Précis of _Kant and the Reorientation of Aesthetics_ and replies to comments by Samantha Matherne and Moran Godess-Riccitelli.

In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...) view of aesthetic engagement, but also his distinctive account of individual and political freedom. In Part I, we develop a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom and in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

An abridged reading guide for Friedrich Schiller’s Letters on the Aesthetic Education of Man, based on Matherne and Riggle's two-part paper, "Schiller on Freedom and Aesthetic Value". -/- Part I: British Journal of Aesthetics 60 (4): 375-402. 2020 Part II: British Journal of Aesthetics 61 (1): 17-40. 2021.

It has become typical to read Kant and Merleau-Ponty as offering competing approaches to perceptual experience. Kant is interpreted as an ‘intellectualist’ who regards perception as conceptual ‘all the way out’, while Merleau-Ponty is seen as Kant’s challenger, who argues that perception involves non-conceptual, embodied ‘coping’. In this paper, however, I argue that a closer examination of their views of perception, especially with respect to the notion of ‘schematism’, reveals a great deal of historical and philosophical continuity between them. By (...) analyzing Kant’s theory of schematism, the interpretation of it by the Neo-Kantian Pierre Lachièze-Rey, and Merleau-Ponty’s theory of the body schema, we find that aspects of Merleau-Ponty’s theory of perception are better understood as a development of Kant’s theory of perception. (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 his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...) view of aesthetic engagement, but also his distinctive account of individual and political freedom. Whereas in Part I, we developed a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom, in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

My aim in this paper is to offer a systematic analysis of a feature of Kant’s theory of perception that tends to be overlooked, viz., his account of how the imagination forms images in perception. Although Kant emphasizes the centrality of this feature of perception, indeed, calling it a ‘necessary ingredient’ of perception, commentators have instead focused primarily on his account of sensibility and intuitions on the one hand, and understanding and concepts on the other. However, I show that careful (...) attention to what he says about the nature of images, their connection to the imagination, and their role in perception in his Metaphysics Lectures, as well as in the Deduction and Schematism chapters of the first Critique reveals that Kant is working with a richer, more nuanced framework for perception than is often attributed to him. I contend that it is only once we have a revised framework for Kant’s theory of perception in place that we will be able to make further headway in debates, e.g., about whether or not he is a conceptualist about perception. (shrink)

Ernst Cassirer (1874–1945) occupies a unique place in 20th-century philosophy. His view that human beings are not rational but symbolic animals and his famous dispute with Martin Heidegger at Davos in 1929 are compelling alternatives to the deadlock between 'analytic' and 'continental' approaches to philosophy. An astonishing polymath, Cassirer's work pays equal attention to mathematics and natural science but also art, language, myth, religion, technology, and history. However, until now the importance of his work has largely been overlooked. -/- In (...) this outstanding introduction Samantha Matherne examines and assesses the full span of Cassirer’s work. Beginning with an overview of his life and works she covers the following important topics: Cassirer’s neo-Kantian background; philosophy of mathematics and natural science, including Cassirer’s first systematic work, Substance and Function, and subsequent works, like Einstein’s Theory of Relativity; the problem of culture and the ground-breaking The Philosophy of Symbolic Forms; Cassirer’s ethical and political thought and his diagnosis of fascism in The Myth of the State; and Cassirer’s influence and legacy. -/- Including chapter summaries, suggestions for further reading, and a glossary of terms, this is an ideal introduction to Cassirer’s thought for anyone coming to his work for the first time. It is essential reading for students in philosophy as well as related disciplines such as intellectual history, art history, politics, and literature. (shrink)

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)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to an earlier philosophical study (...) of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (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)

In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that a closer (...) look at the Phenomenology and several other texts from this period reveals that, on Merleau-Ponty’s account, we are able to perceive the absent features of objects as present, constant properties, and constant objects because we recognize that the objects we perceive have a unique style that persists through and unifies all their appearances. (shrink)

Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending together a cognitivist (...) account of aesthetic judgment with an objectivist account of beauty, and that she builds an account of aesthetic normativity on this cognitivist and objectivist basis. I contend that her subtle and unified account of aesthetic demarcation and normativity has advantages over other competing hedonist and Kantian views and, as such, merits further consideration in contemporary debates. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music (...) can be experienced as either agreeable or beautiful depending on the attitude we take toward it. Although it is tempting to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant's theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion? (shrink)

In light of the central role scientific research plays in Merleau-Ponty’s phenomenology, the question has arisen whether his phenomenology involves some sort of commitment to naturalism or whether it is better understood along transcendental lines. In order to make headway on this issue, I focus specifically on Merleau-Ponty’s method and its relationship to Kant’s transcendental method. On the one hand, I argue that Merleau-Ponty rejects Kant’s method, the ‘method-without-which’, which seeks the a priori conditions of the possibility of experience. On (...) the other hand, I show that this does not amount to a methodological rejection of the transcendental altogether. To the contrary, I claim that Merleau-Ponty offers a new account of the transcendental and a priori that he takes to be the proper subject matter of his phenomenological method, the method of ‘radical reflection’. And I submit that this method has important affinities with aesthetic themes in Kant’s philosophy. (shrink)

In spite of Ernst Cassirer’s criticisms of psychologism throughout Substance and Function, in the final chapter he issues a demand for a “psychology of relations” that can do justice to the subjective dimensions of mathematics and natural science. Although these remarks remain somewhat promissory, the fact that this is how Cassirer chooses to conclude Substance and Function recommends it as a topic worthy of serious consideration. In this paper, I argue that in order to work out the details of Cassirer’s (...) psychology of relations in Substance and Function, we need to situate it within two broader frameworks. First, I position Cassirer’s view in relation to the view of psychology and logic endorsed by his Marburg Neo-Kantian predecessors, Hermann Cohen and Paul Natorp. Second, I augment Cassirer’s early account of the psychology of relations in Substance and Function with the more mature view of psychology that he presents in The Philosophy of Symbolic Forms. By placing Cassirer’s account within these contexts, I claim that we gain insight into his psychology of relations, not just as it pertains to mathematics and natural science, but to culture as a whole. Moreover, I maintain that pursuing this strategy helps shed light on one of the most controversial features of his philosophy of mathematics and natural science, viz., his theory of the a priori. (shrink)

In this paper, I argue that in spite of suggestions to the contrary, Merleau-Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau-Ponty, abstract thought and perception stand in the two-way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract (...) thought. I claim that, on Merleau-Ponty's view, although this process can sometimes lead to falsification, it can also be carried out in such a manner that allows mathematics and natural science to articulate what we perceive in a way that is non-distortive and in keeping with the demands of perception itself. (shrink)

Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...) of aesthetic diversity, and they engage in a collective dialogue about these issues. (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)

In this paper I explore the influence of Kant's theory of imagination on a specific aspect of Heidegger and Merleau-Ponty's thought, viz., their theories of understanding. 1 argue that the theories of Verstehen that Heidegger presents in Being and Time and of comprendre that Merleau-Ponty presents in Phenomenology of Perception can be helpfully read as elaborations of Kant's account of imagination.

In the 1920s, Cassirer had the good fortune of participating in the intellectual community that gathered around the Warburg Library in Hamburg. 1This “dreamland of humanists” had a profound impact...

In his Letters on the Aesthetic Education of Man (1795), Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, “it is only through beauty that man makes his way to freedom.” However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only (...) his view of aesthetic engagement, but also his distinctive account of individual and political freedom. More specifically, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

In order to explore the question of whether artists are phenomenologists, I consider the negative and affirmative answers defended by Edith Landmann-Kalischer and Maurice Merleau-Ponty, respectively. Through this comparison, I bring to light reasons why phenomenologists take themselves to share a subject-matter with artists, viz., lived experience. However, with this comparison I also highlight the ways in which the answer to this question turns on how we conceive of what phenomenologists do. If one endorses a more scientific conception of phenomenology, (...) as Landmann-Kalischer does, then it seems that the phenomenologist does something fundamentally different from the artist. But if one endorses a more aesthetic conception of phenomenology, as Merleau-Ponty does, then the phenomenologist’s efforts appear to be of a piece with those of the artist. In the end, I will not defend one position over the other; rather, my aim is to show that in order to answer the question, are artists phenomenologists, we must also answer the question, how should a phenomenologist be. (shrink)

Volume 98, Issue 1, March 2020, Page 202-205.

Samantha Matherne’s Cassirer (in the series Routledge Philosophers) is at the top of the list of newer research testifying to the recent Cassirer renaissance. While this book marks a formal end poi...

Samantha Matherne has written an excellent, timely introduction to the thought of Ernst Cassirer, the brilliant polymath who was the last representative of the “Marburg school” of neo-Kantianism, and who is well-known for wrangling a wide range of cultural phenomena into a system of “symbolic forms.” Despite Cassirer’s recent rise in prominence in the English-speaking philosophical world, there is only one other single-volume survey of his thought in English, Edward Skidelsky’s Ernst Cassirer. Matherne’s book has the merit (...) of helping to shore up this scholarly gap, and of providing a clear and succinct presentation of the philosophical system that... (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 429-432, March 2022.

Can drinking coffee help people live longer? What makes a stock's price go up? Why did you get the flu? Causal questions like these arise on a regular basis, but most people likely have not thought deeply about how to answer them. This book helps you think about causality in a structured way: What is a cause, what are causes good for, and what is compelling evidence of causality? Author Samantha Kleinberg shows you how to develop a set of (...) tools for thinking more critically about causes. You'll learn how to question claims, identify causes, make decisions based on causal information, and verify causes through further tests. Whether it's figuring out what data you need, or understanding that the way you collect and prepare data affects the conclusions you can draw from it, Why will help you sharpen your causal inference skills. (shrink)

This volume brings together for the first time the diverse threads within the growing field of serendipity research, to reflect both on the origins of this emerging field within different disciplines as well as its increasing influence as its own field with foundational texts and emerging practices. The phenomenon of serendipity has been described in many ways since Horace Walpole initially coined the term in 1754 to categorize those discoveries that happen by “both accidents and sagacity”. This book offers a (...) sampling of perspectives from experts in serendipity research from organizational studies, management theory, information science and library studies, psychology, literature, computer science, social science, ethics, and the history and philosophy of science. Considerations about the importance and role of serendipity are being raised now across science (both empirical and theoretical) as well as practice (from art and innovation to leadership and governance), with ever more eyes looking closer at its significance in human history and the likelihood it will play a key, while unpredictable, role in forming our future. Serendipity Science represents an emerging, and also important and potentially necessary field of study, if we are to deal well as a society with our complex times and uncertain future. (shrink)

Explores the critical role time plays in our understanding of causality, across psychology, biology, physics and the social sciences.

This book explores the philosophical thought and praxis of Paul B. Thompson, who planted some of the first seeds of philosophy of agriculture and whose work inspires interdisciplinary scholarship in food ethics, biotechnology, and environmental philosophy. Landmark texts such as The Spirit of the Soil, The Agrarian Vision, and From Field to Fork revealed the fertility of food systems for inspiring reflection on our relationships to technology, the land, and one another. Rooted in philosophical traditions ranging from pragmatism to post-phenomenology, (...) Thompson’s work nourishes projects in ethics, epistemology, philosophy of science, and social and political theory, not only in academic philosophy departments but also in the social and natural sciences. This volume collects this diversity of thought in a tour of the many fields of food systems; from theorizing the sustainability of agroecological systems, to appreciating the quotidian practice of agrarian communities, to anticipating the impacts of emerging biotechnology, and to savoring the roles that food plays in forming our identities. Composed by an international crop of scholars working on the future of food ethics, the volume is a vital contribution to scholars and practitioners thinking through our relationships to the food systems that sustain us. (shrink)

In _Biocultural Creatures_, Samantha Frost brings feminist and political theory together with findings in the life sciences to recuperate the category of the human for politics. Challenging the idea of human exceptionalism as well as other theories of subjectivity that rest on a distinction between biology and culture, Frost proposes that humans are biocultural creatures who quite literally are cultured within the material, social, and symbolic worlds they inhabit. Through discussions about carbon, the functions of cell membranes, the activity (...) of genes and proteins, the work of oxygen, and the passage of time, Frost recasts questions about the nature of matter, identity, and embodiment. In doing so, she elucidates the imbrication of the biological and cultural within the corporeal self. In remapping the relation of humans to their habitats and arriving at the idea that humans are biocultural creatures, Frost provides new theoretical resources for responding to political and environmental crises and for thinking about how to transform the ways we live. (shrink)

That there is a “crisis of peer review” at the moment is not in dispute, but sufficient attention has not yet been paid to the normative potential that lies in current calls for reform. In contrast to approaches to “fixing” the problems in peer review, which tend to maintain the status quo in terms of professionalising opportunities, this paper addresses the needs of philosophers and how peer‐review reform can be an opportunity to improve the academic discipline of philosophy, whereby progress (...) is understood as making the discipline more fair to the global academic community and more conducive to the flourishing of academic philosophers. The paper evaluates recent categories of relevant norms and correlating reforms. In conclusion, it recommends that philosophy pursue the norms of transparency and democracy explicitly when proposing peer‐review reform and suggest that proposals for forum‐based models of peer review are most likely to support those norms. (shrink)