Kant’s notion of common sense (Gemeinsinn) is crucial not only for his account of judgements of beauty, but also for the link he draws between the necessary conditions of such judgements and cognition in general. Contrary to existing interpretations which connect common sense to pleasure, I argue that it should be understood as the capacity to sense the harmony of the cognitive faculties through a sui generis sensation distinct from pleasure. This sensed harmony of the faculties is not only the (...) ground of judgements of beauty and the basis of pleasure in the beautiful, but is also essential, I argue, for the reflecting judgements through which we acquire empirical concepts. (shrink)

I show that Kant’s depiction of the christic figure in Religion within the Boundaries of Mere Reason is not contingent but explains how this figure functions in two essential ways: as a representation of a maximum of morality that can ground our moral disposition and in so doing acts as a stan­dard for morality. More precisely, the following argument is made: 1) the sublime nature of the image of Christ — as an image of universal respect for the law — (...) awakens the moral feeling of subjects in the sense of the possibility of overcoming one’s perverted nature; 2) as moral perfection it provides immediate transparency to the end goal of morality; 3) just as in the case of associative construction of empirical concepts, the sublime provides the prototype for association through which empirical acts are determined as moral ones; 4) the image of Christ also acts as motivator by encompassing said trans­parency and standard in the idea of moral perfection. These four points show that the image of Christ functions in a dual manner. Points 1) to 3) address Christ as a prototype/archetype (Urbild) — awakening and making possible a moral redefinition of the subject — while point 4) addresses Christ as an example (Vorbild) — sustaining and entertaining the moral redefinition as a motivating model. (shrink)

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, entirely independent (...) of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

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

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)

Kant interpreters are divided on the question of whether determinate cognition plays a role in the harmony of the faculties in aesthetic judgement. I provide a ‘non-cognitive’ interpretation that allows Kant’s statements regarding judgements of natural beauty to cohere such that determinate cognition need not be taken to perform any role in such judgements. I argue that, in aesthetic harmony, judgement privileges the free activity of the imagination over the cognizing function of the understanding for the purpose of unifying the (...) object, although the free imagination cannot violate the obscure concepts and principles of ordinary common sense. (shrink)

This article contributes to understanding of Contemporary Art and of the temporality of contemporaneity, along with the philosophy of time more generally. I propose a diachronic contemporaneity over time gaps – elective contemporaneity – through examination of Kant’s Transcendental Aesthetic, the Third Analogy and the concept of ‘following’ among artistic geniuses; diachronic recognition and disjunctive synchronicity discoverable in William Kentridge’s multimedia artworks; as well as non-chronological temporal implications of superimpositions in late Palaeolithic cave art suggesting ‘graphic respect’. Elective contemporaneity shows (...) up complexity in relations to past and present, putting in question definitions of ‘Contemporary Art’ restricted to either chronology or supposedly definitive paradigms. (shrink)

Artworks at Lascaux and other late Palaeolithic caves integrate geological features or “relief” of the cave wall in a way that suggests a symbiotic relation between nature and culture. I argue this qualifies as “receptivity to a situation,” which is neither fully active nor merely passive and emerges as a necessary element of the intentions made apparent by such cave art. I argue against prominent interpretations of cave art, including the shamanist account and propose a structural interpretation attentive to particular (...) cases. Seen in this way, cave art displays intentions that are analyzable as having a tripartite structure: mentally directed, embedded in actions and receptive to a situation. Moreover, the latter is the medium through which the other two elements are conjoined. Drawing on a range of archaeological and philosophical resources from both analytical philosophy and phenomenology, I argue that what I call cave art’s “intentional story” is important for the philosophy of intentions more generally. (shrink)

In this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the thirdCritique1and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the firstCritique; 2) concept-less schematism is schematism with noempiricalconcept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive (...) determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept. (shrink)

In his genetic phenomenology, Husserl introduces types, pre-predicative frames of experience that guide the perception and cognition of objects. In this essay, I argue that there are two types that are functionally almost identical to Kant’s schemata. To support this conclusion, I first present an interpretation of Kant’s discussion of schemata. I argue that we must see schemata as pure, a priori cognitions that involve only pure intuition, pure concepts of the understanding, and the imagination. I offer two analogies to (...) explain how schemata function to subsume objects under concepts and to anticipate possible objects of experience before moving on to discuss the schema of substance. Next, I present a brief explanation of Husserl’s genetic phenomenology, organizing my presentation around the idea of apperception. This paves the way for a demonstration of how the fundamental type is best understood as standing at the center of a cluster of concepts, including apperception, passive belief, natural bodies, and the one spatio-temporal horizon of experience. I argue that the fundamental type is central to Husserl’s attempt to ground logic in pre-predicative experience. Finally, I compare two specific types with schemata on the grounds cultivated in the previous sections. The first of these types, the fundamental type, functions to pre-predicatively anticipate objects of possible experience, just as schemata do. The second of these types, which is implied by but never discussed in Husserl’s work, serves to mediate between a formal system of rules and an intuitive grasp of the world, just as schemata do. (shrink)