Wittgenstein in his later years thought about experiences of meaning and aspect change. Do such experiences matter? Or would a meaning- or aspect-blind person not lose much? Moreover, is this a matter of aesthetics or epistemology? To get a better perspective on these matters, I will introduce distinctions between certain subjective and objective aspects, namely feelings of our inner psychological states versus fine-tuned objective experiences of the outer world. It seems to me that in his discussion of meaning-blindness, Wittgenstein unhappily (...) floats between these two extremes, the subjective and the objective. I will also introduce some notions from Kant's aesthetics, to get a better understanding of the interplay between feeling and meaning. This will shed some new light on Wittgenstein's enquiry into meaning- and aspect-blindness. (shrink)

This essay re-examines Kierkegaard's view of Socrates. I consider the problem that arises from Kierkegaard's appeal to Socrates as an exemplar for irony. The problem is that he also appears to think that, as an exemplar for irony, Socrates cannot be represented. And part of the problem is the paradox of self-reference that immediately arises from trying to represent x as unrepresentable. On the solution I propose, Kierkegaard does not hold that, as an exemplar for irony, Socrates is in no (...) way representable. Rather, he holds that, as an exemplar for irony, Socrates cannot be represented in a purely disinterested way. I show how, in The Concept of Irony, Kierkegaard makes use of 'limiting cases' of representation in order to bring Socrates into view as one who defies purely disinterested representation. I also show how this approach to Socrates connects up with Kierkegaard's more general interest in the problem of ethical exemplarity, where the problem is how ethical exemplars can be given as such, that is, in such a way that purely disinterested contemplation is not the appropriate response to them. (shrink)

Friedrich Schiller’s notion of moral virtue includes self-determination through practical rationality as well as sensual self-determination through the pursuit of aesthetic value, i.e., through beauty. This paper surveys conceptual assumptions behind Schiller’s notions of moral and aesthetic perfections that allow him to ground both, moral virtue and beauty on conceptions of freedom. While Schiller’s notions of grace and dignity describe relations between the aesthetic and the moral aspects of certain determining actions, the ‘aesthetic condition’ conceptualises human beings from the perspective (...) of aesthetic self-determinability. Schiller thereby provides a normative aesthetic standard that not only affects the moral nature of our motives and actions, but also of what we, as human beings, want to and should be conceived of in the first place. As I argue in this paper, considering this aesthetic self-determinability from a moral perspective results in an aesthetic constitution of moral virtue, which in turn justifies aesthetic obligations. Schiller thereby merges the perfections of the two normative domains for an extended anthropological conception of aesthetically infused notion of moral virtue while assuring the conceptual autonomy of each normative domain. Giving aesthetic demands a practical normative role by partly constituting moral virtue and thereby still maintain their aesthetic normative source is a move that opens up many resources for current research on the interactions between various normative demands, such as aesthetic reasons for moral or legal judgements and action, aesthetic obligations or weighing varying sources and elements of normative authority and hegemony against each other. (shrink)

Kant’s doctrine of aesthetic ideas, along with his brief treatment of ugliness, has been the focus of some recent literature. In this paper, I employ an original approach, which nonetheless draws from Kant’s oeuvre, to pin down the phenomenological complexity of a spectacular event that took place at the inception of the French Terror—the decapitation of Louis the XVI. To this end, the first section of the essay fleshes out an interpretative framework explicating how seeing the guillotine as an aesthetic (...) idea could serve as a means to actualise the revolutionary ideal. The second section introduces a reading of Schwärmerei and argues that this unruly genius is accountable for the creation of aesthetic idols, rendering a spurious aesthetic experience. Finally, in the last section, I argue that there is a significant distinction between Kant’s account of ugliness and loathing, and that the latter stands for neither a moral nor an aesthetic response to a morally repellent object, but rather is an extraordinary sensible response. (shrink)

In his 2009 monograph, Darwinian Populations and Natural Selection, Peter Godfrey-Smith accuses biologists of demonstrating ‘Darwinian Paranoia’ when they engage in what he dubs ‘agential thinking’. But as Daniel Dennett points out, he offers neither an illuminating set of examples nor an extended argument for this assertion, deeming it to be a brilliant propaganda stroke against what is actually a useful way of thinking. Compared to the dangers of teleological thinking in biology, the dangers of agential thinking have unfortunately rarely (...) been discussed. Drawing on recent work by Samir Okasha, I attempt to remedy this omission, through analyzing the nature of agential thinking, and providing a philosophical treatment of the unexamined dangers in this peculiar, yet tempting way of thinking. (shrink)

This article presents a critical analysis of two influential readings of Kant’s Second Analogy, namely, Gerd Buchdahl’s “modest reading” and Michael Friedman’s “strong reading.” After pointing out the textual and philosophical problems with each, I advance an alternative reading of the Second Analogy argument. On my reading, the Second Analogy argument proves the existence of necessary and strictly universal causal laws. This, however, does not guarantee that Kant has a solution for the problem of induction. After I explain why the (...) empirical lawfulness of nature does not guarantee the empirical uniformity of nature, I examine the modal status of empirical laws in Kant and argue contra Buchdahl and Friedman that empirical laws express two different kinds of necessity that are not reducible to each other. -/- . (shrink)

The article explores German philosopher Arthur Schopenhauer's view on aesthetics and the values of art. It contends that some important aspects of Schopenhauer's discussion of tragedy indicate that the theory that the value of art is deductible to the aesthetic pleasure it affords is inadequate. Moreover, it claims that Schopenhauer attaches great importance to the distinction between concept and idea. It also asserts that Schopenhauer's account of aesthetic experience is inspired by Plato's ideas.

This article shows that Johann Gottlieb Steeb supported different aspects of Kant's theory of race. Despite the growing research on Kant's racial and biological theory, one finds no mention of Steeb in these interpretations. However, his work is relevant because of his attempt in 1785 to synthesize Kant's preformationist terminology with Blumenbach's epigenetic theory. This article aims at understanding this synthesis. Recent interpreters of Kant presuppose that preformationism excluded epigenesis. But already in 1785 Steeb saw the possibility of integrating Kant's (...) germs into a discourse that was to a large extent dominated by Blumenbach. Steeb's synthesis primarily implied that the concepts of germs and race could be amended to Blumenbach's understanding of human diversity. (shrink)

According to the quantificational Quinean model in meta-ontology, the question of ontology boils down to the question of whether a sortal property is exemplified. I address some complications that arise when we try to build a philosophical reconstruction of the link between individuals and kinds displayed in the exemplification relation from the point of view of conceptualism about kinds and having in mind this stand in ontology. I distinguish two notions of resemblance, object-to- object and object-to- kind, and show the (...) problems with both of them. Finally, I argue for a better awareness of the implicit "bias" involved in the very notion of "resemblance," without indulging in Quine's veto toward this notion. (shrink)

Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall (...) within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...) an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

This essay takes issue with Critchley's diagnosis of the motivation crisis at the core of our supposedly nihilist political present, and with its pejorative characterization of a vanguardist or Leninist Left. Against the reliance of Infinitely Demanding on an anarchic metapolitics of responsibility, it proposes that we rethink the concept of solidarity and develop an intra-political ethics of egalitarianism, an ethics of unconditional rather than infinite demands that is happy to embrace the accusation of "Prometheanism".

The notion of ‘power of judgement’ in the title of Kant'sCritique of the Power of Judgementis commonly taken to refer to a cognitive power inclusive of both determining judgement and reflecting judgement. I argue, first, that this seemingly innocuous view is in conflict both with the textual fact that Kant attempts a Critical justification of the reflecting power of judgement – only – and with the systematic impossibility of a transcendentally grounded determining power of judgement. The conventional response to these (...) difficulties is to point out that, Kant's systematic ambitions in the thirdCritiquenotwithstanding, reflection, qua concept-forming synthesis, is too closely tied to determination to be a cognitive power in its own right. I argue, second, that this response is question-begging, since the notion of reflection it employs is not only not one central to the thirdCritiquebut one antecedently tied to the understanding. I argue, third, that Kant's discussion, in the pivotal § § 76–7, of our cognitive relation to sensible particularity addresses an epistemic problem present (but not raised) in theCritique of Pure Reason. This is the problem of the synthesizability, qua absolute unity, of unsynthesized intuitions. Solving this problem requires Critical justification of a principle of reflection. It follows that Kant's systematic ambitions in the thirdCritiqueare appropriate. Given the problem Kant seeks to address, he must offer what he takes himself to be offering: aCritique of the(Reflecting)Power of Judgement. (shrink)

In this essay, I argue that Kant’s Anthropology from a Pragmatic Point of View is fundamentally about the sphere of civilization, and, with this, a particular kind of philosophical self-understanding. By civilization, Kant means to indicate the process by which human beings transform their inner natures based on pragmatic or prudential considerations born of our living together. Civilization is what we do to ourselves in order to get along with others with whom we share the earth. In the Anthropology, what (...) we come to understand about ourselves is the possibility of transforming our inner natures based on our will. (shrink)

This essay considers Kant’s concept of the highest good from a systematic point of view. The two spheres of freedom and nature—of the practical and theoretical—need to be brought into a causal relation for the highest good to be achieved. Kant seems to offer numerous possibilities for how human beings are able to think that it is possible for the highest good to be attainable. I argue that it is only in the third Critique, however, that Kant articulates an answer (...) that also establishes freedom and nature within a larger system. The third Critique does this by positing a third, independent and mediating sphere of human experience that allows a transition between freedom and nature to be effected. This answer to the problem of the highest good is distinctive because the causal efficacy of reason in attaining its own demands is preserved. I examine Kant’s view by way of an analysis of his discussion of ‘territory’ and ‘domain’ in the Introduction to the text. (shrink)

In this article, I offer a novel and in-depth account of how, for Kant, free speech is the mechanism that moves a society closer to justice. I argue that the criticism of the legislator preserved by free speech must also be the result of collective agreement. I further argue that structural features of judgements of taste and the sensus communis give guidance for how we should communicate publicly to succeed at the aims Kant has laid out, as judgements of taste, (...) like politics, belong fundamentally to a transitional sphere between nature and freedom. (shrink)

Several works published in the last decades defend the claim that the concept of creativity should be demystified. With the aim of showing that creativity is not an obscure power owned by only few individuals and free from constraints, authors working at the intersection field between philosophy and cognitive science have notably focused on the structure and evolution of cognitive mechanisms underlying our creative capacities. While taking up the suggestion that we should try not to mystify creativity, this article argues (...) that what is required for such demystification is primarily a transcendental and phenomenological inquiry. Kant’s and Merleau-Ponty’s works are here discussed in order to develop such a transcendental inquiry into creativity. Both Kant and Merleau-Ponty bring to the fore the conditions of possibility for creative acts, and highlight fundamental role of creativity itself in the formation of meaningfulness. The keystone of both philosophers’ inquiries is the emphasis on the interdependence between creativity and rules. Yet, due to the different approaches to the transcendental, Kant’s and Merleau-Ponty’s accounts do not fully converge, but should rather be considered as complementary. (shrink)

ABSTRACTThis article addresses the ongoing debate between pluralistic and monistic approaches to dealing with critical disagreement. I return to the theory of world hypotheses advanced by Stephen C. Pepper, an understudied figure in aesthetics and pragmatism, to enunciate a version of pluralism that centers on the nature of critical evidence and its functioning in social settings of argument. I argue that Pepper's expansive philosophy holds interesting implications for what can be called the metaphysics of criticism, a point missed by partisans (...) of standard views of pluralism and monism. Building on his analysis of equally autonomous world hypotheses, this study enunciates an explicit notion of rhetorical pluralism that goes beyond simple relativism. This account can be labeled “evidentiary pluralism,” since it internalizes standards for evaluation to specific worldviews and recognizes their changeable nature in the context of critical disagreement. (shrink)

Upon first encountering Immanuel Kant’s 1766 essay Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics, one is immediately struck by its literary style. Indeed, Dreams constitutes a unique moment in Kant’s literary development—never before had he thrown himself with such fervor into the attempt to express his thoughts in a provocative manner, and never again would he indulge his poetic tendencies with such reckless abandon. Unsurprisingly, then, Kant’s poetic rhetoric in Dreams has long puzzled readers. Immediately following the essay’s (...) publication, Moses Mendelssohn voiced his perplexity about Kant’s mode of writing in it. In the early twentieth century, Ernst Cassirer noted this essay’s unorthodox... (shrink)

Journal of Philosophy of Education, EarlyView.

In this essay, I review Rudolf Makkreel’s, Orientation and Judgment in Hermeneutics, which, I claim, represents an original contribution to continental philosophy. I take up his consideration that hermeneutics should incorporate philosophical reflection that not only recognizes the significance of the historical contexts of interpretation, but also situates interpretation within the contexts of the twenty-first century. I regard Makkreel’s work to be primarily aimed at emphasizing the mutually inclusive roles of reflection and reflective judgment involved in interpretation.

Critical theories often express scepticism towards the idea that social critique should draw on general normative principles, seeing such principles as bound to dominant conceptual frameworks. However, even the models of immanent critique developed in the Frankfurt School tradition seem to privilege principles over particular moral experiences. Discussing the place that particular moral experience has in the models of Honneth, Ferrara and Adorno, the article argues that experience can play an important negative role even for a critical theory that is (...) committed to the necessity of conceptual mediation, as moral experiences can undermine our confidence in the appropriateness of our moral concepts. Building on McDowell’s account of moral perception and Brandom’s interpretation of Hegel’s theory of experience, one can reconstruct Adorno as providing a “radically negativist” approach to immanent critique that takes particular moral experience seriously. (shrink)

This paper is about the opposite of judgement and calculation. This opposition has been a traditional anchor of critiques concerned with the rise of AI decision making over human judgement. Contrary to these approaches, it is argued that human judgement is not and cannot be replaced by calculation, but that it is human judgement that contextualises computational structures and gives them meaning and purpose. The article focuses on the epistemic structure of algorithms and artificial neural networks to find that they (...) always depend on human judgement to be related to real life objects or purposes. By introducing the philosophical concept of judgement, it becomes clear that the property of judgement to provide meaning and purposiveness is based on the temporality of human life and the ambiguity of language, which quantitative processes lack. A juxtaposition shows that calculations and clustering can be used and referred to in more or less prejudiced and reflecting as well as opaque and transparent ways, but thereby always depend on human judgement. The paper clearly asserts that the transparency of AI is necessary for their autonomous use. This transparency requires the explicitness of the judgements that constitute these computational structures, thereby creating an awareness of the conditionality of such epistemic entities. (shrink)

This article seeks to analyze the theory of technology formulated by the philosopher Herbert Marcuse (1898–1979). It shows the ways in which the author repurposes fundamental concepts of classical aesthetics in order to formulate a theory of technology aimed at liberating both nature and humanity. To this end, we argue that Marcuse mobilizes the theories of Immanuel Kant (1724–1804) and Friedrich Schiller (1759–1805). In the first part of the article, we tackle some important aspects of Kant’s and Schiller’s aesthetic theories. (...) We begin with an analysis of Kant’s Critique of the Power of Judgment (1790), focusing on central concepts that would later be absorbed by Schiller and Marcuse. Next, we try to show the reception of the Third critique in Schiller’s On the Aesthetic Education of Man (1795) and this author’s contribution to aesthetic studies within political thought. In the second part, we focus on Marcuse’s work, highlighting two key moments in his analysis on technology. We show that his theory undergoes transformation and development until it reaches its stable form in the 1960s and 1970s, during which the author proposes a new theory of technology based on human aesthetic possibilities whose goal is the liberation of nature. (shrink)

In his article “Kant’s Musical Antiformalism” (Young 2020), with additional clarifications (Young 2021),1 James O. Young argues that Kant is an “antiformalist.”.

This paper investigates the phenomenological status of musical affordances through a Gadamerian focus on human communication. With an extra emphasis on Reybrouck’s much-cited affordance-driven theory, I locate fundamental premises in the affordance concept. By initiating a dialogue with Gadamer’s perspective, I suggest a slight yet important shift of perspective that allows us to see an autonomous, transformative, and intrinsically active ‘ideality’ potentially emerging in music. In the final section, I try to demonstrate how Gadamer’s perspective is supported by recent empirical (...) studies on communicative musicality and child development, and allows us to see how protoversions of the transformative ‘ideality’ are already present at the beginning of human life. (shrink)

The paper deals with an analysis of the controversial novel Truismes by Marie Darrieussecq. In this work, the author sensitively maintains an oscillation between the plausibility of truth, hidden behind metaphors and symbols, and the implausibility of the whole story in its individual components. The occurrence of ugliness as a decisive aesthetic dimension is continual, graded into almost all its shapes and forms, until it finally fills in the entire space and time of the fictional story. The astonishing horror of (...) the author’s aesthetic world does not lie in the brutality of the language she uses, but rather in the similarity of the real and the imaginary, in the way she makes cruelty appear visible though the fictional narrative. The paper thus shows that classical aesthetic views fail when used as tools for understanding the nature of the aesthetic world modelled by Darrieussecq. (shrink)

Post-critical pedagogy, which offers a significant alternative to the dominant trends in contemporary philosophy of education, objects to seeing education as instrumental to other ends: it attempts to conceive of education as autotelic, namely as having intrinsic value. While there are good reasons for accepting the post-critical reservations with the instrumentalization of education, I argue that its autonomy is equally problematic, as it risks turning the philosophy of education—perhaps education itself—into a privileged activity, out of touch with the most important (...) issues in the contemporary world. In this paper I offer post-critical pedagogy a way out of this dilemma, by drawing on Walter Benjamin’s essay “The Work of Art in the Age of Its Technological Reproducibility”. After presenting the thesis concerning the autonomy of art held by Benjamin’s Frankfurt School friends, and pointing to the similarity between their view and that of post-critical pedagogy, I articulate six Benjaminian theses on post-critical pedagogy. Following Benjamin’s claim that the technological reproducibility of art changes the way it is perceived as well as its political function, I argue that school is an educational technology that reproduces the world to the masses without an “aura”, in a way that allows for political critique that does not reduce education to politics. Next, I highlight the importance of the school to post-critical pedagogy, and contribute to developing the critical-political aspect that remains essential to post-critical pedagogy. Finally, the Benjaminian perspective also makes it possible to reflect on the relation of digital technologies of reproduction to post-critical pedagogy. (shrink)

The standard view in current philosophy of creativity says that being creative has two requirements: being novel and being valuable. The standard view on creativity has recently become an object of critical scrutiny. Hills and Bird have specifically proposed to remove the value requirement from the definition, as it is not clear that creative objects are necessarily valuable or creative people necessarily praiseworthy. In this paper, I argue against Hills and Bird, since eliminating the element of value from the explanation (...) of creativity hinders the understanding of the role that creative products play in actual epistemic practices, which are fundamentally normative. More specifically, I argue that the terms ‘creativity’ and ‘creative’ function as thick epistemic concepts when employed by competent epistemic agents in practice, that is, these concepts have both a descriptive and an evaluative content that cannot be disentangled from one another. Accordingly, I suggest that philosophers should prefer thick accounts over thin accounts of creativity. A thick account of creativity is one that endorses the standard view at its basis, but further develops it in two ways: by stressing the entanglement of the value and novelty requirements; by permitting to encompass a range of domain-specific characterizations of such entanglement for different epistemic situations. In order to take the first steps in the development of such a thick account of creativity, I look at the domain of scientific practices as a case in point, and try to spell out what the thickness of creative instances typically entails here. Namely, I identify the worthy novelty of creative models and methods with their potential to clarify a tradition, with fruitfulness, and with the fulfilment of exploratory aims. (shrink)

This paper takes up the question as to what has primacy within Merleau-Ponty’s existential phenomenology as a way to provide insight into the relation between empirical science and transcendental philosophy within his account of embodiment. Contending that this primacy necessarily pertains to methodology, I show how Kurt Goldstein’s conception of biology provided Merleau-Ponty with a scientific model for approaching human existence holistically in which primacy pertains to the transcendental practice of productive imagination that generates the eidetic organismic Gestalt in terms (...) of which sense is made of empirical facts. Considering the analogous role played by imagination in Merleau-Ponty’s account of perceptual synthesis in the form of what he called projection, I argue that his account of embodiment is, parallel to Goldstein, grounded methodologically on the projection of an organismic Gestalt, and that as a form of operative-intentional praxis projection is the site of primacy in his phenomenology overall. In terms of the relation between natural science and transcendental philosophy in Merleau-Ponty’s account of embodiment, while the theoretical dimension of the latter—the eidetic apriority of the organismic Gestalt—is coupled dialectically with empirical facts on an epistemically coeval basis, these are jointly subordinated to the normative commitments implied by the imaginative projection of that Gestalt. The primacy of the latter is transcendental but in a distinctly practical sense, such that any substantive discrepancy between natural science and Merleau-Pontian phenomenology reflects metaphilosophical, not theoretical, disagreement. (shrink)

In debates on the ethics of artificial gametes, concepts of naturalness have been used in a number of different ways. Some have argued that the unnaturalness of artificial gametes means that it is unacceptable to use them in fertility treatments. Others have suggested that artificial gametes are no less natural than many other tissues or processes in common medical use. We suggest that establishing the naturalness or unnaturalness of artificial gametes is unlikely to provide easy answers as to the acceptability (...) of using them in fertility medicine. However, we also suggest that we should be cautious about repudiating any relationship between nature and moral evaluation. The property of being natural or man-made may not per se tell us anything about an entity’s moral status, but it has an important impact on the moral relationship between the creator and the created organism. (shrink)

This article aims to answer the aesthetic-value question.

Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...) rather than philosophical necessity. I conclude that a robustly cognitive notion of the aesthetic remains an option for us. (shrink)

The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar (...) aesthetic category, integrally intertwined with the political, but, by contrast, has garnered almost no attention from aestheticians. My main goal in this paper is to sketch a theory of ‘the monumental’ as an aesthetic category—one that is a species of the sublime but differs qualitatively from the natural/environmental sublime in significant ways, and thus merits a distinctive label. In doing so, I aim to shed light on the nature and power of monuments specifically, and to begin to address a lacuna in our understanding of a long-standing and culturally important form of public art. (shrink)

Kant's Incorporation Thesis states that inclinations do not determine the will independently of reason. But do inclinations represent objects as desirable independently of reason? Or, is reason involved in the very constitution of an inclination so that inclinations without reason are impossible? The former interpretation is held by Christine Korsgaard and Tamar Schapiro. The latter is given by Janelle DeWitt and Allen Wood. I argue for a novel version of the latter interpretation by appealing to Kant's hylomorphism. On my interpretation, (...) reason makes inclinations possible in the way that form does matter. Reason orders the objects of our possible inclinations amongst all our ends in a system. Rather than these relations being consequent to or dependent upon the contents of our inclinations, I argue that these relations are a priori conditions of the possibility of our inclinations. For, we come to have particular inclinations only by their objects coming to occupy places in our system of ends, where such places are antecedently marked out by reason's determination of the interrelations among all our ends. (shrink)

Jokes are sometimes morally objectionable, and sometimes they are not. What’s the relationship between a joke’s being morally objectionable and its being funny? Philosophers’ answers to this question run the gamut. In this paper I present a new argument for the view that the negative moral value of a joke can affect its comedic value both positively and negatively.

Many historical studies tend to underline two central Kantian themes frequently emerging in Georges Canguilhem’s works: (1) a conception of activity, primarily stemming from the Critique of Pure Reason, as a mental and abstract synthesis of judgment; and (2) a notion of organism, inspired by the Critique of Judgment, as an integral totality of parts. Canguilhem was particularly faithful to the first theme from the 1920s to the first half of the 1930s, whereas the second theme became important in the (...) early 1940s. With this article, I will attempt to show that a third important theme of technique arose in the second half of the 30s also in the wake of Kant’s philosophy, especially Sect. 43 of the Critique of Judgment. This section, which states that technical ability is distinguished from a theoretical faculty, led Canguilhem to a more concrete and practical conception of activity. I will then suggest that it was by considering technique that the concept of normativity, which characterizes Georges Canguilhem’s philosophy of life, also took shape. (shrink)

In this paper, I present a conception of individual religiousness in terms of religious experience. Using ideas of the early Friedrich Schleiermacher, I will claim that religious experiences are contemplative experiences of the totality of being. This understanding of religious experiences presents an alternative to how religious experience is often epistemologically thought about in the more contemporary analytic philosophy of religion. Furthermore, it has systematic advantages: It can construe religious plurality in terms of different ways to experience the totality of (...) being, it stays neutral to metaphysical and moral debates such as whether there is a God whose laws we should obey, and it allows for an explanation of how religious intuitions and religious emotions relate to one another as well as of why religiousness and art often go hand in hand. Even though understanding religiousness in terms of contemplative experience also bears revisionary potential, I will discuss how more doxastic elements of religious people’s lives can be reintegrated into this picture. (shrink)

An environmental ethic needs to have an answer to two basic questions: what nature should we care about, and why? A number of proposals have been made about how to answer these questions. In this paper, I consider in detail one such proposal, namely, biological or ecological integrity. Different characterizations of integrity can be found in the literature, but I will treat the following one as paradigmatic. Integrity refers to a property of landscapes that are relatively unmodified by human activity (...) and that have their native biota largely intact.1 By “native biota,” I mean the native plant and animal life in a particular place, and... (shrink)

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

In this paper, I give a Kantian answer to the question whether and why it would be inappropriate to blame people suffering from mental disorders that fall within the schizophrenia spectrum. I answer this question by reconstructing Kant’s account of mental disorder, in particular his explanation of psychotic symptoms. Kant explains these symptoms in terms of various types of cognitive impairment. I show that this explanation is plausible and discuss Kant’s claim that the unifying feature of the symptoms is the (...) patient’s inability to enter into an exchange of reasons with others. After developing a Kantian Quality of Will Thesis, I analyze some real life cases. Firstly, I argue that delusional patients who are unable to enter into an exchange of epistemic reasons are exempted from doxastic rather than moral responsibility. They are part of the moral community and exonerated from moral blame only if their actions do not express a lack of good will. Secondly, I argue that disorganized patients who are unable to form intentions and to make plans are exempted from moral responsibility because they do not satisfy the conditions for agency. (shrink)

One of the perennially intriguing questions regarding Kant’s approach to the human sciences is the relation between his ‘transcendental psychology’ and empirical cognitive psychology. In this paper I compare his analysis of the a priori conditions of human cognition in the Critique of pure reason with his empirical account of the human cognitive faculties in his Anthropology from a pragmatic point of view. In comparing his approach to self-consciousness, sensibility, imagination, and understanding in these two works, I argue that Kant (...) distinguishes between the transcendental and empirical aspects of the human cognitive faculties, and regards the transcendental functions as configuring the empirical faculties of human consciousness, or as giving them the structure that they require to become faculties of cognition. I then show that the cognitive faculties of human beings may vary in their empirical operation, even while they are configured by the same transcendental structure. Finally, I characterize Kant’s transcendental psychology in the first Critique as an account of the faculties that are required for a mind to be an agent or subject of cognition, corresponding to his account of the conditions that are required universally and necessarily for something to be an object of cognition.Keywords: Immanuel Kant; Anthropology; Psychology; Cognition; Transcendental; Empirical. (shrink)

In his reconstruction of Kant’s critical philosophy as a whole, Deleuze argues that the cognitive and practical faculties are genetically grounded in the affective, enlivening dynamics of the reflecting power of judgment. In this paper I propose to take Kant’s account of self-organisation as model for understanding this genesis of the faculties in terms of a circular causality that is purposively animated from within by a self-productive and self-maintaining tendency. The key argument I develop is that this generative tendency may (...) be understood as a conatus that is inherent to the power of judgment and comes to the fore in the subject’s feeling of life. (shrink)

This essay develops a Kantian theory of sport which addresses: (1) Kant’s categories of aesthetic judgment (2) a comparable analysis applied to athletic volition; (3) aesthetic cognition and experience and athletic volition and experience; (4) ‘free’ and ‘attached’ beauty; (5) Kant’s theory of teleological judgment; (6) the moral concept of a ‘kingdom of ends’ and sportsmanship; (7) the beautiful and the sublime in sport-experience; (8) respect and religious emotion in sport-experience; (9) the Kantian system and philosophical anthropology; and (10) sport (...) and self-knowledge. (shrink)

This paper presents a novel Hegelian view of the relationship between aesthetics and democratic politics. My account avoids the drawbacks associated with approaches that reconceive all of the political in aesthetic terms or reduce the aesthetic to art. Instead, I maintain that the aesthetic is best understood as a distinct relationship of individual freedom. My argument proceeds by highlighting shortcomings of Honneth’s account of democratic Sittlichkeit and then addressing these impasses by integrating aesthetic freedom into the picture. The first two (...) steps of my argument concern the fact that the form of life outlined by Honneth aspires to be a form of free life, yet his account of democratic Sittlichkeit gives rise to two dimensions of unfreedom. The first problem of unfreedom pertains to the scope of freedom. The relationships of freedom incorporated into Honneth’s account fail to turn given social roles into the subject matter of a sufficiently unrestricted practice of freedom. The second problem of freedom concerns conformism. In a final step, I complete my argument that Honneth’s account is unsatisfactory and incomplete by showing that aesthetic freedom is socially valid and thus ought to form part of our accounts of democratic ethical life. (shrink)