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)

We propose an account of the subject’s cognition that allows for a full articulation of the phenomenon of ideology. We argue that ideology operates at the level of the a priori: it transcendentally conditions the intelligibility of thought and practice. But we draw from strands of post-Kantian philosophy of science and social philosophy in repudiating Kant’s view that the a priori is necessary and fixed. Instead, we argue, it is contingent, and therefore revisable. More precisely, it is conditioned materially: it (...) must be understood as an activity, continuous with and shaped by material social practice. We conclude with some remarks about the possibility of agency over one’s relativized, materially conditioned a priori; that is, over the possibility of critique. (shrink)

In ‘Other Minds’, J.L. Austin advances a parallel between saying ‘I know’ and saying ‘I promise’: much as you are ‘prohibited’, he says, from saying ‘I promise I will, but I may fail’, you are also ‘prohibited’ from saying ‘I know it is so, but I may be wrong’. This treatment of ‘I know’ has been derided for nearly sixty years: while saying ‘I promise’ amounts to performing the act of promising, Austin seems to miss the fact that saying ‘I (...) know’ fails to constitute a performance of the act of knowing. In this paper, I advance a defense of Austin’s position. I diagnose the principal objections to Austin’s account as stemming from detractors’ failure to acknowledge: (1) that Austin never characterizes ‘I know’ as a pure performative; (2) that saying ‘I know p’, unlike simply knowing p, occurs in specific interpersonal contexts in which others rely on our knowledge claims; (3) Austin’s considered account of the felicity conditions of performative utterance; (4) Austin’s ultimate repudiation of the performative/constative distinction. I conclude that Austin’s treatment of ‘I know’ rests on a more general commitment to the intrinsically normative nature of ordinary language. (shrink)