In this paper we introduce the view that realism about a social kind K entails that the grounding conditions of K are difficult (or impossible) to manipulate. In other words, we define social kind realism in terms of relative frame manipulability (RFM). In articulating our view, we utilize theoretical resources from Epstein’s (Epstein, The ant trap: Rebuilding the foundations of the Social Sciences. Oxford University Press, 2015) grounding/anchoring model and causal interventionism. After comparing our view with causal and principle-based (Tahko, (...) Synthese 200(2):1–23, 2022) proposals, we motivate RFM by showing that it accommodates important desiderata about the social landscape (such as recognizing the context-relativity of social properties and the emancipatory dimension of social practice). Finally, we consider three objections. First, we tackle frame-necessitarianism (FN), the view that social kind frames are metaphysically necessary (and thus unmanipulable). Secondly, we engage with what Epstein (Epstein, Philosophy and Phenomenological Research, 99(3):768–781 2019a) calls UNIVERSALITY (the view that social kinds can hold in the absence of anchors) and we argue that it should also be resisted. Finally, we tackle a recent objection from Mason’s (Mason, Philosophical Studies, 178(12):3975–3994) essentialism about social kinds. (shrink)

The reader of RTP is granted just a few paragraphs before habit is introduced: Habit! That able but slow-moving arranger who begins by letting our minds sufer for weeks on end in temporary quarters, but whom our mind is nonetheless only too happy to fnd, for without it, reduced to its own devices, it would be powerless to make any room habitable. (SW, 9, translation altered; I 8) Implied is a view of mind: powerless to interfere with habit’s course, but (...) equally powerless to reconcile us even to something as innocuous as a room, were it not for habit’s work. Corresponding to this is a view of the world: hostile. The objects are nasty, imposing, menacing: a ‘mentally poisoning’ smell, malicious curtains and a cruel mirror (SW, 9; I 8). Habit, unbidden but welcome, steps in. The mirror becomes compassionate. Habit is a central aspect of the narrator’s worldview. It appears both at major plot points and in signifcant theoretical passages. Proust had already thematised habit in some of his earliest published work – notably in ‘Violante ou la Mondanité’ (1892) (‘Violante, or High Society’) – as well as in unpublished material (see II 1352 fn. 2). His ideas have their roots in his philosophical education, where habit formed a key part of the syllabus. Indeed, in retrospect, we can say that Proust may have been taught philosophy at a time and place where habit, as a philosophical topic, was approaching its high watermark, as a major theme in French philosophical thought. Another major theme, of course, was time. (shrink)

In The Future of Human Nature, Jürgen Habermas raises the question of whether the embryonic genetic diagnosis and genetic modification threatens the foundations of the species ethics that underlies current understandings of morality. While morality, in the normative sense, is based on moral interactions enabling communicative action, justification, and reciprocal respect, the reification involved in the new technologies may preclude individuals to uphold a sense of the undisposability of human life and the inviolability of human beings that is necessary for (...) their own identity as well as for reciprocal relations. Engaging with liberal bioethics and Catholic approaches to bioethics, the article clarifies how Habermas’ position offers a radical critique of liberal autonomy while maintaining its postmetaphysical stance. The essay argues that Habermas’ approach may guide the question of rights of future generations regarding germline gene editing. But it calls for a different turn in the conversation between philosophy and theology, namely one that emphasizes the necessary attention to rights violations and injustices as a common, postmetaphysical starting point for critical theory and critical theology alike. In 2001, Jürgen Habermas published a short book on questions of biomedicine that took many by surprise.[1] To some of his students, the turn to a substantive position invoking the need to comment on a species ethics rather than outlining a public moral framework was seen as the departure from the “path of deontological virtue,”[2] and at the same time a departure from postmetaphysical reason. Habermas’ motivation to address the developments in biomedicine had certainly been sparked by the intense debate in Germany, the European Union, and internationally on human cloning, pre-implantation genetic diagnosis, embryonic stem cell research, and human enhancement. He turned to a strand of critical theory that had been pushed to the background by the younger Frankfurt School in favor of cultural theory and social critique, even though it had been an important element of its initial working programs. The relationship of instrumental reason and critical theory, examined, among others, by Max Horkheimer, Theodor W. Adorno, and Herbert Marcuse and taken up in Habermas’ own Knowledge and Interest and Theory of Communicative Action became ever-more actual with the development of the life sciences, human genome analysis, and genetic engineering of human offspring. Today, some of the fictional scenarios discussed at the end of the last century as “science fiction” have become reality: in 2018, the first “germline gene-edited” children were born in China.[3] Furthermore, the UK’s permission to create so-called “three-parent” children may create a legal and political pathway to hereditary germline interventions summarized under the name of “gene editing.”In this article, I want to explore Habermas’ “substantial” argument in the hope that philosophy and theology become allies in their struggle against an ever-more reifying lifeworld, which may create a “moral void” that would, at least from today’s perspective, be “unbearable”, and for upholding the conditions of human dignity, freedom, and justice. I will contextualize Habermas’ concerns in the broader discourse of bioethics, because only by doing this, his concerns are rescued from some misinterpretations.[1] Jürgen Habermas, The Future of Human Nature.[2] Ibid., 125, fn. 58. 8[3] Up to the present, no scientific publication of the exact procedure exists, but it is known that the scientist, Jiankui He, circumvented the existing national regulatory framework and may have misled the prospective parents about existing alternatives and the unprecedented nature of his conduct. Yuanwu Ma, Lianfeng Zhang, and Chuan Qin, "The First Genetically Gene‐Edited Babies: It's “Irresponsible and Too Early”," Animal Models and Experimental Medicine ; Matthias Braun, Meacham, Darian, "The Trust Game: Crispr for Human Germline Editing Unsettles Scientists and Society," EMBO reports 20, no. 2. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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)

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

Stecker's revised definition of art in Artworks: Definition, Meaning, Value is stated thus: "w is a work of art at t if and only if (a) w has form c which is a member of C and the maker of w intended it to fulfill a sub-set of functions f1 ... fn of F such that f1 ... fn are functions of c or (b) w is an object which achieves excellence in fulfilling a function in F" 1 where: w (...) is an artwork; t is a time; C is the set of central art forms at t; c is a member of the set C; F is the set of functions standardly or correctly regarded as belonging to C at t; f1 ... fn are members of the set F. (shrink)

In Canada, there are currently no guidelines at either the federal or provincial level regarding the provision of kidney transplantation services to foreign nationals (FN). Renal transplant centres have, in the past, agreed to put refugee claimants and other FNs on the renal transplant waiting list, in part, because these patients (refugee claimants) had health insurance through the Interim Federal Health Programme to cover the costs of medication and hospital care. However, severe cuts recently made to this programme have forced (...) clinicians to question whether they should continue with transplants for FNs, for financial and ethical reasons. This paper first examines different national policies (eg, in Canada, USA, France and the UK) to map the diversity of approaches regarding transplantation for FNs, and then works through different considerations commonly used to support or oppose the provision of organs to these patients: (1) the organ shortage; (2) the free-rider problem; (3) the risk of becoming a transplant destination; (4) the impact on organ donation rates; (5) physicians’ duties; (6) economic concerns; (7) vulnerability. Using a Canadian case as a focus, and generalising through a review of various national policies, we analyse the arguments for and against transplantation for FNs with a view to bringing clarity to what is a sensitive political and clinical management issue. Our aim is to help transplant centres, clinicians and ethicists reflect on the merits of possible options, and the rationales behind them. (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)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

Aristotle’s analysis of language is, firstly, on the basis of co-positing and positing away: this is the starting point of analysis: what is asserted in language either involves a co-positing or does not (Cat. , 2, 1a16-17). Although he does not explain what he means by co-positing, we can see that he considers something like a sentence (his examples: man runs, man wins) and not merely a co-positing of two words like not-man, which he calls an indefinite noun (OI., 2, (...) 16a30-32). Aristotle and his contemporaries had no word for ‘word.’ The closest words for ‘word’ are ὄνομα and λόγος. ὄνομα is distinguished from ῥῆμα (verb) and, thus, cannot mean word. λόγος means a sentence or statement. Daniel W. Graham (Aristotle’s Two Systems, 1987, Oxford University Press, 38, fn.27) renders λεγομενον as ‘word.’ The problem with this suggestion is that, as Aristotle asserts in Categories, it is used both for single words and the composition of several words and even sentences. Aristotle distinguishes a noun from all the followings: a) A co-positing of words: noun is a word that is said without co-positing. (Cat., 2, 1a16-19) b) Inarticulate sounds: the sounds like those that brutes produce are not considered as nouns, though Aristotle believes that they are significant. (OI., 2, 16a28-29) c) Verbs: words that carry with them the notion of time. (OI., 2, 16b6-8) So far, a noun is a word said without co-positing, without the notion of time and distinguished from inarticulate sounds. What remains in language, however, is not necessarily a proper noun, though it is related with noun. What remain are different kinds of names: 1) Noun (ὄνομα) or definite noun: a sound that is significant by convention and of which no part is significant from the rest (OI., I, 1, 16a19-20) unless not having an independent meaning, the parts contribute to the meaning of the whole (OI., I, 1, 16a22-27). This latter condition is indeed a division made by Aristotle between two kinds of nouns: a. Simple nouns: a word in which the part is in no way significant. b. Composite nouns: a word in which though the part may be significant, i) it contribute to the meaning of the whole and ii) it does not have an independent meaning. 2) Indefinite noun: expressions like ‘not-man’ that i) have no recognized term by which denote the expression and ii) are not a sentence or denial by themselves (OI, 2, 16a28-29; 10, 19b8-10). 3) Cases of a noun. This is what used in languages like Greek language that have different cases. They show the senses that are asserted by other elements like prepositions in languages like English in a form or case of the name. Thus, e.g. Φίλωνος means ‘of Philo’ while Φίλωνι means ‘to Philo’. The cases of a noun have the same definition as the noun itself. However, they are not able to combine with any of the different tenses of the verb ‘is’ so that a true or false preposition results. (OI., 2, 16ab4-5). Aristotle thinks convention (συνθήκην) is the basis of the formation of nouns: ‘The limitation ‘by convention’ was introduced because nothing is by nature a noun- it is only so when it becomes a symbol.’ (OI., I, 1, 16a27-28) In Greek language, Francesco Ademollo notes (B508, 34), onoma has a close etymological connection with any transitive verb. Thus, it seems that an onoma is essentially ‘an expression that names or refers to something. It is strange that Aristotle does not distinguish proper from improper noun. We find no text in which Aristotle made such a distinction. In fact, it seems nouns are essentially improper for him: ‘A name, e.g. ‘round,’ means vaguely a sort of whole: its definition analyses this into its particular senses. Similarly, a child begins by calling all men ‘father’ and all women ‘mother’ but later on distinguishing each of them.’ (Phy., A, 1) Nouns necessarily are applicable to others: ‘If one were defining you, he would say ‘an animal which is lean’ or ‘white’ or something else which will apply to someone other than you.’ (Met., Z, 1040a12-14) -/- . (shrink)

In the last forty years Dummett, Hanks, Künne, and Bobzien have claimed that when Frege wrote ‘Über Sinn und Bedeutung’, he thought that the sense of a sentence-question [Satzfrage] was not a thought [Gedanke] ((Dummett 1981: 307–308); (Hanks 2007: 142–143); (Künne 2010: 427–429); (Bobzien 2021: 163–164)). Recently, Textor has claimed that when Frege wrote ‘Über Sinn und Bedeutung’, he thought that the sense of a sentence-question was not a question [Frage] (Textor 2021: 227 fn.2). I think it is possible that (...) when Frege wrote ‘Über Sinn und Bedeutung’, he thought that the sense of a sentence-question was a question and a thought. To show that this possibility should not be overlooked, I have written a dialogue in which Frege responds to Dummett, Hanks, Künne, Bobzien, and Textor. -/- Bobzien seems to think that when Frege wrote ‘Die Verneinung’, he thought that the sense of a sentence-question was not a question (Bobzien 2021: 163–165). I think it is possible that when Frege wrote ‘Die Verneinung’, he thought that the sense of a sentence-question was a question and a thought. Hence, I have also written the dialogue to show that this possibility should not be overlooked either. (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 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. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)