In this review essay, I discuss three recent books on Kant's third Critique: Kant and the Claims of the Empirical World by Ido Gieger; Kant on Freedom, Nature, and Judgment by Kristi Sweet; and Kant’s Worldview: How Judgment Shapes Human Comprehension by Rudolf Makkreel.

In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been (...) criticized by several commentators for the reason that it leads to the ‘everythingisbeautiful’ problem. In this paper I argue, contrary to these objections, that both finding an object beautiful and acquiring the concept represent the satisfaction of the same principle of nature’s purposiveness, which refers to the same cognitive need we have, that is, to systematize experience. I avoid the ‘everything is beautiful’ problem by arguing that aesthetic reflection refers to the synthesis of object’s individual and distinctive properties, while logical reflection refers to the synthesis of object’s general properties that it shares with other objects of its kind. Because aesthetic purposiveness is different from logical purposiveness, this allows for the possibility that we can have an object of cognition, without finding this object beautiful. (shrink)

Kant’s distinction between the determining and reflecting power of judgment in the third Critique is not well understood in the literature. A mainstream view unifies these by making determination the telos of all acts of judgment (Longuenesse 1998). On this view, all reflection is primarily in the business of producing empirical concepts for cognition, and thus has what I call a determinative ideal. I argue that this view fails to take seriously the independence and autonomy of the (...) ‘power of judgment’ [Urteilskraft] as a higher cognitive faculty in its own right with its own a priori principle. Instead of seeing merely reflecting judgments as failed or incomplete acts of judgment, I argue that these are in fact paradigmatic of the activity of the power of judgment. More precisely, the reflecting power of judgment just is the power of judgment. Accordingly, reflecting judgment takes precedence over determining judgment; while the former operates according to a law that it gives itself, the latter requires another higher cognitive faculty to provide its principle. On my view, reflecting judgment should be understood as the capacity for purposive subsumption—most clearly seen in the activity of mere reflection. (shrink)

Judgment has two functions therefore: determining and reflecting. Determining involves finding the right 'universal', that is concept or word for the situation at hand. Thus this function covers the choice of rule or aesthetic, that is, the metric of measurement. Reflective judgment is particularly relevant to the related activities of aesthetic choice and purposeful behaviour. It is the source of what Kant calls 'empirical concepts', that is, for my purposes, the range of aesthetic rules or metrics that (...) one has at one's disposal. Kant's ideas about beauty, although stimulating for my purposes, are not directly relevant to the issues of measurement. But his concept of the Sublime is. \"The experience of the sublime consists in a feeling of the superiority of our own power of reason, as a supersensible faculty, over nature.\" The specific category of the 'mathematically sublime' appears especially important for empirical measurement. (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)

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

In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s (...) class='Hi'>Critique and the Grateful Dead’s song “The Other One” provide a framework for understanding the artistic mathematical sublime in music, wherein the pleasure and displeasure experienced when engaging with music can be identified as instances of the sublime. Beginning with an elucidation of Kant’s concepts of judgments of taste and the sublime, the paper explores their similarities and differences. Notably, his theory of the sublime is less developed than his theory of the beautiful. This provides an opportunity to interrogate arguments surrounding which objects can elicit the sublime and how artworks represent or present it to their viewers. After demonstrating a textual disparity of the role of music in Kant’s Critique, I show how music without words, also known as jams, can fit the definition of free beauty and can be classified as art. The discussion further delineates the process of experiencing the mathematical sublime and describes indicators in music theory for discerning the sublime in musical compositions. I use the Grateful Dead’s performance of “The Other One” on April 7, 1972, to illustrate how particular works of art manifest the mathematical sublime. The paper concludes by reflecting on how the qualitative description of the piece highlights why “The Other One” should be seen as both artistic (because, while the piece is coherent, there is no discernible concept that seems to unify it) and sublime (because it is mind-blowingly complex). How we engage with music like the Grateful Dead can allow us to discuss why particular works of art are meaningful to us. (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)

In the Critique of the Power of Judgement, Kant claims that ‘the English taste in gardens or the baroque taste in furniture pushes the freedom of the imagination almost to the point of the grotesque’ (KU 5:242). This paper attempts to reconstruct Kant’s views on the grotesque as a theoretical foundation for the modern conception of the grotesque as a negative aesthetic category. The first section of the paper considers and ultimately rejects the interpretation of the grotesque as (...) a difficult kind of beauty. The second section contrasts the experience of the grotesque with similar experiences of sublimity and dreams. The third section examines the discord between faculties underlying the experience of the grotesque, defining the grotesque as a subclass of ugliness and addressing potential objections to its inclusion in Kant’s aesthetics. The fourth and final section briefly discusses the specificity of the grotesque as a subclass of ugliness. (shrink)

Kant argues in the Critique of the Teleological Power of Judgment that the first stage in resolving the problem of teleology is conceiving it correctly. He explains that the conflict between mechanism and teleology, properly conceived, is an antinomy of the power of judgment in its reflective use regarding regulative maxims, and not an antinomy of the power of judgment in its determining use regarding constitutive principles. The matter in hand does not concern objective propositions (...) regarding the possibility of objects or actual features of certain objects, namely, organisms. It is rather a methodological issue as to the appropriate way to explain the generation, development, and function of organisms. Taken in this manner as subjective maxims guiding the explanation and inquiry of organisms, the principles of mechanism and teleology need not necessarily be seen as contradictorily opposed but instead can be combined in the study of organisms. This, however, is not enough to complete the analysis of the antinomy of the teleological power of judgment. In order to show that there is an antinomy in this case, Kant has to establish that both seemingly conflicting maxims are necessary and natural to the human mind. He does it by grounding them in the ‘special character’ or peculiarity (Eigentümlichkeit) of the human understanding. However, it is not entirely clear just what exactly this peculiarity of the human understanding is. Paul Guyer argues that Kant suggests two different accounts of the peculiarity of the human intellect. According to one account, this peculiarity consists in the fact that our understanding forms general concepts and according to another, in its propensity to proceed from the parts to the whole. I will argue in this paper that Kant puts forward a single account, in which the combination of these two features demonstrate the peculiarity of the human understanding manifested in the encounter with organisms. This account explains the necessity of the regulative maxims of mechanism and teleology, and thus completes Kant’s analysis of the antinomy of the teleological power of judgment. (shrink)

This paper claims that Kant’s conception of culture provides a new means of understanding how the two parts of the Critique of Judgment fit together. Kant claims that culture is both the ‘ultimate purpose’ of nature and to be defined in terms of ‘art in general’ (of which the fine arts are a subtype). In the Critique of Teleological Judgment, culture, as the last empirically cognizable telos of nature, serves as the mediating link between nature and freedom, while (...) in the Critique of Aesthetic Judgment, the connection between art and morality passes through culture. In either case, Kant offers distinct, yet interdependent, arguments for how culture demonstrates the amenability of nature to its supersensible ground: the central question Kant claims in the Introduction that the work seeks to answer. Thus, not only does this account advance a concept essential to both parts of the work; it also demonstrates how the two parts can be conceived as complementary, with each supplementing the other to solve Kant’s central question. As such, understanding the Critique of Judgment in terms of culture enables us to see how the two parts of the work do not merely share points of similarity or common themes, but presuppose one another in order to understand how nature is amenable to freedom. (shrink)

Kant’s theory of biology in the Critique of the Power of Judgment may be rejected as obsolete and attacked from two opposite perspectives. In light of recent advances in biology one can claim contra Kant, on the one hand, that biological phenomena, which Kant held could only be explicated with the help of teleological principles, can in fact be explained in an entirely mechanical manner, or on the other, that despite the irreducibility of biology to physico-mechanical explanations, it (...) is nonetheless proper science. I argue in response that Kant’s analysis of organisms is by no means obsolete. It reveals biology’s uniqueness in much the same way as several current theorists do. It brings to the fore the unique purposive characteristics of living phenomena, which are encapsulated in Kant’s concept of “natural end” and which must be explicated in natural terms in order for biology to become a science. I maintain that Kant’s reluctance to consider biology proper science is not a consequence of his critical philosophy but rather of his inability to complete this task. Kant lacked an appropriate theoretical framework, such as provided later by modern biology, which would enable the integration of the unique features of biology in an empirical system. Nevertheless, as I show in this paper, the conceptual problems with which Kant struggled attest more to the relevance and depth of his insights than to the shortcomings of his view. His contribution to the biological thought consists in insisting on an empirical approach to biology and in providing the essential philosophical underpinning of the autonomous status of biology. (shrink)

In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more (...) accessible to us, by creating image schemas that allow us to think about these abstract concepts in a way linked to sensory experience, thereby imbuing them with a more substantive meaning and understanding. (shrink)

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

Ayalon Eidelstein’s Openness and Faith focuses on the centrality of the idea of openness, or open-mindedness, to the educational sphere. The first half presents the challenges in modern ‘divided-consciousness’ and its consequences of egoism, materialism, and hedonism on the one hand, and religious fanatism on the other. Eidelstein’s main audience is the Israeli secular public, to which he proposes an educational and philosophical middle-way rooted in sincere human and inter-human openness. This openness is inspired by the idea of disinterestedness that (...) Kant articulates in his Critique of Judgment. Eidelstein refers to additional authors, including Franz Rosenzweig and Emmanuel Levinas, to conceptualize the idea of open-mindedness. In the second half of the book, he engages classical American Pragmatism, specifically that of William James, in order to establish the possibility for, and the validity of, a humane open-mindedness. Pragmatism thus paves the way for accepting beliefs that may otherwise be excluded as superstitions and accords them a legitimate and productive role in the life of a modern individual. The difficulty, however, lies in Eidelstein’s employment of Kantian disinterestedness, for it is in fact seriously dissonant with the worthy pragmatic educational purposes that Eidelstein elaborates in the second half of his book. Pragmatism is opposed to disinterestedness in that it stresses the entanglement of fact and value, viewing interests as playing a necessary and productive part in moral motivation and action, while Kantian deontology eliminates consequentialism from the moral scope. While for pragmatists (for example John Dewey’s Democracy and Education) the human creature is holistically conceived, as made of flesh and blood and not only as ‘spirit’, Kant maintained the dualistic Cartesian tradition. This tension calls for a rigorous address. Since Eidelstein’s book is making an important claim about the place open-mindedness has within the Judaism, it must be noted that the disinterestedness of a presumed human ‘self’ is also not easily compatible with the dominant voices in normative Jewish tradition. The Bible does not deal to a large extent with the ‘self’ or with mental intentions, and its conception of the human is not categorically different in the Talmudic corpus. On the contrary, the rabbis frequently endorse pragmatic and ‘external’ reasons, as the motivational basis for action. The kind of purism associated with disinterestedness (as in Mishnah Avot 5:18-19) is barely represented in rabbinic thought. Openness and Faith: In Search of Cultural Education Here and Now is nevertheless an important contribution to the intellectual discourse over the individual and public virtues. In our ever-more segregated and fenced-off world, there is an urgency to delineating the virtue of openness, hoping that Ecclesiastes is right in contending that “No person has power over the spirit [רוח] to retain it” (8:8). But to make Eidelstein’s point about openness in the second half of his book educationally viable, there a need for a pragmatic refinement of the philosophical anthropology in its first half. One way or the other, Openness and Faith is praiseworthy for its articulateness and depth, which invites its readers to an open-minded conversation about the concept of openness. (shrink)

Kant's “Religion Within the Boundaries of Mere Reason” seems an odd element in Kant's oeuvre. Parts of it seem like scholastic theology or an arbitrary effort to reconcile the Kantian philosophical system with the doctrines of Christianity1. One of the most troubling notions is that of radical evil. Not only is the motivation for introducing the notion unclear, it is also difficult to grasp the line of argumentation, and furthermore accept its conclusion that there must be an innate propensity for (...) evil in human nature. The vague introduction of the concept of grace exacerbates the puzzlement even further. Nevertheless, I claim that the notions of radical evil and grace form a significant addition to Kant's conception of moral life lacking in his earlier works in ethics, Groundwork to the Metaphysic of Morals and the Critique of Practical Reason. I contend that the depiction of human moral life is not exhausted by the consciousness of duty and the endless pursuit toward virtue. Moral life is characterized also by the ongoing introspection of character accompanied by the hope for moral transformation as manifested by the notions of radical evil and grace. (shrink)

In the Groundwork and all three Critiques, Kant expresses the hope of eventually unifying theoretical and practical reason in one system, with a principle common to both. But he never clarifies what this principle is, leaving scholars to advance different possibilities. I advance a new response to this problem: I claim that Kant begins to refer to what he calls the ‘autonomy of ideas of reason’ in his final decade, enabling a new approach to finally bridging the theoretical and (...) the practical. This concept of autonomy, however, is no longer equivalent to the moral autonomy attributed to the self-legislating will, nor does it refer to the spontaneity of theoretical reason. Instead, it corresponds to the autonomy ascribed to reflective judgment in representing both theoretical and practical ideas of reason. Thus, this conception furnishes a principle, the principle of purposiveness, which I propose as the unifying principle Kant had been seeking. (shrink)

Kant’s dualism in anthropology and morality is said to be bridged only by means of a teleology that seems to betray the historical constitution of its subjectivity. And yet the Kantianarticulation of problems of theoretical and practical reason can be explored only insofar as they help us understand the correlated issues of the unity of reason, the relation of aesthetics and ethics in the light of the three Critiques, and the teleological conception of history. In this paper, I argue for (...) a teleological reading of the systematic architectonic so as to make sense of the concept of purposiveness as the a priori principle of judgment in its logical, aesthetic, and teleological reflection and of the unifying, a priori principles of each faculty–namely, conformity to law, final purpose, and conformity to purpose or purposiveness – respectively dealt with in the three Critiques. (shrink)

According to commentators like Rosalind Krauss, Briony Fer, Caroline Jones, and Michael Fried, Clement Greenberg’s formalist/positivist device of “medium-specificity” debars errant affective aesthetic experiences that are embodied; despite significant differences in how these theorists arrive at this conclusion, one shared point of emphasis is Greenberg’s inheriting Kant’s disinterested conception of pleasure in reflective judgments of beauty. Offering a textualist review of Kant’s Analytic of the Beautiful, I seek to demonstrate that neither Greenberg, nor Greenberg’s critics, are correct in their (...) account of Kant’s judgments of beauty.1 Specifically, I argue that Greenberg conflates Kant’s conception of judgments of free beauty (pulchritudo vaga) with merely adherent beauty (pulchritudo adhaerens). In formulating a rejoinder to Greenberg and the misplacement of Greenberg as a Kantian, and following Diarmuid Costello, I hope to save a path for a Kantian aesthetics of the present, much in the spirit of other broadly Kantian art historians and philosophers of art/aesthetics (e.g., Thierry de Duve, Paul Guyer, Ido Geiger, etc.). (shrink)

Kant’s geographical theory, which was informed by contemporary travel reports, diaries, and journals, developed before his so-called “critical turn.” There are several reasons to study Kant’s lectures and material on geography. The geography provided Kant with terms, concepts, and metaphors which he employed in order to present or elucidate the critical philosophy. Some of the germs of what would become Kant’s critical philosophy can already be detected in the geography course. Finally, Kant’s geography is also one source of some of (...) the empirical claims in his philosophical works, including the Critique of the Power of Judgment. To give an example of this, I examine his account of the sublime. (shrink)

The antinomy of teleological judgment is one of the most controversial passages of Kant’s "Critique of the Power of Judgment". Having developed the idea of an explanation of organized beings by mechanical and teleological natural laws in §§ 61-68, in §§ 69-78 Kant raises the question of whether higher order mechanical and teleological natural laws, which unify the particular empirical laws of organized beings, might pose an antinomy of conflicting principles within the power of judgment. I (...) will argue against alternative views that this antinomy is neither a conflict between objective constitutive principles of the determining power of judgment nor a conflict between an objective constitutive principle of the determining power of judgment and a subjective regulative maxim of the reflecting power of judgment nor does it consist in a confusion of a pair of subjective regulative maxims of the reflecting power of judgment with a pair of objective constitutive principles of the determining power of judgment, but does consist in an apparent conflict between mechanical and teleological natural laws as subjective regulative maxims of the reflecting power of judgment. I will further argue that Kant’s resolution of the antinomy consists in the regulative idea of a supersensible that represents the unity of both kinds of natural laws and justifies the unification of both kinds of natural laws in the human power of judgment. Kant uses three notions when he talks about the supersensible – the regulative idea of a divine artisan, the regulative idea of a divine intuitive understanding, and the regulative idea of an underdetermined, supernatural ground of nature. I will show how each of these notions accounts for the unity of both kinds of natural laws and will discuss possible correlations between them. I will then explain how the unity of both kinds of natural laws in the regulative idea of a supersensible accounts for the unification of both kinds of natural laws in the human power of judgment. While the divine intuitive understanding is perfect and uncreated and, thus, capable of a representation of the unity of both kinds of natural laws, the human discursive understanding is imperfect and created; it is capable only of the representation of the unification of both kinds of natural laws in form of a hierarchy of laws. (shrink)

The role and nature of imagination in Kant's Critique of Pure Reason is intensively examined. In addition, the text of Kant's Anthropology from a Pragmatic Point of View will also be considered because it helps illustrate this issue. Imagination is the fundamental power of the mind responsible for any act of forming and putting together representations. A new interpretation of imagination in Kant is given which recognizes its necessary roles as the factor responsible for producing space and time, (...) as an essential component in perception, as the mediator of concepts and intuitions, and as the synthesizing agent which groups together representations into categories. ;The work is divided basically into two parts. The first part looks at the imagination in the Transcendental Aesthetic. It will be shown that space and time themselves are products of imagination. As pure and a priori intuitions space and time are objects of thought and thus are conditioned by the synthetic power of imagination. Moreover, as forms of intuitions space and time are also conditioned by imagination; hence, imagination is a necessary factor in spatial and temporal perception. ;The second part of the thesis concerns the role of imagination in the Transcendental Analytic. Here the role of the imagination is more pervasive. In the Metaphysical Deduction the thesis argues that the imagination is responsible for uniting representations into twelve categories which are the conditions of thinking in general. Therefore the categories themselves owe their origins to imagination. This interpretation hinges on Kant's distinction between transcendental and general logic, which the thesis will discuss in detail. In the Transcendental Deduction the imagination is responsible for taking up representations in such a way that results in their belonging to a single framework of consciousness, thus showing that the categories apply to a posteriori representations. In the Schematism the imagination is necessary in forming the schemata, which join together concepts and intuitions so that both empirical and transcendental judgments are produced. Finally, a critique of Heidegger's idea on imagination as the "common root" of sensibility and understanding will be offered. (shrink)

The existing body of scholarship on Kant’s Critique of Judgment is rife with disagreement. At the centre of much of this disagreement is the issue of precisely what Kant understands to be taking place in a harmonization of the cognitive faculties. Is aesthetic reflective judgment to be identified with, or separated from, this harmonious state of the faculties of imagination and understanding? If aesthetic judgment is identified with this state, as is argued herein, then upon what is a (...) judgment of beauty to be based? These questions are addressed by focussing on two closely related aspects of Kant’s theory of reflective judgment; the role Kant assigns to the power of desire (i.e., to the will) and to the causal structure implicated in reflective judgment. In brief, we argue that a judgment of beauty is not, strictly speaking, something that I do, but is better described that something that happens of itself. (shrink)

This article argues that Kant’s attack on the ars oratoria in §53 of the Critique of the Power of Judgement is directed against eighteenth-century school rhetoric, in particular against the ‘art of speech’ (Redekunst) of Johann Christoph Gottsched. It is pointed out that Kant suggests a revision of Gottsched’s conception of ‘true eloquence’, which was the predominant rhetorical ideal at the time. On this basis, and in response to recent discussions on ‘Kantian rhetoric’, Kant’s own ideal of speech (...) is adressed. It emerges that he favours a culture of speech embedded in moral cultivation, which excludes any disciplinary form of rhetoric. (shrink)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism (...) does not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

A curious feature in Immanuel Kant’s account of the mathematical sublime is the choice of examples, namely, the Pyramids of Egypt and St. Peter’s Basilica. In the paragraph following these examples, Kant suggests that the sublime does not exhibit itself in works of art. This ambiguity has led scholars to question the possibility of “artistic sublimity.” The scholarship has prompted discussions about whether works of art that evoke the sublime feeling are genuine sublime experiences. A representational account of artistic sublimity (...) restricts the sublime to experiences in raw nature. Art can depict the sublime stylistically; however, it cannot evoke the feeling of sublimity. On an opposing interpretation, the sublime occurs because of a conflict between imagination and reason; any work of art that provokes this conflict is sublime. As a result, the power of the sublime overrides and annihilates determinate ends, allowing pure aesthetic judgments. The alleged contradiction in Kant’s account of the mathematical sublime is also read as an interpretive issue regarding purity, prompting the pure-impure distinction. Art that has the power to evoke the feeling of sublimity is deemed “impurely sublime” because of the admixture of interest. Alternatively, if aesthetic judgments of the sublime are satisfied irrespective of the object, then art is purely sublime without needing a further determination. Following Henry Allison, I defend the view that we should preserve a pure–impure distinction. A concept of impure sublimity allows us to account for an emotionally motiving satisfaction akin to the sublime in the presence of some works of art while maintaining a close reading of the Kantian account of pure sublimity as an exclusive consequence of raw nature. (shrink)

For Plato mimesis is the appearance of the external image of things. In his view, the reality was not to be found in the world of objects but in the realm of ideas. Therefore, Plato sees the arts as an occupation that is inferior to science and philosophy, but that is also a potential source of corruption. His concept of imitation, although it evolved over time, led him to take an increasingly dogmatic and intolerant position regarding artistic creation. His (...) notion that poetry is morally dangerous establishes the foundations for a didactic critique, which tends to flourish in societies undergoing political crises. Plato wrote his works during an age of instability and decline; an age when the role of Athens as the leading power in the Mediterranean was beginning to be questioned. Through an analysis of Ion and Books II, III, and X of The Republic, this essay explores the epistemological and moral —rather than aesthetic— nature of Plato’s judgment on the value of Poetry and the Arts. (shrink)

This paper attempts a reconstruction of reason’s contribution to empirical truth in connection with Kant’s definition of truth as the agreement of cognition with its object. I argue that Kant’s treatment of truth in the Transcendental Analytic gets completed in the Appendix to the Transcendental Dialectic with an often neglected but compelling argument (what I shall call the Variety Argument). This argument postulates such a variety in the appearances as to undermine any attempt at formulating empirical truths. Crucially, (...) I argue that this variety does not depict an extreme-case scenario, but our own epistemic situation without reason. Reason completes Kant’s theory of truth by allowing the understanding (i.) to form empirical concepts and (ii.) approximate to empirical truth. (shrink)

From Kant’s point of view, the puzzle about judgments of taste is that they claim to normativity—in Kant’s terms, to intersubjective validity or communicability—but nevertheless have only a subjective basis or “determining ground (Bestimmungsgrund).” The task of §9 of the Critique of Judgment in particular is to delineate an account of aesthetic response that accommodates Kant’s solution to this puzzle. If the aesthetic pleasure “precedes” the judgment—in other words, if the judgment is about the pleasure—then the judgment of taste (...) would be merely private, like other judgments about things that cause us pleasure. So the judgment must precede the pleasure. But “nothing… can be universally communicated except cognition, and representation so far as it belongs to cognition. (V:217) Therefore, the determining ground of the judgment of taste must be “the mental state encountered in the relation of the mental powers of representation to each other insofar as they relate a given cognition to cognition in general.” (V:217) A bit later, he calls this state of mind a “feeling of the free play of the powers of representation in a given representation for a given representation for a cognition in general.” The appeal to ‘cognition in general’ can do what Kant needs it to do only if it conveys the normativity of cognition simpliciter but not its conceptual determinacy. I want to propose that we take ‘cognition in general’ to mean ‘integration into a unified system of empirical cognition.’ If I am successful, it will have the consequence that the basis for the normativity of taste— that is, the expectation that others ought to agree with our judgments-- is the same as the basis for the normativity of cognitive judgments. (shrink)

The aim of this paper is to show that there is a genuine difficulty in Kant’s argument regarding the connection between mechanism and teleology. But this difficulty is not the one that is usually underlined. Far from consisting in a contradiction between the first and the third Critique, I argue that the genuine difficulty is intrinsic to the antinomy of reflective judgement: rather than having any hope of resolving anything, it consists in an inescapable conflict. In order (...) to support this claim, I show firstly why converting the thesis of the antinomy about mechanism into reflective judgement does not require renunciation of the universality of causality demonstrated in the first Critique. Then, I suggest that the actual difficulty with Kant’s argument is that there is a genuine conflict inherent in the reflective form of the antinomy. Finally, I examine in detail the antinomy of reflective judgement and compare it to the other Kantian antinomies in order to show that its uniqueness makes it uniquely troubling. This leads me to conclude that the Kantian resolution of the conflict between mechanism and teleology is unsatisfactory. (shrink)

Kant and the Feeling of Life positions Kant's concept of life as a guiding thread for understanding not only Kant's approach to aesthetics and teleology but the underlying unity of the Critique of Judgment itself. The "feeling of life," which Kant describes as affecting us in various ways--as animating, enlivening, and quickening the mind--lies at the heart of Kant's philosophical project, but it has remained understudied for a theme of such centrality. This volume brings together, for the first (...) time, essays focused on the topic of life in Kant's work, providing a wealth of perspectives and analyses ranging from the Critique of Judgment to Kant's early aesthetics, his social and political philosophy, his work connected to the body and health, and his moral theory. (shrink)

According to the transcendental Aesthetic of the Critique of pure reason, there are two properties of time that cannot be intellectualized: passage and infinitude. This study tries to show that these essential properties of time come to light in Kant’s Critique of Judgment. The contemplation of beauty will be understood as a non-successive time and the wonder that we experience in seeing the sublime will be understood through Kant’s concept of infinite moment. These two aesthetic concepts of (...) time will be integrated into Kant’s broader view of time as developed in the first Critique. (shrink)

The Concepts of Bourdieu's Distinction: A Social Critique of the Judgement of Taste -/- The way Bourdieu introduces foreign concepts (habitus, doxa, logic of practice) is through jumping straight and enthusiastically into his deep thoughts, instead of clearly and logically defining them first. -/- Accepting these dominant characteristics of taste is, according to Bourdieu, a form of \" symbolic violence .\" That is, the fact of considering these distinctions between tastes as natural, and believing that they are necessary, denies (...) the dominated classes the possibility of defining their own world, which puts those with less general capital at a disadvantage. Moreover, even when the dominated social classes come to have their own ideas about what it is \"good taste \"and what is not,\" the aesthetics of the working class is dominated aesthetic, which it is obliged to always defined in terms of the aesthetics of the ruling class . (shrink)

In recent years, nonconceptual content theories have seen Kant as a reference point for his notion of intuition (§§ 1-3). This work aims to dismiss the possibility that intuition is provided with an autonomous function of de re knowledge. To this end, it will explore certain epistemological points that emerge from Garroni’s reading of the Third Critique in the conviction that they provide a suitable context to verify the presence of autonomous, epistemically nonconceptual content in the transcendental system (§§ (...) 4-5). It is here, in fact, that Kant discusses those cases where intuition is given without bringing into play the conceptual component. As Garroni posits, in this frame of reference, such content cannot subsist without the interplay between aesthetic and conceptual dimensions (§§ 6-7). Long before the development of the debate on Kantian nonconceptualism, and during the period in which the Kantian debate on the epistemic considerations contained in the Third Critique was developing deeply for the first time, Garroni had already identified a theoretical position on these issues, which can be labelled aesthetic conceptualism, thanks to his fundamentally epistemological reading of the Third Critique. (shrink)

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer (...) is the intellectual air to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'. (shrink)

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...) not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

Kant’s discussion of the highest good is subject to continuous disagreement between the proponents of two interpretations of this concept. According to the secular interpretation, Kant conceived of the highest good as a political ideal which can be realized through human agency alone, albeit only from the Critique of the Power of Judgement onwards. By way of contrast, proponents of the theological interpretation find Kant’s treatment of the highest good in his later works to be wholly coherent (...) with the discussions of this concept found in the second Critique. In their view, however, Kant never conceived of the highest good as a political ideal, and some go as far as to argue that it is the work of God alone. In this article, I defend a theologico-political account of the highest good that avoids the pitfalls of both readings. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant argues that when we form a judgment of taste, the representation goes together with a demand that we require others to share. Some commentators note that the aesthetic feeling in a judgment of taste and its expectant universality seems to display a normative necessity in the explicit judgment itself, and that the expression of this normative component is sometimes stated as a claim to which everyone ought to conform. (...) In this paper, I argue that the normative component of taste and its concomitant demand should not be interpreted too strongly as an actual expectation, but rather as only a conceivable possibility. Toward this end, I examine several passages for the declaration of taste to call into view certain caveats which suggest that Kant’s description of an intersubjective demand arising concomitantly with a judgment of taste functions only as an “analogical ought,” i. e., that the demand of taste is expressed as if the satisfaction I feel in a judgment of taste can possibly demand universal assent. (shrink)

In the Critique of the Power of Judgment, Kant remarks that the feeling of the dynamically sublime is actually conditioned and that its foundation is the moral feeling, which he addressed in the Critique of Practical Reason. In order to elucidate those transient yet significant remarks, this paper confronts the analytic of the dynamically sublime from the third Critique with the analytic of the moral feeling from the second Critique. By uncovering an architectonic, constitutive and (...) structural kinship between the two feelings, the paper contributes to the reconsideration of the relation between Kant’s aesthetics and his ethics. (shrink)

The problem of synthetic judgements touches on the question of whether philosophy can draw independent statements about reality in the first place. For Kant, the synthetic judgements a priori formulate the conditions of the possibility for objectively valid knowledge. Despite the principle fallibility of its statements, modern science aims for objective knowledge. This gives the topic of synthetic a priori unbroken currency. This paper aims to show that a modernized version of transcendental philosophy, if it is to be feasible at (...) all, must “bid farewell” to the concept of being “free of empiricism” or the “purity” of the a priori. Approaches to this end can already been found in Kant’s reflections on non-pure synthetic knowledge. Moreover, the a priori validity of knowledge does not exclude the possibility that it can be discovered empirically. In keeping with Kant, Fries and Nelson anticipated this separation (usually first attributed to Reichenbach) between the validity and discovery context of knowledge and pointed out that the a priori could be discovered empirically, but never proven. There are currently still good reasons why transcendental philosophical concepts are of fundamental importance for modern science, although it must not be overlooked that even within the framework of a modernized transcendental philosophy, several unsolved problems remain or are raised. For example, the irredeemability of the universal validity and necessary claims of the a priori, the problem of a clear demarcation between the phenomenal and noumenal world. Moreover, the “beautiful structure” or the Kantian system, which constituted its persuasive power, is lost. (shrink)

Kant and Fichte developed the concept of a worldview as a way of reflecting on experience as a whole. But what does it mean to form a worldview? And what role did it play in the German Idealist tradition? This paper seeks to answer these questions through a detailed analysis of the form of a philosophical worldview and its historical portent, both of which remain unexplored in the literature. The dearth of attention is partially to blame on Kant’s desultory (...) development of it, as well as its place in Fichte’s understudied lectures on religion. In this paper, I first reconstruct Kant’s conception as the starting point and then trace it to Fichte who went on to evolve it further. Fichte endorses the basic conceptual shape pioneered by Kant, namely, a reflective process of positing an idea and then checking the coherence of necessary judgments relative to it. However, Fichte came to realize that its philosophical function needed expanding. Beyond recognizing the possibility for alternative worldviews, Fichte further fleshed out how worldview creation could lead to human flourishing. The common feature between both thinkers is that the formation of a worldview aims to turn philosophy into a life-orienting exercise. (shrink)

What is the highest good actually good for in Kant’s third Critique? While there are well-worked out answers to this question in the literature that focus on the highest good’s practical importance, this paper argues that there is an important function for the highest good that has to do exclusively with contemplation. This important function becomes clear once one notices that coherent [konsequent] thinking, for Kant, was synonymous with "bündiges" thinking, and that both are connected with the highest good (...) in the third Critique’s moral proof for God’s existence. I show that the original meaning of "bündig," which is from the carpentry trade and has been forgotten, illuminates the stakes of the highest good in Kant’s system. For us, as proverbial carpenters of reason, coherence is essential for the intellectual activity of constructing a philosophical worldview in his transcendental idealism. I motivate the reading further by showing how this function can neatly reconstruct Kant’s proof for God’s existence in the third Critique. I conclude by sketching Kant’s reasons for why the project of creating a coherent worldview grounded in the highest good is worth the labor costs. (shrink)

This thesis is about Kant’s account of reason. In the Critique of Pure Reason, Kant introduces reason as an infinitely demanding faculty that seeks complete explanations for all observable phenomena. This account of reason is essential to Kant’s discussion in the Transcendental Dialectic and prompts the primary question of this thesis: how does Kant justify such an infinitely demanding faculty? How does he think we come to know that we have reason, so understood? Traditionally, Kant scholars have held that (...) we can grasp our mental faculties either through a priori awareness of their unique activities or through transcendental arguments. Both approaches, however, fail with reason, which presents unique metacritical challenges. We can never be aware of reason’s unique activities, which are infinite and so never complete, and reason cannot be established via transcendental argument because it is not necessary for the possibility of experience. So, how can we know that we have reason? This thesis breaks with tradition by arguing that reason gains self-knowledge in empirical psychology, the study of phenomena in inner sense. Reason, according to Kant, seeks to explain all phenomena, including those of inner sense. To explain inner phenomena, reason hypothesises mental faculties and their laws. Our ten- dency to ask why-questions, Kant argues, is best explained by hypothesising a faculty that demands complete explanations – i.e., reason. The thesis has five chapters. The first shows that, for Kant, mental facul- ties are (also) powers of inner sense. The second argues that the normative demands of these faculties are grounded in constitutive principles or laws. The third finds that the constitutive principle of reason requires us to sys- tematise powers of nature, which, as the fourth chapter explains, we do by hypothesising their respective laws. Finally, the fifth chapter suggests that reason hypothesises its own explanation-seeking law. (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)

It is well known that Kant connects judgment and feeling in the third Critique. However, the precise relationship between these two faculties remains virtually unexplored, in large part due to the unpopularity of Kant’s faculty psychology. This paper considers why, for Kant, judgment and feeling go together, arguing that he had good philosophical reasons for forging this connection. The discussion begins by situating these faculties within Kant’s mature faculty psychology. While the ‘power of judgment’ [Urteilskraft] is fundamentally (...) class='Hi'>reflective, feeling [Gefühl] reveals itself as essentially non-discursive. Their systematic connection emerges through the principle of purposiveness [Zweckmäßigkeit], which the former legislates for the latter. I claim that we must understand this notion in terms of the suitability of the faculties for each other, as displayed in mere reflection. That is, we can only recognize the fitness of two things for each other through feeling, which, in turn, is the only way that we can engage in the activity of merely reflecting judgment. I conclude by gesturing at an even further way in which judgment and feeling are related, based on their mutual role in orienting all of the faculties of the human mind. (shrink)

Moral particularists and generalists alike have struggled over how to incorporate the role of moral salience in ethical reasoning. In this paper, I point to neglected resources in Kant to account for the role of moral salience in maxim formation: Kant's theory of reflective judgment. Kant tasks reflective judgment with picking out salient empirical particulars for formation into maxims, associating it with purposiveness, or intentional activity (action on ends). The unexpected resources in Kantian reflective judgment suggest (...) the possibility of a particularist universalism, where recalcitrant particulars directly inform, and in some cases revise, moral principles. Such an account improves on particularist accounts of moral salience and moral perception: rather than deriving moral sensitivity solely from an agent's upbringing or cultural resources, the reflective dimension is situated alongside the universalist dimension of moral principles typically identified with Kantian ethics, allowing for a critical approach both to moral universals and to the reception of moral particulars. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

This thesis is about Kant’s account of reason. In the Critique of Pure Reason, Kant introduces reason as an infinitely demanding faculty that seeks complete explanations for all observable phenomena. This account of reason is essential to Kant’s discussion in the Transcendental Dialectic and prompts the primary question of this thesis: how does Kant justify such an infinitely demanding faculty? How does he think we come to know that we have reason, so understood? -/- Traditionally, Kant scholars have held (...) that we can grasp our mental faculties either through a priori awareness of their unique activities or through transcendental arguments. Both approaches, however, fail with reason, which presents unique metacritical challenges. We can never be aware of reason’s unique activities, which are infinite and so never complete, and reason cannot be established via transcendental argument because it is not necessary for the possibility of experience. -/- So, how can we know that we have reason? This thesis breaks with tradition by arguing that reason gains self-knowledge in empirical psychology, the study of phenomena in inner sense. Reason, according to Kant, seeks to explain all phenomena, including those of inner sense. To explain inner phenomena, reason hypothesises mental faculties and their laws. Our tendency to ask why-questions, Kant argues, is best explained by hypothesising a faculty that demands complete explanations – i.e., reason. -/- The thesis has five chapters. The first shows that, for Kant, mental faculties are (also) powers of inner sense. The second argues that the normative demands of these faculties are grounded in constitutive principles or laws. The third finds that the constitutive principle of reason requires us to systematise powers of nature, which, as the fourth chapter explains, we do by hypothesising their respective laws. Finally, the fifth chapter suggests that reason hypothesises its own explanation-seeking law. (shrink)