The standard cognitive theory of art claims that art can be insightful while maintaining that imagining is motivationally inert [Walton 1990] even when some epistemic advantage is claimed for it [Currie 1995]. However, if we assume art as art can be insightful, we also assume that the imagining it occasions has a lasting impact on belief. In this chapter, I argue that imagining of the kind occasioned by art can be held non-occurrently [Schellenberg 2013] without delusion and can motivate behaviour (...) [Gendler 2000, 2003, 2006a/b; Langland-Hassan 2016]. As such, certain features of imagination can be appreciated in a new light. (shrink)

For Kant, ‘reflection’ is a technical term with a range of senses. I focus here on the senses of reflection that come to light in Kant's account of logic, and then bring the results to bear on the distinction between ‘logical’ and ‘transcendental’ reflection that surfaces in the Amphiboly chapter of the Critique of Pure Reason. Although recent commentary has followed similar cues, I suggest that it labours under a blind spot, as it neglects Kant's distinction between ‘pure’ and ‘applied’ (...) general logic. The foundational text of existing interpretations is a passage in Logik Jäsche that appears to attribute to Kant the view that reflection is a mental operation involved in the generation of concepts from non-conceptual materials. I argue against the received view by attending to Kant's division between ‘pure’ and ‘applied’ general logic, identifying senses of reflection proper to each, and showing that none accords well with the received view. Finally, to take account of Kant's notio.. (shrink)

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

My project is to reconsider the Kantian conception of practical reason. Some Kantians think that practical reasoning must be more active than theoretical reasoning, on the putative grounds that such reasoning need not contend with what is there anyway, independently of its exercise. Behind that claim stands the thesis that practical reason is essentially efficacious. I accept the efficacy principle, but deny that it underwrites this inference about practical reason. My inquiry takes place against the background of recent Kantian metaethical (...) debate — each side of which, I argue, correctly points to issues that need to be jointly accommodated in the Kantian account of practical reason. The constructivist points to the essential efficacy of practical reason, while the realist claims that any genuinely cognitive exercise of practical reason owes allegiance to what is there anyway, independently of its exercise. I argue that a Kantian account of respect for persons (“recognition respect”) suggests how the two claims might be jointly accommodated. The result is an empirical moral realism that is itself neutral on the received Kantian metaethical debate. (shrink)

Noah Rosenberg et al.'s 2002 article “Genetic Structure of Human Populations” reported that multivariate genomic analysis of a large cell line panel yielded reproducible groupings (clusters) suggestive of individuals' geographical origins. The paper has been repeatedly cited as evidence that traditional notions of race have a biological basis, a claim its authors do not make. Critics of this misinterpretation have often suggested that it follows from interpreters' personal biases skewing the reception of an objective piece of scientific writing. I contend, (...) however, that the article itself to some degree facilitates this misrepresentation. I analyze in detail several verbal and visual features of the original article that may predispose aspects of its racial interpretation; and, tracing the arguments of one philosopher and one popular science writer, I show how these features are absorbed, transformed into arguments for a biological basis of race, and re-attributed to the original. The essay demonstrates how even slight ambiguities can enable the misappropriation of scientific writing, unintentionally undermining the authors' stated circumspection on the relationship between cluster and race. (shrink)

In the Doctrine of Virtue Kant divides duties of love into three categories: beneficent activity , gratitude and Teilnehmung – commonly referred to as the duty of sympathy . In this paper I will argue that the content and scope of the third duty of love has been underestimated by both critics and defenders of Kant's ethical theory. The account which pervades the secondary literature maintains that the third duty of love includes only two components: an obligation to make use (...) of our natural receptivity to sympathetic feelings as a means to fulfilling other duties of love, and an indirect duty to cultivate these feelings. As a result, Kant's duty of sympathy has been widely regarded as a duty whose value is derived from the way in which it serves other duties, in particular, the duty of beneficent activity, which obliges agents ‘to promote according to one's means the happiness of others in need’ . Teilnehmung has thus assumed something of a second-class status among the duties to others. My aim in this paper is to demonstrate that the prevailing account of Kant's third duty of love is incomplete. (shrink)

I propose a unified solution to two puzzles: Ross's puzzle and free choice permission. I begin with a pair of cases from the decision theory literature illustrating the phenomenon of act dependence, where what an agent ought to do depends on what she does. The notion of permissibility distilled from these cases forms the basis for my analysis of 'may' and 'ought'. This framework is then combined with a generalization of the classical semantics for disjunction — equivalent to Boolean disjunction (...) on the diagonal, but with a different two-dimensional character — that explains the puzzling facts in terms of semantic consequence. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in the (...) more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

<The definitive version is available at www.blackwell-synergy.com > -- In this paper I carve out a space between the concept of "the object" and the seemingly endless ways in which "the object" can be represented pictorially. I will call the aspect of the pictorial representation which is made possible by this space, the pictorial representation's "style". I will explore this space by drawing upon theories of pictorial representation, leaving out, for the sake of my purposes here, a consideration of the (...) artist's intention. That an attribution of "style" can be comprehensive while leaving out a consideration of artists' intentions, I will argue by adopting the conceptual framework of Paul Thom's theory of interpretation. Before embarking on my project, I begin with a brief overview of the rather slippery notion of "style". (shrink)

Scholars have widely assumed that the aspects of Kant’s virtue theory that nod to ancient ethics must be cashed out with reference to Aristotle. Interpreters then worry that Kant's conception of virtue as a “moral strength of will” (Doctrine of Virtue, 6:405) must be tantamount to Aristotle’s notion of “continence” (enkrateia) — the state of a person who knows the good, and acts accordingly, but must overcome strong countervailing impulses in order to do so. The result plays into caricatures of (...) Kantian ethics as valorising a joyless standard of duty, which these Aristotelian-oriented commentators (rightly) wish to resist. However, the worry is misplaced. I show that Kant is not thinking about Aristotle here, but is instead engaged with a specifically Stoic approach to ethics as a dimension of natural teleology. I draw on this context to show that Kant’s virtue-as-strength idea is not marred in the ways it appears to be when read through an Aristotelian lens. (shrink)

“Everyone has a price at which he sells himself”: Immanuel Kant quotes this remark in the 1793 _Religion within the Bounds of Reason Alone_, attributing it to “a member of English Parliament”. I argue, however, that the context of the quotation in the _Religion_ alludes to the arresting pedagogical practices of the Stoic philosopher Epictetus, who famously said that “different people sell themselves at different prices” (Discourses 1.2). I argue that there are two sides of Epictetus’s pedagogical strategies: a jolting (...) side meant to expose self-deception and practical inconsistency; and an uplifting side meant to arouse the resources by which it is possible to progress towards virtue — specifically, our sense of kinship with the divine insofar as we are rational. I argue that Kant develops a conception of self-respect in later practical works that plausibly draws on Epictetus, and his distinctive version of the traditional Stoic account of rational agency. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for (...) beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

If we conceive of ourselves as animals, it might be accurate to call us visual animals. The visual cortex is much larger in us relative to the size of our brains than in other animals, and large relative to the parts of the cortex responsible for the transmission of signals emanating from the other perceptual transducers. Our ability to recall visual images, recombine them in imagination and enter imaginatively into narratives is linked to this evolved piece of brain architecture. However, (...) what this means within the context of human culture is not so clear. A large visual cortex might not necessarily translate into a heightened susceptibility for fine visual distinctions over auditory or kinetic distinctions, at least not in all cultural contexts. (shrink)

According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the link between the sublime (...) and moral motivation (section 6). (shrink)

This essay presents the nature of aesthetic judgment, the significance of aesthetic judgment and finally, the relevance of art to understanding aesthetic judgment.

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)

The debate between ΛCDM and MOND is often cast in terms of competing gravitational theories. However, recent philosophical discussion suggests that the ΛCDM–MOND debate demonstrates the challenges of multiscale modeling in the context of cosmological scales. I extend this discussion and explore what happens when the debate is thought to be about modeling rather than about theory, offering a model-focused interpretation of the ΛCDM–MOND debate. This analysis shows how a model-focused interpretation of the debate provides a better understanding of challenges (...) asso- ciated with extension to a different scale or domain, which are tied to commitments about explanatory fit. (shrink)

I respond to a dilemma for Causal Decision Theory (CDT) under determinism, posed in Adam Elga's paper “Confessions of a Causal Decision Theorist”. The treatment I present highlights (i) the status of laws as predictors, and (ii) the consequences of decision dependence, which arises natively out of Jeffrey Conditioning and CDT's characteristic equation. My argument leverages decision dependence to work around a key assumption of Elga's proof: to wit, that in the two problems he presents, the CDTer must employ subjunctive‐suppositional (...) (rather than evidential) transformations of a shared prior. (shrink)

A crucial feature of Kant's critical-period writing on the sublime is its grounding in moral psychology. Whereas in the pre-critical writings, the sublime is viewed as an inherently exhausting state of mind, in the critical-period writings it is presented as one that gains strength the more it is sustained. I account for this in terms of Kantian moral psychology, and explain that, for Kant, sound moral disposition is conceived as a sublime state of mind.

The Free Choice effect—whereby \\) seems to entail both \ and \—has traditionally been characterized as a phenomenon affecting the deontic modal ‘may’. This paper presents an extension of the semantic account of free choice defended by Fusco to the agentive modal ‘can’, the ‘can’ which, intuitively, describes an agent’s powers. On this account, free choice is a nonspecific de re phenomenon that—unlike typical cases—affects disjunction. I begin by sketching a model of inexact ability, which grounds a modal approach to (...) agency in a Williamson -style margin of error. A classical propositional semantics combined with this framework can reflect the intuitions highlighted by Kenny ’s dartboard cases, as well as the counterexamples to simple conditional views recently discussed by Mandelkern et al.. In Section 3, I turn to an independently motivated actual-world-sensitive account of disjunction, and show how it extends free choice inferences into an object language for propositional modal logic. (shrink)

For Kant, the ideal of enlightenment is most fundamentally expressed as a self-developed soundness of judgment. But what does this mean when the judgment at issue is practical, i.e., concerns the good to be brought about through action? I argue that the moral context places special demands on the ideal of enlightenment. This is revealed through an interpretation of Kant’s prescription for moral pedagogy in the Critique of Practical Reason. The goal of the pedagogy is to cultivate the moral disposition, (...) and the method consists of training in judgment. Unfortunately, Kant seems to wind up somewhere short of this goal, leaving the young person with only an idle wish for a properly cultivated moral disposition. In this paper, I argue that when we address the special issues that arise when the enlightenment ideal is brought to bear on practical judgment — issues that stem from the intrinsic connection between practical judgment and agency — we will see that there is no lacuna in Kant’s account. (shrink)

I reconsider the relation between love and respect in Kantian ethics, taking as my guide Iris Murdoch's view of love as the fundamental moral attitude and a kind of attention to individuals. It is widely supposed that Kantian ethics disregards individuals, since we don't respect individuals but the universal quality of personhood they instantiate. We need not draw this conclusion if we recognise that Kant and Murdoch share a view about the centrality of love to virtue. We can then see (...) that respect in the virtuous person cannot be blind to the individual, as critics of Kantian ethics contend. My approach contrasts recent efforts to assimilate Kantian respect to Murdochian love, which overlook Murdoch's distinctive claims about the singularity of moral activity. This idea is not as un-Kantian as it seems, and it should inform any Kantian ethics that aims to address the charge about individuals. (shrink)

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s aesthetics. I will reveal (...) an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

Why did Kant write the Critique of Judgment, and why did he say that his analysis of the judgment of taste — his technical term for our enjoyment of beauty — is the most important part of it? Kant claims that his analysis of taste “reveals a property of our faculty of cognition that without this analysis would have remained unknown” (KU §8, 5:213). The clue lies in Kant’s view that while taste is an aesthetic, and non-cognitive, mode of judgment, (...) it nevertheless involves the “free play” of cognitive capacities that is pleasurable in some way that ordinary cognitive business is not. My thesis is that the judgment of taste reveals a pleasure that is not usually apparent when we understand something in particular, but which is nevertheless proper to the activity of understanding as such. This matters, I argue, because in this way the judgment of taste points to a standard of cognitive virtue. (shrink)

Kant’s account of “the radical evil in human nature” in the 1793 Religion within the Bounds of Reason Alone is typically interpreted as a reworking of the Augustinian doctrine of original sin. But Kant doesn’t talk about Augustine explicitly there, and if he is rehabilitating the doctrine of original sin, the result is not obviously Augustinian. Instead Kant talks about Stoic ethics in a pair of passages on either end of his account of radical evil, and leaves other clues that (...) his argument is a reworking of an old Stoic problem. “Radical evil” refers to the idea that our moral condition is — by default and yet by our own deed — bad or corrupt; and that this corruption is the root (radix) of human badness in all its variety, ubiquity, and sheer ordinariness. Kant takes as his premise a version of the Stoic idea that nature gives us “uncorrupted starting points” (Diogenes Laertius 7.89). What sense can be made of the origin of human badness, given such a premise? Kant’s account of radical evil is an answer to this old Stoic problem, which requires a conception of freedom that is not available in his Stoic sources. (shrink)

This paper comments on an article by V.S. Ramachandran and William Hirstein (JCS,1999) in which they purport to be identifying the neurological principles of beauty. I draw attention to the way the problem of beauty is construed in the philosophical literature by Mary Mothersill (1984) and Immanuel Kant (Critique of Judgment). I argue that Ramachandran and Hirsteins' principles do not address the problem of beauty because they do not differentiate between the experience of beauty and other closely related phenomena. I (...) then show how one might address the problem of beauty within the framework that they have adopted. (shrink)

In this paper we analyse the ideas implicit in the style of exhibition favoured by contemporary galleries and museums, and argue that unless the audience is empowered to ascribe meaning and significance to artwork through critical dialogue, the power not only of the audience is undermined but also of art. We argue that galleries and museums preside over an experience economy devoid of art, unless (i) indeterminacy is understood, (ii) the critical rather than coercive nature of art is facilitated, and (...) (iii) the conditions for inter-subjectivity are met. (shrink)

Existing interpretations of Kant’s appeal to the spontaneity of the mind focus almost exclusively on the discussion of pure apperception in the Transcendental Deduction. The risk of such a strategy lies in the considerable degree of abstraction at which the argument of the Deduction is carried out: existing interpretations fail to reconnect adequately with any ground-level perspective on our cognitive lives. This paper works in the opposite direction. Drawing on Kant’s suggestion that the most basic picture we can have of (...) our cognitive capacity already makes reference to its state of excellence, or health (“sound understanding”), I set out by assembling Kant’s normative ground-level view of our cognitive lives, and then search for the fundamental condition of its possibility. This leads me to Kant’s conception of reflection as a normative requirement of judgment. Through examination of Kant’s remarks on reflection, I connect Kant’s preoccupation with the enlightenment ideal of originality (thinking for oneself) with his central appeal to the spontaneity of the mind. (shrink)

A discussion of the way the visual artists represented in Adelaide’s 2012 Biennale draw attention to new conceptions of place, time and self which highlight the contingent nature of the narratives that underlie our day to day existence. Disenchantment or re-enchantment are increasingly redundant conceptions. Such narratives are always fluid. Among the ebbs and flows, new conceptions emerge, providing in effect new ways of being in the world, and in turn prompting a reshuffling of what we thought we knew.

In this paper I suggest ways in which vision theory and psychology of perception may illuminate our understanding of beauty. I identify beauty as a phenomenon which is (i) ineffable, (ii) subjectively universal (intersubjective), and (iii) manifested in objects as formal structure. I present a model of perception by which I can identify a representation whose underlying principles would explain these features of beauty. The fact that these principles underlie the representation rather than constitute the content of representation, provides an (...) explanation for the ineffability and subjective universality of the perception of beauty in the form of objects. In part one, I set out two models of perception conducive to this approach. In part two, I suggest how such theories can offer a way of explaining and understanding the experience of beauty. (shrink)

Alix Cohen argues that the function of feeling in Kantian psychology is to appraise and orient activity. Thus she sees feeling and agency as importantly connected by Kant’s lights. I endorse this broader claim, but argue that feeling, on her account, cannot do the work of orientation that she assigns to it.

This paper addresses a little puzzle with a surprisingly long pedigree and a surprisingly large wake: the puzzle of Free Choice Permission. I begin by presenting a popular sketch of a pragmatic solution to the puzzle, due to Kratzer and Shimoyama, which has received a good deal of discussion, endorsement and elaboration in recent work :535–590, 2006; Fox, in: Sauerland and Stateva Presupposition and implicature in compositional semantics, 2007; Geurts, Mind Lang 24:51–79, 2009; von Fintel, Central APA session on Deontic (...) Modals, 2012). I then explain why the general form of the Kratzer and Shimoyama explanation is not extensionally adequate. This leaves us with two possibilities with regard to the original solution-sketch; either the suggested pragmatic route fails, or it succeeds in a particularly strange way: Free Choice permission is rendered a kind pragmatic illusion on the part of both speakers and hearers. Finally, I discuss some ramifications. (shrink)

Aesthetic autonomy has been given a variety of interpretations, which in many cases involve a number of claims. Key among them are: (i) art eludes conventional conceptual frameworks and their inherent incompatibility with invention and creativity; and (ii) art can communicate aspects of experience too fine‐grained for discursive language. To accommodate such claims one can adopt either a convention‐based account or a natural‐kind account. A natural‐kind theory can explain the first but requires some special scaffolding in order to support the (...) second, while a convention‐based account accommodates the second but is incompatible with the first. Theodor W. Adorno attempts to incorporate both claims within his aesthetic theory, but arguably in his aesthetic theory each is cancelled out by the other. Art’s independence of entrenched conceptual frameworks needs to be made compatible with its communicative role. Jürgen Habermas, in contrast, provides a solution by way of his theory of language. I draw upon the art practice of the contemporary Icelandic‐Danish artist Olafur Eliasson in order to demonstrate this. (shrink)

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

Two-dimensional semantics, which can represent the distinction between a priority and necessity, has wielded considerable influence in the philosophy of language. In this paper, I axiomatize the dagger operator of Stalnaker’s “Assertion” in the formal context of two-dimensional modal logic. The language contains modalities of actuality, necessity, and a priority, but is also able to represent diagonalization, a conceptually important operation in a variety of contexts, including models of the relative a priori and a posteriori often appealed to Bayesian and (...) Gricean contexts. Finally, I sketch the prospects for extending this two-dimensional upgrade to other kinds of modal logics for natural language. (shrink)

The volume brings together ancient-philosophy specialists and Kant scholars to advance our understanding of the significance of Stoicism for Immanuel Kant's ethical thought. Kant and Stoic Ethics -/- Contents: -/- Introduction -/- 1 Ethical Formulae in Ancient Stoicism — Brad Inwood -/- 2 Duties and Permissible Actions in the Early Stoics and Kant — Iakovos Vasiliou -/- 3 The Stoics and Kant on the Motive of Duty — Jacob Klein -/- 4 Kant on the Unity and Plurality of the Virtues (...) — Katja Maria Vogt -/- 5 Perfection and Morality — Stephen Engstrom -/- 6 The Stoical Sublime — I.S. Blecher 7 Kant’s Rejection of Stoic Eudaimonism — Michael Vazquez -/- 8 Life as a Game of Skill? Kant and the Stoics about the Results of Human Agency — Jens Timmermann -/- 9 Living in accordance with Nature: Kant and Stoicism — Paul Guyer -/- 10 On the Relationship between Orientation and Agency: From the Stoics’ Oikeiōsis to Kant’s Orientierung — Alix Cohen -/- 11 “Everyone has a price at which he sells himself”: Epictetus and Kant on Self-respect — Melissa Merritt -/- 12 Anger Reinstated: Stoics and Kant on Anger — Nancy Sherman 13 Kant’s Philosophy of History as Stoic Consolation — Rachel Zuckert -/- Bibliography Index . (shrink)

In an intriguing but neglected passage in the Transcendental Deduction, Kant appears to link the synthetic activity of the understanding in experience with the phenomenon of attention (B156-7n). In this paper, we take up this hint, and draw upon Kant's remarks about attention in the Anthropology to shed light on the vexed question of what, exactly, the understanding's role in experience is for Kant. We argue that reading Kant's claims about synthesis in this light allows us to combine two aspects (...) of Kant's views that many commentators have thought are in tension with one another: on the one hand, Kant's apparent commitment to naïve realism about perception and, on the other, his apparent commitment to the necessity of synthetic activity by the understanding for any kind of cognitive contact with external objects. (shrink)

The aim of this paper is to draw the attention of those conducting research on imagery to the different kinds of visual information deployed by expert drawers compared to non-expert drawers. To demonstrate this difference I draw upon the cognitive science literature on vision and imagery to distinguish between three different ways that visual phenomena can be represented in memory: structural descriptions, denotative descriptions, and configural descriptions. Research suggests that perception and imagery deploy the same mental processes and that the (...) drawing of one's imagery would require the simultaneous deployment of these very processes. I reason that drawing a picture of one's imagery is not possible. I hypothesize that when required to draw a picture from memory, both expert and non-expert drawers access their denotative description of the object rather than their imagery. I then suggest how my hypothesis could be tested and if accurate, how this finding would impact upon the design and interpretation of experiments on imagery when drawing is involved. I also suggest why the constraints that perception places upon the simultaneous deployment of imagery appear not to cause the same constraints in autistic savant drawers and visual agnosia patients. (shrink)

Abstract: My aim is to reconstruct Kant's argument for the principle of the synthetic unity of apperception. I reconstruct Kant's argument in stages, first showing why thinking should be conceived as an activity of synthesis (as opposed to attention), and then showing why the unity or coherence of a subject's representations should depend upon an a priori synthesis. The guiding thread of my account is Kant's conception of enlightenment: as I suggest, the philosophy of mind advanced in the Deduction belongs (...) to an enlightenment epistemology. Kant's conception of enlightenment turns on the requirement that a subject be able to recognize herself as the source of her cognitions. The argument for the apperception principle is reconstructed under the guidance of this conception of the ideal of enlightenment. (shrink)

Kant’s _Prolegomena_ is a piece of philosophical advertising: it exists to convince the open-minded “future teacher” of metaphysics that the true critical philosophy — i.e., the first _Critique_ — provides the only viable solution to the problem of metaphysics (i.e. its failure to make any genuine progress). To be effective, a piece of advertising needs to know its audience. This chapter argues that Kant takes his reader to have some default sympathies for the common-sense challenge to metaphysics originating from Thomas (...) Reid and his followers; this fact in turn explains his rhetorical strategies in the _Prolegomena_, particularly regarding the presentation of the problem of metaphysics. The chapter draws attention to the importance of Shaftesbury, who, with a nod to Horace, had argued for the deployment of humour to disarm fraudulent claims to epistemic and moral authority. Kant looks to Horace himself to poke fun at the common-sense challenge to metaphysics, and from there to indicate the general shape of the particular argumentative strategies of the _Critique_ — that project that alone, in his view, can promise some kind of future for metaphysics. (shrink)

I identify two mutually exclusive notions of formalism in Kant’s Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant’s third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for (...) theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant’s Critique of Aesthetic Judgement are understood in the context of his broader critical aims. (shrink)

It is widely assumed that Kant’s moral psychology draws from the dualist tradition of Plato and Aristotle, which takes there to be distinct rational and non-rational parts of the soul. My aim is to challenge the air of obviousness that psychological dualism enjoys in neo-Kantian moral psychology, specifically in regard to Tamar Schapiro’s account of the nature of inclination. I argue that Kant’s own account of inclination instead provides evidence of his commitment to psychological monism, the idea that the mentality (...) of an adult human being is rational through and through. I first consider Schapiro’s “intuitions” in favour of dualism: inclination must have a non-rational source, she contends, because they assail us unbidden and are not immediately responsive to volition, and because we are not responsible simply for having inclinations (only for acting on them). I explain how a monistic account of the nature of inclination can accommodate the first two points, and explain why the third neither is a point a Kantian can accept, nor is its denial the affront to common sense that Schapiro supposes. Then I turn to Schapiro’s aim to conceive of reflection as non-rational and thus independent of justificatory thought, and yet such as to induce rational reflection. I argue that it remains mysterious how inclination, on her account, could be resourced to play this role; and with that criticism in mind, I conclude by making a positive case for Kant’s conceiving of inclination in monistic terms, as an expression of rational mindedness. (shrink)

Kant maintains that his Critique of Pure Reason follows a “synthetic method” which he distinguishes from the analytic method of the Prolegomena by saying that the Critique “rests on no other science” and “takes nothing as given except reason itself”. The paper presents an account of the synthetic method of the Critique, showing how it is related to Kant’s conception of the Critique as the “science of an a priori judging reason”. Moreover, the author suggests, understanding its synthetic method sheds (...) light on the structure of the Transcendental Deduction, and its function in the work as a whole. (shrink)

Many extant theories of placebo focus on their causal structure wherein placebo effects are those that originate from select features of the therapy (e.g., client expectations or “incidental” features like size and shape). Although such accounts can distinguish placebos from standard medical treatments, they cannot distinguish placebos from everyday occurrences, for example, when positive feedback improves our performance on a task. Providing a social-epistemological account of a treatment context can rule out such occurrences, and furthermore reveal a new way to (...) distinguish clinical placebos from standard medical treatments. (shrink)

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element (...) takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

I examine the significance of the Stoic theory of pathē for Kant’s moral psychology, arguing against the received view that systematic differences block the possibility of Kant’s drawing anything more than rhetoric from his Stoic sources. More particularly, I take on the chronically underexamined assumption that Kant is committed to a psychological dualism in the tradition of Plato and Aristotle, positing distinct rational and nonrational elements of human mentality. By contrast, Stoics take the mentality of an adult human being to (...) be rational through and through, while recognising that this rationality is not normally in a state of health or excellence. I show how Kant’s account of affections—chiefly the “affects” and “passions” that he identifies as targets of a duty of apathy—draws substantive lessons from his Stoic sources, and how he accepts on his own terms the monistic principles of Stoic moral psychology. (shrink)

The paper argues that existing interpretations of Kant's Critique of Pure Reason as an "analysis of experience" (e.g., those of Kitcher and Strawson) fail because they do not properly appreciate the method of the work. The author argues that the Critique provides an analysis of the faculty of reason, and counts as an analysis of experience only in a derivative sense.