We explain that most of the explanations that traditionally have been used to conceptually and ontologically differentiate aesthetic experience from any other are not compatible with a naturalistic framework, since they are based on transcendental idealistic metaphysics, reductions, and on the assumption that the aesthetic is an a priori special ontology in the object and the mind. However, contemporary works that propose as an alternative to apply directly evidence and theory from the science of emotions to the problem of aesthetics (...) introduce Aesthetic Science into a new set of problematic assumptions. We argue that conceptually equating or ontologically reducing the aesthetic to the theory of rewards cannot provide a clear alternative for any Aesthetic Science to naturalize the aesthetic experience as a heterogeneous class of events that are not already explained by affective science. This practice introduces a serious danger of making the term “aesthetic” and the respective scientific field pretty weak or completely redundant and unnecessary. (shrink)

This article roots Kant’s concept of disinterestedness, as he uses it in the Critique of Judgment, in Aristotle’s notion of philia by establishing a path from ethics to aesthetics and back. In this way, the third Critique turns out to be one of the main sources for a new ideal of humanity: the ideal suitable for late Enlightenment. This article argues that Kant reaches this fruitful use of disinterestedness by giving to Aristotle’s concept of philia an aesthetic turn.

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...) parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody. (shrink)

This paper argues that Shaftesbury differs from other moral sentimentalists (Hutcheson, Hume, Smith) because he conceives of the moral sentiments as partial and first-personal, rather than impartial and spectatorial. This difference is grounded in Shaftesbury’s distinctive notion that moral self-governance consists in the self-examination of soliloquy. Breaking with his Stoic influences, Shaftesbury holds that the moral sentiments play the role of directing and guiding soliloquy. Because soliloquy is first-personal reflection that is directed to achieving happiness, claiming that the moral sentiments (...) direct soliloquy leads Shaftesbury to conceive of the moral sentiments as arising from the internal perspective of an agent focused on her own happiness. This provides Shaftesbury with a stronger framework for understanding moral sentiments, for it avoids the difficulty of explaining why the sentiments of others or those arising from an imagined spectator’s perspective are motivating or authoritative for us. (shrink)

A comprehensive and practical study tool, introducing Kant's thought and key works and exploring his continuing influence.

This dissertation studies the shift that occurs in German aesthetic theory between Kant's Critique of Judgment and Schopenhauer's The World as Will and Representation , with Schelling's System of Transcendental Idealism forming the pivot. This shift is actually part of a much larger movement, and I have chosen aesthetic theory because it mirrors so well the changing focus of the essence of the self which takes place as post-Enlightenment German philosophers delve deeper into the question of what it means to (...) be human. ;Kant remains firmly rooted in the rationalist tradition, and provides for his successors both a foundation and the means to undermine it. He gives an explanation for the individual's response to a great work of art which relies on an account of how the mind functions. Schelling and Schopenhauer are deeply influenced by Kant, but regard the human self as containing some inexplicable mystery, an unconscious mythic unity with all other selves, for Schelling, and an irrational desiring will, for Schopenhauer. Although Kant, too, unwillingly points to the evidence which suggests a non-rational basis for aesthetic response, as well as for an account of the self, he tries to avoid stating this result. By contrast, Schelling and Schopenhauer make this inexplicable aspect a basic premise of their respective works. ;In this work, I rely mainly on the three primary texts, with the intent of making the complex arguments, in particular those of Kant and Schelling, more accessible to the reader. I examine first the cognitive theory of each thinker, and then study each one's aesthetic theory in relation to their respective theory of mind. In this way, I show how a decisive shift in focus has occurred in the period under consideration. In addition, I refer to a cross-section of recent literature to clarify and support my position. ;The conclusion I draw is that philosophic self-understanding attains a completely new vantage point as the result of Schelling and Schopenhauer's work, a perspective which irrevocably changes the lines of debate about the nature of the self. (shrink)