Kant: Critique of the Power of Judgment

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.

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)

In the 1780s Kant’s critique of rational cosmology clearly identified the limits of theoretical cosmology in agreement with the doctrine of transcendental idealism of space and time. However, what seems to be less explored, and remains still a desideratum for the literature, is a thorough investigation of the implications of transcendental philosophy for Kant’s view of cosmology in the 1790s. This contribution fills this gap by investigating Kant’s view of teleology and measurement in the Critique of Judgment, exploring their implications (...) for Kant’s late view of cosmology. Considering the historical and scientific context in which Kant developed his reflections motivates my proposal to read Kant’s late view of the universe in terms of “functional cosmology.” -/- . (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)

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)

Nietzsche and Kant on Aesthetics and Anthropology is the third of a three-volume collection exploring Nietzsche’s relationship to the Kantian legacy in philosophy. This volume examines his relationship to Kant’s aesthetic and anthropological views, focusing on the traces of Kant’s third Critique and Anthropology from a Pragmatic Point of View that can be found in Nietzsche’s published and unpublished works. In this review, I offer a summary of each of its chapters, with some brief commentary, and underscore its major themes, (...) contributions, and omissions. In their introduction, Maria Branco and Katia Hay signal that the scope of this volume goes well beyond a strict understanding of aesthetics as the evaluation of... (shrink)

The Heythrop Journal, Volume 63, Issue 1, Page 5-18, January 2022.

This essay explores the relation between worldly orientation and rational comprehension in Kant. Both require subjective grounds of differentiation that were eventually developed into a contextualizing principle for reflective judgement. This kind of judgement can proceed either inductively to find new universals or by analogy to symbolically link different objective spheres. I will argue that the basic orientational function of reflective judgement is to modally differentiate the formal horizonal contexts of field, territory, domain and habitat laid out in the Introduction (...) to theCritique of the Power of Judgement. Assessing which context takes priority will be important in making aesthetic judgements and for applying practical reason to comprehend human affairs. (shrink)

In the Introduction to the Critique of the Power of Judgment, Kant claims that the Critique of Pure Reason accounted for the necessary conditions of experience and knowledge in general, but that it was not a complete transcendental account of the possibility of a particular empirical experience of objects and knowledge of empirical laws of nature. To fill this gap the third Critique puts forward, as an additional transcendental condition, the regulative principle of the purposiveness of nature. In this paper, (...) I will attempt to show how Kant’s account of pure aesthetic judgment can be read as articulating an aesthetic non-conceptual condition of the search for the conceptual order of nature and so as constituting an essential part of the account of the transcendental conditions of empirical experience and knowledge. (shrink)

This chapter examines Kant's account of the nature of nonhuman and human animals in the "Critique of the Power of Judgement". It discusses how Kant thought that a complete account of the forms of explanation commit one to belief in God. It concludes, firstly, that Kant's account implies an unhealthy anthropocentrism and an Enlightenment prejudice in the form of the overestimation of reason, and secondly, that the Kantian model of God lacks one of the main characteristics of the Christian conception (...) of God: the universal divine love, a power that unifies and embraces all beings, including nonhuman and human animals and their orders. (shrink)

This paper argues that Kant presents two different accounts of beauty, one that applies properly to art and one that applies properly to nature. The judgment of beauty that applies properly to nature can be free and thus judged without concepts. The work of art, however, is judged beautiful when it expresses aesthetic ideas. This distinction then enables me to explain several problematic passages in Kant's text: those that serve to distinguish these two conceptions of beauty from one another as (...) well as those passages in which Kant views them as overlapping. With respect to the latter, I argue that Kant lays especial significance on cases where we apply the conception of artistic beauty to natural objects, as in doing so we view nature as expressing ideas that step beyond nature. (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address questions (...) of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

Passt der Mensch als moralischer Akteur in die Welt? Während in früheren Ansätzen Kants nur der aus den Bedürfnissen der Praxis gespeiste Glaube blieb, hofft er in der "Kritik der Urteilskraft" zeigen zu können, dass sich die Überzeugung von einer moralkompatiblen Welt unabhängig rechtfertigen lässt – aus Ästhetik und Biologie. Der Autor liefert zunächst eine systematische Analyse von Kants Problemstellung: Was motiviert die Suche nach einem solchen Übergang zwischen Theorie und Praxis und was kommt als Lösung infrage? Dann schlägt er (...) eine innovative Lesart der Rolle der Biologie im Übergangsargument vor: Sie ist nicht als positiver Beitrag, sondern als naheliegender Einwand gegen das angestrebte Argument zu verstehen. Das wirft neues Licht insbesondere auf die Antinomie der teleologischen Urteilskraft. -/- Does man fit into the world as a moral actor? In Kant's earlier approaches, only faith catering to the needs of human practice remained to supply an answer to this question. In the "Critique of Judgment", though, Kant attempts to show that the conviction concerning the existence of a morally compatible world can indeed be independently justified – namely from aesthetics and biology. The author first provides a systematic analysis of Kant's problem: What motivates the search for such a transition between theory and practice and what can be considered a satisfactory solution? He then proposes an innovative reading of the role of biology in the transition argument: It is not to be understood as a positive contribution, but as an obvious objection to the argument pursued in the first place. This sheds new light in particular on the antinomy of teleological judgement. (shrink)

The paper examines Kant’s self-criticism to the account of hypothetical imperatives given in the "Groundwork for the Metaphysics of Morals". Following his corrections in the introductions to the third "Critique", the paper traces the consequences of that change in his later writings, specifically with regard to the status of prudence. I argue that the revision of the account of hypothetical imperatives leads to differentiate, and ultimately separate, two functions in prudence: the setting of ends through maxims, and the pragmatic rules (...) establishing means to reach those ends. Accordingly, I furthermore argue, there is ultimately no genuine structural distinction between the rules of prudence and skill. The only difference lies in the domain in which prudence unfolds, that is, the field of human relations, and in the relevant cognitions. (shrink)

When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are engaged in is cognition (...) of an object, and the faculties that we are feeling to be at work are the cognitive faculties of the understanding and the imagination. This paper locates this interpretation in the text of the Critique of Aesthetic Judgment in the third Critique and uses it to make sense of many otherwise opaque features of Kant’s account of pure aesthetic judgment. (shrink)

The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.

Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an aesthetic judgment cannot be grounded on the testimony (...) of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)

In his recent article, “Beauty and Utility in Kant’s Aesthetics: The Origins of Adherent Beauty,” Robert Clewis aims to offer a fresh perspective on Kant’s views on the relation between beauty and utility. While, admittedly, a fresh approach is hard to come by, given the extensive treatment of the topic, Clewis thinks that a study of its historical context and origins might give us the needed edge. The most interesting and novel aspect of Clewis’s discussion is his detailed treatment of (...) Kant’s changing use of the term “selbstständig” (which in general means “independent,” “self-standing,” “stable,” “lasting,” “self-subsisting”). In the process of tackling the more general question as to what kind of eighteenth-century model of beauty-utility relation Kant proposes, Clewis addresses other issues, such as the seeming inconsistency between Kant’s earlier and later views on free and purpose-based beauty. As noted in the editor’s footnote of the Critique of the Power of Judgment (KU), while Kant uses the term “selbstständig,” in his precritical period to refer to “purpose-based beauty” (what he calls in the KU adherent or dependent beauty), he uses the same term to denote free beauty (independent beauty, that is to say) in the KU.1 Clewis argues that even though Kant uses the same term to refer to both dependent and independent beauty, albeit in different periods of his life, this switch in the application of the term is not caused by a change in the meaning of the term from Kant’s perspective, but a change in Kant’s views concerning the status of free beauty. I agree with Clewis that Kant did not change his mind about the meaning of the term “selbstständig.” Nevertheless, I disagree with the line Clewis pursues.I will argue that Clewis’s mistake lies in thinking that, throughout his career, Kant endorsed what he calls the “blocking-unifi cationist” view on the relation between beauty and utility (“beauty and perfection/utility are distinct concepts yet can be united or unifi ed” (2018, p. 309)). As I will show, this mistake results in an inconsistent story about Kant’s aesthetics as well as an inconsistency within Clewis’ own argument. I will try to articulate a more consistent story about the development of Kant’s ideas on aesthetics in general and his ideas on adherent beauty in particular by proposing that, contra Clewis, earlier Kant subscribed to what Clewis calls the “containment” account (beauty is a form of perfection) while the later Kant changed his mind (having given up on rationalism) and came to defend a version of “blocking-unificationist” view. (shrink)

In the article, I engage with H.G.Gadamer’s reading of Kant’s aesthetic theory. Gadamer accused Kant of subjectivizing the aesthetic experience so that it would be reduced to the free play of the cognitive faculties of the subject. Consequently, the ethical dimension of aesthetic experience that played such an important role in the preceding tradition of European humanism has been lost. Yet, this charge of Gadamer is not quite right. The connection between the experience of beauty and ethics has been maintained (...) by Kant, but it has assumed a different form. The free, disinterested beauty of the objects of nature, on his account, harmonizes with the disinterested experience of the moral law. Similarly, the dependent beauty of the work of art appeals to the ethical dimension of the human being. As a result of this, the connection between aesthetics and ethics not only has not been severed by Kant, but it has also assumed an entirely new, radical form. (shrink)

The first part of the final section of Hegel's Science of Logic, the section on "The Idea", is titled "Life". Logic being the science of thought for Hegel, this section presents Hegel's account of the form of thought peculiar to thinking about living beings as living. Hegel's full account of this form of thought holds that a living being is (1) a functionally organized totality of members (2) that maintains itself in and through its environment (3) in the manner of (...) some particular species. I develop Hegel's account in critical conversation with Kant's more limited principle, in the Critique of the Power of Judgement, for judging about internally purposive "natural ends" as beings in which every part is both means and end to every other. I argue that Hegel's view rationally develops from attempting to think through Kant's principle, retaining what is valuable in Kant's insights without treating the life sciences with skepticism. (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)

The article follows Kant’s different views on aesthetics ranging from the pre-critical period to the Critique of the Power of Judgement. It argues that John Zammito’s psychological explanation of why Kant in the third Critique developed an argument for the transcendental justification of judgements of taste is unconvincing. As an alternative, the article shows how Kant in his published pre-critical discussions of aesthetics was relying upon empiricist sources while he in private comments turned to consider the culture critique of Rousseau. (...) Kant’s preoccupation with questions of culture critique, it is argued, was an important reason to enlarge the doctrines of transcendental philosophy with a third Critique containing a transcendental aesthetics of beauty. Additionally, it is pointed out an interesting similarity throughout the development of Kant’s philosophy. In 1765 and in the third Critique Kant was concerned to keep philosophy and judgements of taste apart from science. (shrink)

In the Critique of Judgment Kant repeatedly points out that it is only the pleasure of taste that reveals to us the need to introduce a third faculty of the mind with its own a priori principle. In order to elucidate this claim I discuss two general principles about pleasure that Kant presents, the transcendental definition of pleasure from § 10 and the principle from the Introduction that connects pleasure with the achievement of an aim. Precursors of these principles had (...) been employed by Kant and others in empirical psychology. But how can such principles of empirical psychology be transferred to transcendental philosophy? I suggest that Kant accomplishes this by deriving the connection of pleasure with achievement of an aim from the transcendental definition and the assumption that faculties have interests. I finally reconstruct § 11 as a ‘regressive argument’ from the peculiarities of the pleasure of taste to the need to acknowledge a new faculty. (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 deals with the so-called “external history” of the origin of Critique of the power of judgment that is based primarily on the philosopher’s correspondence in the period between May 1787 and October 1789. Two letters from Kant to Reinhold (28.12.1787 and 12.05.1789) as well as modifications in the interpretation of the term “aesthetics” in the first Critique (KrVA 22, B 35-36) are crucial for the evolution of the project Critique of Taste in the book Critique of the Power (...) of Judgment. Special attention was paid to the debate between some modern scholars and editors about the importance of the reports on ‘Grundlegung’ / ‘Grundlage’ of Critique of Taste in the initial phase of work on the text. However, the available evidence does not allow us to reconstruct the “internal history” of the development of Kant’s thought during the period of writing the third Critique. Some modern scholars try to establish other objective criteria for this kind of reconstruction by identification in the text of Critique direct or hidden hints or citations to the literature of the 18th century. The author considers that the use of so-called “reflections” from the philosopher’s manuscript heritage, which can be seen as the formation and development of certain concepts of Kant’s theory, can be fruitful. The well-known problem of dating the reflections can be partially solved if terminus a quo will be not the published works, but Kant’s lectures on anthropology and logic taught at that time. (shrink)

In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with the (...) laws of association and creating new associations. I propose that (ii) constitutes the reason why music is not a rich source for reflection and thereby cannot stimulate the enlargement of the cognitive faculties. Given that the standard Kant uses in setting up the hierarchy of fine arts in terms of their cultivating role is the enlargement of cognitive faculties, this explains why music is placed at the bottom of his hierarchy. (shrink)

Kant’s 3rd Critique claims that the concept of purposiveness bridges the chasm between nature and freedom. This concept derives from the reflecting power of judgment’s demand for a system of particular laws. The published Introduction represents this system as grounded on the Idea of a divine understanding. According to Tuschling, this divinity is the intuitive understanding of §§76-77. According to Allison, this divinity is discursive and purposive and, thus, numerically distinct from §§76-77’s intuitive understanding. I argue that this debate between (...) Tuschling and Allison fails to appreciate the varied ways in which Kant predicates divine attributes. The 3rd Critique refers to a single God but does so in various ways. First, Kant literally ascribes an intuitive understanding to God on analytic grounds. Second, Kant analogically ascribes a discursive, purposive mind to this same God. Finally, Kant ascribes moral predicates to this analogical representation of God on practical grounds. (shrink)

The secular interpretation of Kant is widespread and Kant is viewed as the most prestigious founding father of liberal secularism. At the same time, however, commentators note that Kant’s position on secularism is in fact much more complex, and some go as far as to talk about an ambiguous secularism in his work. This paper defends a refined version of the secular interpretation. According to this refined version, Kant can offer a limited, political secularism on the basis of a simple (...) argument which focuses on the distinct epistemic statuses of political and religious claims; however, the paper argues, a more general secularism is unwarranted on the basis of the same argument. If my argument is correct, then it will account at least in part for the plurality of interpretations. Moreover, any further attempt to show that Kant’s relation to secularism is ambiguous or dismissive should take into consideration the argument from epistemic grounds presented here. (shrink)

Kant uses ‘wish’ as a technical term to denote a strange species of desire. It is an instance in which someone wills an object that she simultaneously knows she cannot bring about. Or in more Kantian garb: it is an instance of the faculty of desire’s (or will’s) failing insofar as a desire (representation) cannot be the cause of the realization of its corresponding object in reality. As a result, Kant originally maintained it to be antithetical to morality, which deals (...) with ‘ought implies can’. However, Kant’s notion of wish is not static. On the contrary, I argue in this article that Kant re-evaluated the capacity to wish as (to some extent) causally efficacious and, further, of moral relevance. This re-evaluation has not been discussed in the literature, yet has been lurking in plain sight in a subtle but decisive shift evident in two versions of a footnote from the *Critique of the Power of Judgement* (KU). (shrink)

Hannah Ginsborg rejects my ‘two-acts’ interpretation of Kant’s conception of aesthetic judgement as untrue to Kant’s text and as philosophically problematic, especially because it entails that every object must be experienced as beautiful. I reject her criticisms, and argue that it is her own ‘one-act’ interpretation that is liable to these criticisms. But I also suggest that her emphasis on Kant’s ‘transcendental explanation’ of pleasure as a self-maintaining mental state suggests an alternative to the common view that pleasure is a (...) distinctive feeling, even if Ginsborg herself does not draw that conclusion. (shrink)

The key concept in Kant’s aesthetics is “aesthetic reflective judgment,” a critique of which is found in Part 1 of the Critique of the Power of Judgment (1790). It is a critique inasmuch as Kant unravels previous assumptions regarding aesthetic perception. For Kant, the comparative edge of a “judgment” implicates communicability, which in turn gives it a public face; yet “reflection” points to autonomy, and the “aesthetic” shifts the emphasis away from objective properties to the subjective response evoked by the (...) object. Contrary to the view he had inherited, Kant did not treat aesthetic judgments as confused perceptions or inferior cognitions, but rather put them in a category of their own. For Kant, aesthetic reflective judgments implicated not only the processes involved in understanding the empirical world but also the processes involved in ascribing ideas or meaning to experience (which go beyond what is given in perception/cognition). This “going beyond cognition” may have been referred to by Kant as non-cognitive, but it is conditioned on a way of cognizing the object. Kant describes the features of such judgments in the Analytic of the Beautiful before addressing their possibility in subtle ways throughout the Deduction of Pure Aesthetic Judgments. Kant’s critique gives rise to three apparent dichotomies: immediate intuition and prior learning; autonomy and communicability; and non-cognitive response and aesthetic ideas. An interpretation of Kant’s theory can be deemed correct to the degree that it succeeds in showing that the contradictions are only apparent. I will argue that the resulting positive account of Kant’s aesthetic theory offers an understanding of aesthetic reflective judgment that is quite different from the standard formalism that the critics of formalism usually target and by which they misrepresent Kant’s aesthetic theory. When I refer to Kant’s formalism, then, I mean something quite different by this than what is meant by “standard formalism.” The latter is the representation given Kant’s formalism by its contemporary critics and is the typical account of formalism found in the art theory and philosophy of art literature, as will be demonstrated. (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)

This article turns to early modern and Enlightenment advocates of tolerance in order to discover and lay bare the line of argument that informed their commitment to free speech. This line of argument will subsequently be used to assess the shift from free speech to the contemporary ideal of free self-expression. In order to take this assessment one step further, this article will finally turn to Immanuel Kant’s famous defense of the public use of reason. In the wake of Katerina (...) Deligiorgi’s readings of Kant, it will show that the idea of free speech requires a specific disposition on behalf of speakers and writers that is in danger of being neglected in the contemporary prevailing conception of free speech as freedom of self-expression. (shrink)

In §76 of the 3rd Critique, Kant claims that an intuitive understanding would represent no distinction between possible and actual things. Prior interpretations of §76 take Kant to claim that an intuitive understanding would produce things merely in virtue of thinking about them and, thus, could not think of merely possible things. In contrast, I argue that §76’s modal claims hinge on Kant’s suggestion that God represents things in their thoroughgoing determination, including in their connection to God’s actual will. I (...) conclude by using my interpretation to argue that §76’s modal claims do not entail Spinozism. (shrink)

First, I raise two objections against Ginsborg’s interpretation of natural teleology. I argue that Ginsborg’s notion of primitive normativity is too thin to account for Kant’s more substantive conception of the organism. Furthermore, I question whether Kant has room for a notion of purposiveness that is entirely divorced from intentional activity. Second, I ask about the implications of Ginsborg’s account of the relationship between aesthetic judgement and cognition. I suggest that her reading can easily be extended to allow for aesthetic (...) pleasure in empirical reflection. (shrink)

Kant claims in the third Critique that one can make about wine the merely subjective judgment that it is agreeable but never the universally valid judgment that it is beautiful. This follows from his views that judgments of beauty can be made only about the formal (spatiotemporal) features of a representation and that aromas and flavors consist of formless sensory matter. However, I argue that Kant's theory permits judgments of beauty about wine because the experience displays a temporal structure: the (...) aromas and flavors evolve over the course of a tasting from the bouquet through the palate to the finish. An analogy with music, which Kant describes as 'a play of sensations in time', illuminates how wine qualifies as an object of pure judgments of taste: the 'structure' of a wine can be compared to harmonic structure, and its development throughout the taste can be compared to the unfolding of melody and harmonic progression. (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)

In this article, I aim to interpret and contextualize Heidegger’s short interpretation of Kant’s Critique of the Power of Judgement. I provide a more accurate picture of Heidegger’s interpretation of Kant, showing that his reading is both appreciative and original, if speculative. I argue that Heidegger’s analysis of Kant’s aesthetics is surprisingly at odds with his general characterization and criticism of modern aesthetics. The latter can be captured by two basic theses—art is determined by a subject’s experience and art reveals (...) metaphysical truth—but neither of these theses applies to Heidegger’s Kant. Instead, Heidegger understands Kant and the third Critique’s notions of disinterestedness and purposiveness as sources of insight, offering an interpretation of Kantian disinterestedness as analogous to his own notion of ‘letting be’. The seeming inconsistency between Heidegger’s general story and his interpretation of Kant is revealing of Heidegger’s twofold use of history, as allowing for a diagnosis of the present, as well as positive inspiration for a future aesthetics. (shrink)

I emphasize the harmony between the sublime and the underlying concept of the purposiveness of nature, i.e. that the sublime is purposive through its initial contrapurposiveness. One favorable outcome of this reading is that it locates further unity in the Critique of Judgment, e.g. it helps make sense of why, besides historical reasons, Kant may have turned to the sublime in the first place in the “Critique of the Aesthetic Power of Judgment” (Part One of the CJ). I question some (...) prominent readings of Kant’s theory, e.g. that as a mere ‘appendix’ to his theory of nature, Kant’s account of the sublime has little connection to his project’s main aims. The place of the sublime is thus near the middle. (shrink)

Name der Zeitschrift: Kant-Studien Jahrgang: 106 Heft: 4 Seiten: 709-713.