna and Lucy Allais, among others, have brought against this view the charge that (...) it neglects the possibility of the existence of essentially nonconceptual content that is not conceptualised or subject to conceptualisation. Their critique of McDowell amounts to nonconceptualism. However, both views, conceptualist and nonconceptualist, share the assumption that intuition is synthesised content in Kant’s sense. My interest is not in the validity of the philosophical positions of conceptualism or nonconceptualism per se. I am particularly interested in the extent to which the views that McDowell and Hanna and Allais respectively advance are true to Kant, or can validly be seen as Kantian positions. I argue that although McDowell is right that intuition is only epistemically relevant in conjunction with concepts, Hanna and Allais are right with regard to the existence of essentially nonconceptual content (intuitions) independently of the functions of the understanding, but that they are wrong with regard to non-conceptualised intuition being synthesised content in Kant’s sense. Kantian conceptualists (Bowman 2011; Griffith 2012; Gomes 2014) have responded to the recent nonconceptualist offensive, with reference to A89ff./B122ff. (§13)—which, confusingly, the nonconceptualists also cite as evidence for their contrary reading—by arguing that the nonconceptualist view conflicts with the central goal of the Transcendental Deduction, namely, to argue that all intuitions are subject to the categories. I contend that the conceptualist reading of A89ff./B122ff. is unfounded, but also that the nonconceptualists are wrong to believe that intuitions as such refer strictly to objects independently of the functions of the understanding, and that they are mistaken about the relation between figurative synthesis and intellectual synthesis. I argue that Kant is a conceptualist, albeit not in the sense that standard conceptualists assume. Perceptual knowledge is always judgemental, though without this resulting in the standard conceptualist claim that, necessarily, all intuitions or all perceptions per se stand under the categories (strong conceptualism). I endorse the nonconceptualist view that, for Kant, perception per se, i.e. any mere or ‘blind’ intuition of objects (i.e. objects as indeterminate appearances) short of perceptual knowledge, does not necessarily stand under the categories. Perception is not yet perceptual knowledge. In this context, I point out the common failure in the literature on the Transcendental Deduction, both of the conceptualist and nonconceptualist stripe, to take account of the modal nature of Kant’s argument for the relation between intuition and concept insofar as cognition should arise from it. (shrink)

Kant’s distinction between intuitions and concepts attracts perennial interpretive interest. To the extent that they discuss the imagination at all, most Kant scholars maintain that the imagination’s primary role is to generate intuitions. This dissertation argues that “image” (Bild, Einbildung) is an overlooked technical term in Kant’s work and that images—and not intuitions—are products of the imagination. The project explains how, for Kant, the imagination (as image-maker) and the senses (as intuition-maker) make distinct but essential contributions to cognition and (...) perception. I begin by showing that “image” is a terminologically marked notion in Kant, and that the imagination is responsible for generating images (chapter 1). I call these claims the Image Thesis. I then show that for Kant, intuitions are representations that depend only on the senses for their essential features (chapter 2). I call this the Strong Independence Thesis. -/- How should we understand Kant’s ubiquitous references to the imagination, then? I argue that we should understand the imagination’s activities as image-producing activities (chapter 3). I argue that images and intuitions are fundamentally distinct representations, which I label the Distinctness Thesis. Though intuitions and images are had by both rational and non-rational beings, the capacity for consciousness or apperception found in rational beings makes a difference in the structure of images but not the structure of intuitions (chapter 4). I call this the penetration view of the imagination. With this account of images in hand, I indicate why images are a necessary ingredient in theoretical cognition for Kant (chapter 5). I call this the Image-Centric Cognition Thesis. The result is a novel account of sensibility—the counterpart of the understanding—that recognizes Kant’s systematic discussion of mental imagery. (shrink)

Taking perceptual experience to consist in a relation of acquaintance with the sensible qualities, I argue that the state of being acquainted with a sensible quality is intrinsically a form of knowledge, and not merely a means to more familiar kinds of knowledge, such as propositional or dispositional knowledge. We should accept the epistemic claim for its explanatory power and theoretical usefulness. That acquaintance is knowledge best explains the intuitive epistemic appeal of ‘Edenic’ counterfactuals involving unmediated perceptual contact (...) with reality (cf. Chalmers, in: Gendler, Hawthorne (eds) Perceptual experience, Oxford University Press, 2006). It explains the elusiveness of knowledge gained through new acquaintances. It coheres with the knowledge-like functional role of acquaintance in the special context of evaluative beliefs and evaluative reasoning, where the objects of acquaintance serve as evidence and inferential basis. And, finally, taking acquaintance to be knowledge is theoretically fruitful: it helps vindicate claims about the relationship between knowledge and concern for others we already find intuitive or outright accept. After developing a novel case for the epistemic claim, I respond to two familiar objections against it: namely, (1) that there are no pre-propositional, pre-conceptual cases of perceptual experience that remain epistemically relevant (Sellars in Empiricism and the philosophy of mind, Routledge, 1968, McDowell, in: Lindgard (ed) John McDowell: Experience, norm, and nature, Blackwell, 2008); and (2) that the category of knowledge appears gerrymandered once we add ‘object’ knowledge to the epistemological mix (Farkas, in: Knowles, Raleigh (eds), Acquaintance: new essays, Oxford University Press, 2019). (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

This paper investigates Hume's theory of the perception of spatial magnitude or size as developed in the _Treatise<D>, as well as its relation to his concepts of space and geometry. The central focus of the discussion is Hume's espousal of the 'composite' hypothesis, which holds that perceptions of spatial magnitude are composed of indivisible sensible points, such that the total magnitude of a visible figure is a derived by-product of its component parts. Overall, it will be argued that a (...) straightforward reading of this hypothesis fails to do full justice to the complexity of Hume's theory of spatial perception and geometry, and that a more adequate treatment must also admit an important role for the more direct process of spatial magnitude perception which he dubs 'intuition'. (shrink)

In Glauben und Wissen, Hegel criticizes Kant for drawing a deep division between sensibility and understanding. Hegel suggests that Kant’s faculty of productive imagination is a step toward uniting intuition and concept in an original unity out of which the two arise, but this requires him to treat the productive imagination in ways Kant would not approve. I argue that Kant’s doctrine of the schematism offers an advance on the productive imagination when it comes to solving the intuition/concept (...) dualism Hegel critiques, although there remain serious problems with which Hegel would take issue. Although the schematism might answer some of the criticisms Hegel aims at the intuition/concept dualism, it does not solve the related problem Hegel finds in Kant, namely the dualism of cognition and thing-in-itself. (shrink)

‘The Image of Thought’ could be considered to be the most important piece of writing in the entire Deleuzian corpus. This is the chapter of Difference and Repetition that several decades later, Deleuze claims is the ‘most necessary and the most concrete’ (Deleuze 1994: xvii) section of the book, and the one that provides a basis for his later work with Guattari. Here, Deleuze engages with two basic issues. First, he separates out his conception of thinking, and with it, philosophy, (...) from prior philosophical approaches, explaining why the difference of his philosophy from prior systems itself differs from the traditional relationship between philosophical positions. Second, he raises the question of how one should begin to philosophise. As we will see, philosophy often operates by the recognition of implicit presuppositions in prior thinkers, and their refutation. Descartes, for instance, criticises Aristotle for presupposing the transparency of categories such as rational and animal. Kant, in turn, criticises Descartes for presupposing the determinability of his own foundational moment, the cogito. If we see the development of philosophy as the unmasking and critique of presuppositions of prior systems, then the endpoint of philosophy will be a system entirely without presuppositions. This is the goal Hegel aims at with his system of absolute idealism. Deleuze’s claim is that such a model of the progress of philosophy itself operates within one overarching assumption: the good will of thinking. In this essay, I want to relate these questions of thinking and beginnings to the work of one of Deleuze’s predecessors. Deleuze writes of Ludwig Feuerbach that ‘Feuerbach is among those who have pursued farthest the problem of where to begin.’ (Deleuze 1994: 319) As we shall see, prefiguring Deleuze, Feuerbach accuses Hegel of operating within ‘an image of Reason’. While Feuerbach is famous as a precursor of Marx, and for his critique of traditional accounts of religion, I want to here focus on an early piece by Feuerbach, his Critique of Hegelian Philosophy. Here Feuerbach sets out the limitations of traditional philosophical accounts, and provides the groundwork for his own later materialism. Deleuze discovered Feuerbach through his friend Althusser’s translation of his work, published in 1960. While many of the intuitions behind Deleuze’s critique of the image of thought can be found within a broader pantheon of thinkers, including Nietzsche, Bergson, and Foucault, the specific mechanics of Deleuze’s criticism bear a striking resemblance to the formulation of the critique of philosophy in Feuerbach’s earlier thought. I want to explore this connection, first by looking at the dialectical interrelation of two thinkers, Descartes and Hegel, to get a sense for how criticism in philosophy typically operates. I then want to move on to look at Feuerbach’s critique of Hegel and philosophy more generally, drawing out several aspects that will be taken up by Deleuze himself. I will then look at some of the ways in which Deleuze goes beyond Feuerbach by recognising some of the limitations that persist in Feuerbach’s own analysis. I will conclude by showing how Deleuze’s desire to think the two common acceptations of aesthetics together (the artistic and the sensible) bring Feuerbach into relation with an unexpected figure: the playwright and poet, Antonin Artaud. (shrink)

Andrew Chignell and Omri Boehm have recently argued that Kant’s pre-Critical proof for the existence of God entails a Spinozistic conception of God and hence substance monism. The basis for this reading is the assumption common in the literature that God grounds possibilities by exemplifying them. In this article I take issue with this assumption and argue for an alternative Leibnizian reading, according to which possibilities are grounded in essences united in God’s mind (later also described as Platonic ideas intuited (...) by God). I show that this view about the distinction between God’s cognition of essences as the ground of possibility and the actual world is not only explicitly stated by Kant, but is also consistent with his metaphysical picture of teleology in nature and causality during the pre-Critical period. Finally, I suggest that the distinction between the conceptual order of essences embodied in the idea of God and the order of the objects of experience plays a role in the transition into the Critical system, where it is transformed into the distinction between the intelligible and the sensible worlds. (shrink)

Although probabilistic statements are ubiquitous, probability is still poorly understood. This shows itself, for example, in the mere stipulation of policies like expected utility maximisation and in disagreements about the correct interpretation of probability. In this work, we provide an account of probabilistic predictions that explains when, how, and why they can be useful for decision-making. We demonstrate that a calibration criterion on finite sets of predictions allows one to anticipate the distribution of utilities that a given policy will yield. (...) Based on this, we specify assumptions under which expected utility maximisation is a sensible decision criterion. We also introduce the notion of prediction methods and argue that all probabilities are outputs of such prediction methods. This helps to explain how the calibration criterion can be satisfied and to show that also supposedly objective probabilities are model-dependent. We compare our account of probability with common interpretations and show that it recovers key intuitions behind the latter. We, thus, provide a novel account of what probabilities are and how they can enable successful decision-making under uncertainty. (shrink)

Jeff McMahan has long shown himself to be a vigorous and incisive critic of speciesism, and in his essay “Our Fellow Creatures” he has been particularly critical of speciesist arguments that draw inspiration from Wittgenstein. In this essay I consider his arguments against speciesism generally and the species-norm account of deprivation in particular. I argue that McMahan's ethical framework is more nuanced and more open to the incorporation of speciesist intuitions regarding deprivation than he himself suggests. Specifically, I argue that, (...) given his willingness to include a comparative dimension in his “Intrinsic Potential Account” he ought to recognize species as a legitimate comparison class. I also argue that a sensible speciesism can be pluralist and flexible enough to accommodate many of McMahan's arguments in defense of “moral individualist” intuitions. In this way, I hope to make the case for at least a partial reconciliation between McMahan and the “Wittgensteinian speciesists”, e.g. Cora Diamond, Stephen Mulhall, and Raimond Gaita. (shrink)

This article explores a historical challenge for contemporary accounts of the role that the desire of being esteemed can play in exercising social control. According to Geoffrey Brennan and Philip Pettit, the economy of esteem normally has two aspects: it is supportive of virtuous action and it occurs spontaneously. The analysis of esteem presented by the 18th‐century materialist Claude‐Adrien Helvétius challenges the intuition that these two aspects go together unproblematically. This is so because, in Helvétius's view, the desire for (...) esteem is always triggered by sensible interest. In the frequent situations where sensible interest diverges from the demands of virtue, the economy of esteem thus can be spontaneous but will not be supportive of virtue. Helvétius allows for cases of moral luck where sensible interest coincides with the demands of virtue but regards these cases as rare occurrences. This is why he believes that a functioning economy of esteem crucially depends on political constitutions—in which case the economy of esteem can be supportive of virtue but will not be spontaneous. (shrink)

En la filosofía de Aristóteles y en la filosofía escolástica de cuño aristotélico, la abstracción constituía un acto fundamental del proceso cognitivo: marcaba el salto o ascenso de la sensibilidad a la inteligibilidad, del conocimiento del individuo al conocimiento de su esencia. En la teoría del conocimiento de Hegel, por el contrario, el concepto abstracto o, como Hegel prefiere llamarlo, la “representación abstracta” o “representación universal” es tan sólo un momento intermedio en el proceso fluido que va del conocimiento del (...) objeto como algo sensible -en la forma de la intuición y la subforma de la imagen- al conocimiento de su naturaleza intrínseca -en la forma del pensar. Sobre la base, por un lado, de los escasos textos en los que Hegel se ocupa expresamente del tema, y, por el otro, de la contextualización de estos textos en un análisis general de la filosofía del espíritu subjetivo teórico, el presente trabajo busca reconstruir las tesis fundamentales de Hegel sobre la abstracción y esclarecer con ello el sentido y función que la misma tiene en su teoría del conocimiento. The concept of abstraction in Hegel's theory of knowledgeIn both Aristotelian philosophy and the scholastic philosophy that bears its stamp, the concept of abstraction constitutes a fundamental act in the cognitive process; it signaled the leap or ascent from the realm of the senses to the realm of intellection, from knowledge of the individual to knowledge of his essence. By way of contrast, in Hegel's theory of knowledge, the abstract concept -or, as Hegel himself preferred to call it, “abstract representation” or “universal representation”­- is nothing but an intermediate moment in the fluid process of going from knowing the object as something given to the senses -in the form of intuition and the subform of image- to knowing its intrinsic nature -in the form of thought. Based on the scant writings by Hegel wherein he expressly addresses the matter, and by subsequently placing these texts into the broader context of an analysis of Hegel's philosophy of theoretical subjective spirit, this paper attempts to reconstruct Hegel's most significant ideas on abstraction. Hopefully, this will serve to clarify both the meaning and the role of that notion in Hegelian theory of knowledge. (shrink)

“If you find it strange that, in setting out these elements, I do not use those qualities called heat, cold, moistness, and dryness, as do the philosophers, I shall say to you that these qualities appear to me to be themselves in need of explanation. Indeed, unless I am mistaken, not only these four qualities, but also all the others (indeed all the forms of inanimate bodies) can be explained without the need of supposing for that purpose any other thing (...) in their matter than the motion, size, shape, and arrangement of its parts.” So does Descartes, in his The World, or Treatise on Light [Le Monde ou Traité de la Lumière], express the uniphenomenal principle of the physical world, which is the basis - or foundation - of his great cosmic synthesis. The uniphenomenal character of Cartesian physics - namely, explaining all phenomena and appearances from a single primordial phenomenon (and substance) - has such a great semantic and intuitive value for the structure of the human mind that Plato, even before Aristotle’s hyle, had come to contemplate his concept of chora, the cosmic and universal matrix at the base of all phenomena, existing before and beyond the coming into existence of the elements and of sensible things. Even the physics of Democritus is uniphenomenal. A perfect example of uniphenomenal physics in our time is the Spacio-fluido-dynamics of the scientist Marco Todeschini (Bergamo, 1899 - 1988) who, with his monumental Teoria delle apparenze [Theory of Appearances] of ’49 tried to clear a path towards the hope of reaching a Cartesian kind of unified cosmic synthesis. (We accept only the fundamental concept of Todeschi’s theory here, that is, the uniphenomenal character of his physics, without occupying ourselves with criteria such as the value or the plausibility of his hypotheses.) This concept of uniphenomenal physics will serve as an ultra-clear instrument to dissipate the epistemological fog of AI (Artificial Intelligence). (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

The aim of the Analytic of Concepts is to derive and deduce a set of pure concepts of the understanding, the categories, which play a central role in Kant’s explanation of the possibility of synthetic a priori cognition and judgment. This chapter is structured around two questions. First, what is a pure concept of the understanding? Second, what is involved in a deduction of a pure concept of the understanding? In answering the first, we focus on how the categories differ (...) from the pure forms of sensibility and examine whether they are known only to be the pure forms of human thinking or rather the forms of discursive cognition as such. In answering the second, we draw a distinction between the application and the exemplification of the categories and use it to identify different ways of understanding Kant’s project in the Transcendental Deduction of the Categories. These questions connect because the answer to the first determines how we should understand the kind of entitlement which is to be established in the Deduction. (shrink)

What is so special and mysterious about the Continuum, this ancient, always topical, and alongside the concept of integers, most intuitively transparent and omnipresent conceptual and formal medium for mathematical constructions and the battle field of mathematical inquiries ? And why it resists the century long siege by best mathematical minds of all times committed to penetrate once and for all its set-theoretical enigma ? -/- The double-edged purpose of the present study is to save from the transfinite deadlock of (...) higher set theory the jewel of mathematical Continuum -- this genuine, even if mostly forgotten today raison d'etre of all set-theoretical enterprises to Infinity and beyond, from Georg Cantor to W. Hugh Woodin to Buzz Lightyear, by simultaneously exhibiting the limits and pitfalls of all old and new reductionist foundational approaches to mathematical truth: be it Cantor's or post-Cantorian Idealism, Brouwer's or post-Brouwerian Constructivism, Hilbert's or post-Hilbertian Formalism, Goedel's or post-Goedelian Platonism. -/- In the spirit of Zeno's paradoxes, but with the enormous historical advantage of hindsight, we claim that Cantor's set-theoretical methodology, powerful and reach in proof-theoretic and similar applications as it might be, is inherently limited by its epistemological framework of transfinite local causality, and neither can be held accountable for the properties of the Continuum already acquired through geometrical, analytical, and arithmetical studies, nor can it be used for an adequate, conceptually sensible, operationally workable, and axiomatically sustainable re-creation of the Continuum. -/- From a strictly mathematical point of view, this intrinsic limitation of the constative and explicative power of higher set theory finds its explanation in the identified in this study ultimate phenomenological obstacle to Cantor's transfinite construction, similar to topological obstacles in homotopy theory and theoretical physics: the entanglement capacity of the mathematical Continuum. (shrink)

The aim of the Schematism chapter of the Critique of Pure Reason is to solve the problem posed by the “inhomogeneity” of intuitions and categories: the sensible properties of objects represented in intuition are of a different kind than the properties represented by categories. Kant's solution is to introduce what he calls “transcendental schemata,” which mediate the subsumption of objects under categories. I reconstruct Kant's solution in terms of two substantive premises, which I call Subsumption Sufficiency (i.e., that (...) subsuming an object under a transcendental schema is sufficient to subsume it under the corresponding category) and Real Possibility (i.e., that it is really possible to subsume objects under each of the transcendental schemata). These two principles, together with a trivial modal one (the Subsumption-Possibility Link), entail that it is possible to subsume objects under categories; in other words, the argument of the Schematism is valid. The main work of the paper consists in reconstructing Kant's arguments for, and explanations of, these premises. I argue that they hinge on Kant's claim that transcendental schemata are “time-determinations,” which I interpret to mean: rules for reflexively representing the temporal relations among our own representational states. On the basis of this reading, I reconstruct Kant's argument for Subsumption Sufficiency, category by category. I also explain why Real Possibility follows almost immediately. Granting Kant the argument up to this point in the Critique, the argument of the Schematism is sound. (shrink)

Famously, Kant describes space and time as infinite “given” magnitudes. An influential interpretative tradition reads this as a claim about phenomenological presence to the mind: in claiming that space and time are given, this reading holds, Kant means to claim that we have phenomenological access to space and time in our original intuitions of them. In this paper, I argue that we should instead understand givenness as a metaphysical notion. For Kant, space and time are ‘given’ in virtue of three (...) related facts: (i) they are necessary grounds of the existence of all other spatial and temporal possibilities; (ii) in virtue of being such grounds, they are metaphysically linked to all other represented spatiotemporal things; and (iii) as representations, space and time issue from the nature of our faculty of sensibility rather than from an arbitrary act of choice. Understanding givenness in this non-epistemological way helps us recover what is plausible in both ‘intellectualist’ and ‘anti-intellectualist’ readings of the Transcendental Aesthetic. Anti-intellectualists are correct that space and time are given in mere sensibility, but intellectualists are correct that we depend on the understanding for consciousness of space and time. (shrink)

The depth-bounded approach seeks to provide realistic models of reasoners. Recognizing that most useful logics are idealizations in that they are either undecidable or likely to be intractable, the approach accounts for how they can be approximated in practice by resource-bounded agents. The approach has been applied to Classical Propositional Logic (CPL), yielding a hierarchy of tractable depth-bounded approximations to that logic, which in turn has been based on a KE/KI system. -/- This Thesis shows that the approach can be (...) naturally extended to useful nonclassical logics such as First-Degree Entailment (FDE), the Logic of Paradox (LP), Strong Kleene Logic (K3 ) and Intuitionistic Propositional Logic (IPL). To do this, we introduce a KE/KI-style system for each of those logics such that: is formulated via signed formulae, consist of linear operational rules and branching structural rule(s), can be used as a direct-proof and a refutation method, and is interesting independently of the approach in that it has an exponential speed-up on its tableau system counterpart. The latter given that we introduce a new class of examples which we prove to be hard for all tableau systems sharing the V/& rules with the classical one, but easy for their analogous KE-style systems. Then we focus on showing that each of our KE/KI-style systems naturally yields a hierarchy of tractable depth-bounded approximations to the respective logic, in terms of the maximum number of allowed nested applications of the branching rule(s). The rule(s) express(es) a generalized rule of bivalence, is (are) essentially cut rule(s) and govern(s) the manipulation of virtual information, which is information that an agent does not hold but she temporarily assumes as if she held it. Intuitively, the more virtual information needs to be invoked via the branching rule(s), the harder the inference is for the agent. So, the nested application the branching rule(s) provides a sensible measure of inferential depth. We also show that each hierarchy approximating FDE, LP, and K3 , admits of a 5-valued non-deterministic semantics; whereas, paving the way for a semantical characterization of the hierarchy approximating IPL, we provide a 3-valued non-deterministic semantics for the full logic that fixes the meaning of the connectives without appealing to “structural” conditions. -/- Moreover, we show a super-polynomial lower bound for the strongest possible version of clausal tableaux on the well-known class of “truly fat” expressions (which are easy for KE), settling a problem left open in the literature. Further, we investigate a hierarchy of tractable depth-bounded approximations to CPL based only on KE. Finally, we propose a refinement of the p-simulation relation which is adequate to establish positive results about the superiority of a system over another with respect to proof-search. (shrink)

The purpose of this article is to examine the objective side of subjectivity formation through music. I attempt to show how music is a way to configure subjectivity in its interiority, but in a way that it can be shared between other individual subjectivities. Music has an objective structure, but this structure is the temporal and sonorous interiority of subjectivity. It has as its objective manifestation and consequence the feelings and emotions. These feelings are subjective, and in the level of (...) subjective Geist they are related to intuition. Hegel believes that such intuition cannot be properly communicated, due to its exclusive access to the individual subject himself. Despite that, music is an art, and it takes part in the level of absolute Geist. That means that music is the connection between the objective and subjective sides of Geist, being a product of social relations, including the sharing, experience and recognition of subjective operations by the participants in society as something in common. Art is related to intuition but it is not intuition itself, nor it is reduced to the capacity of intuition. All three capacities of the subjective Geist in the theoretical Geist (namely intuition, representation and thinking) can be part of the relationship between art and the individual perspective.However, the link between art and intuition is an analogy between the subjective Geist and the absolute Geist, considering that art is a level of manifestation of social self-consciousness where the people and the social group have not yet become conscious of its content in its manifestation. The exposition of the ideal content of social relations is manifested through absolute Geist, beginning with its sensible manifestation. After this process, it is signified through a practice related to representation, and finally it is related to a conceptually and linguistically mediated practice, philosophy. These products cannot be a consequence of a mere subjective connections, but must be (as part of absolute Geist) a consequence of the objective relation between individuals in its subjective manifestations. Furthermore, subjective capacities are a condition without which the development of the absolute Geist is not possible. At the same time, it is not possible that subjective Geist’s capacities can be fully realized without social relations. Science is not a product of an individual-solipsistic relationship with the environment, but a product of a social relations, including language, shared experiences and shared ways of comprehension, such as the common way to feel and receive the environment in a subjective level discussed below. I divide this exposition into three parts: (1) music and subjectivity, where I deal with the relation between body vibration, time, sound and the formal interiority of the listener/musical subject, analyzing the form of music in its subjective side (the relation to the listener); (2) music and content, where I examine the content generated by music as being the process of formation itself (i.e. the process of given form to the interiority of subjectivity through sounds becomes its own content, namely, the feelings); and (3) music and words, where I scrutinize the relationship between music and words’ capacities to make reference and to have content, considering the connection between pure music and lyrics, and between music and poetry as singular forms of art. I conclude with the idea that music has a specific role in Hegel’s system, which is to bring to light and develop absolute Geist’s (understood as the objectivation and formation of a social and cultural subjectivity) internal aesthetic form. (shrink)

I begin by considering a question that has driven much scholarship on transcendental idealism: are appearances numerically identical to the things in themselves that appear, or numerically distinct? I point out that much of the debate on this question has assumed that this is equivalent to the question of whether they are the same objects, but go on to provide textual, historical, and philosophical evidence that “object” (Gegenstand) and “thing” (Ding) have different meanings for Kant. A thing is a locus (...) of intensively gradable causal force, reality. I argue that appearances and things in themselves are not identical as objects, because the very concept of object-identity is tied, for Kant, to the concept of an intellect that would cognize the numerical identity of the objects in question. Because no intellect can be both discursive and intellectual, no intellect could cognize the numerical identity of objects across the phenomenal/noumenal divide, and thus the claim that they are identical has no content. However, the very same things, the same reality, can be given to our sensible intellects, and to divine intuitive intellect, as two non-overlapping domains of objects. Identity readers are thus shown to be right about the same thing relation, while non-identity readers are vindicated on the numerical identity of objects. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used (...) the dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)