Citations of:
Kant on Beauty and Biology: An Interpretation of the 'Critique of Judgment'
Cambridge University Press (2007)
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In ‘Aesthetics Problems of Modern Philosophy’ Stanley Cavell proposes, first, that Kant's characterization of judgments of beauty may be read as a Wittgensteinian grammatical characterization, and, second, that the philosophical appeal to ‘what we say and mean’ partakes of the grammar of judgment of beauty. I argue first that the expression of the dawning of an aspect partakes of the grammar of judgments of beauty as characterized by Kant, and may also be seen—on a prevailing way of thinking about concepts (...) |
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Following the revival in the last decades of the concept of “organism”, scholarly literature in philosophy of science has shown growing historical interest in the theory of Immanuel Kant, one of the “fathers” of the concept of self-organisation. Yet some recent theoretical developments suggest that self-organisation alone cannot fully account for the all-important dimension of autonomy of the living. Autonomy appears to also have a genuine “interactive” dimension, which concerns the organism’s functional interactions with the environment and does not simply (...) |
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The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...) |
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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 (...) |
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Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant's third critique contains resources for a non-hedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant's because it ties his aesthetics into a key theme of his larger philosophy. |
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My contribution deals directly with the problem of Kant’s apparent commitment to pan- aestheticism, which is in particular attached to the task of explaining the possibility of the free play of the faculties. The aim is to provide an overview of the ways in which this problem can be confronted and eventually solved. In this regard, one way to deal with this problem consists in revisiting the assumption that the free play of the faculties is to be understood as simply (...) |
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Kant’s treatment of organic phenomena in the third _Critique_ is relatively well-known. Less known is that Schelling offered an original answer to the same problems in his early writings on the philosophy of nature. Even less known is the significance of his rethinking of the role of chemistry in his approach to organic phenomena. In this article, after outlining the problem of organic phenomena at the end of the eighteenth century, I reconstruct Schelling’s account of chemistry against the background of (...) No categories |
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Feeling, for any animal, is a faculty of comparing objects or representations with regard to whether they promote its vital powers or hinder them. But whereas these comparisons presuppose a species-concept in non-rational animals, nature has not equipped the human being with a universal principle or life-form that would determine what agrees or disagrees with it. As humans, we must determine our mode of life for ourselves. Contrary to other interpretations, I argue that this places the human capacity for pleasure (...) |
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This thesis is devoted to studying two historical philosophical events that happened in the West and the East. A metaphysical crisis stimulated Kant’s writings during his late critical period towards the notion of the supersensible. It further motivated a methodological shift and his coining of reflective judgment, which eventually brought about a systemic unfolding of his critical philosophy via Kantian moral teleology. Zhu Xi and his Neo-Confucian contemporaries confronted a transformed intellectual landscape resulting from the Neo-Daoist and Buddhist discourses of (...)  |
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El objetivo de este trabajo es demostrar, en primer lugar, que el problema de la verdad no se encuentra completamente ausente en la estética kantiana y que no lo está, en segundo lugar, porque la autonomización de la dimensión estética es pensada a partir de una experiencia de la unidad de la subjetividad. A los fines de demostrar estos dos puntos, procuro reconstruir, en primer lugar, el contexto epistémico de la KU. En un segundo momento, me remito a la delimitación (...) No categories |
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Se busca precisar dos sentidos de mecanismo en Kant, a saber, el “mecanismo de la naturaleza” como sinónimo de la causalidad natural y el concepto de mecanismo que se desprende de la Crítica de la facultad de juzgar, para iluminar lo que este autor entiende por “explicación mecánica” en el juicio teleológico. Eso permite entender por qué los seres orgánicos son inexplicables mecánicamente y, de esta manera, justificar la necesidad de los juicios teleológicos sobre la naturaleza. No categories |
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At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) |
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For Kant the definitive end of art is the expression of aesthetic ideas that are sensible counterparts of rational ideas. But there is another type of aesthetic idea: ‘Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful nature the mere reflection on a given intuition, without a concept of what the object ought to be, is sufficient for arousing and communicating the idea of which that object is considered as the _expression_.’ What are these aesthetic (...) |
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In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...) |
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In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) |
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ABSTRACTWe know from Nietzsche’s posthumously published notebooks and correspondence of his plan in 1868 to compose a doctoral dissertation in philosophy on the subject of teleology in nature and the concept of the organic, with reference to Kant. The bulk of my discussion represents an attempt to extrapolate from Nietzsche’s letters and preparatory notes the view he arrived at. Since the notes do not defend explicitly any single definitive thesis, their interpretation is unavoidably conjectural. I argue that, if Nietzsche’s remarks (...) No categories |
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En la Crítica de la facultad de juzgar, Kant atribuye al principio mecanicista un carácter meramente regulativo. Esto podría dar lugar a pensar que, en esta obra, se opera una transformación del modo en que el autor concibe la causalidad general, ya que, en las primeras dos Críticas, existe una tendencia a identificar el principio mecanicista con el principio de la segunda analogía de la experiencia. En este trabajo, intentaré mostrar que la presentación del principio que Kant hace en la (...) No categories |
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In this paper I argue that 1) Kant’s power of judgment is constitutively always reflecting, as its lawful employments involve a preliminary self-reference of the faculties the power of judgment itself is required to connect and let them match with each other. Accordingly, I claim that 2) the principle of purposiveness is the principle of the power of judgment as such, and not just of an allegedly self-standing reflecting branch of this faculty. I criticize the view that Kant draws a (...) |
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The aim of this paper is to cast new light on an important and often overlooked notion of perspectival knowledge arising from Kant. In addition to a traditional notion of perspectival knowledge as "knowledge from a vantage point", a second novel notion — "knowledge towards a vantage point" —is here introduced. The origin and rationale of perspectival knowledge 2 are traced back to Kant's so-called transcendental illusion. The legacy of the Kantian notion of perspectival knowledge 2 for contemporary discussions on (...) No categories |
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Commentators have turned increasing attention to the question of how the two halves of the Critique of Judgment fit together. Yet Kant’s account of culture has so far gone overlooked, despite the role it plays in both parts of the work in answering what Kant situates in the Introduction as the work's guiding concern: how the power of judgment thinks the transition between nature and freedom. Teleological judgment posits culture as the last empirically cognizable telos of nature prior to human (...) |
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Kant on sex gives most philosophers the following associations: a lifelong celibate philosopher; a natural teleological view of sexuality; a strange incorporation of this natural teleological account within his freedom-based moral theory; and a stark ethical condemnation of most sexual activity. Although this paper provides an interpretation of Kant’s view on sexuality, it neither defends nor offers an apology for everything Kant says about sexuality. Rather, it aims to show that a reconsidered Kant-based account can utilize his many worthwhile insights (...) |
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This article presents a new argument concerning the relation between Kant’s theory of race and aspects of the critical philosophy. It argues that Kant’s treatment of the problem of the systematic unity of nature and knowledge in the Critique of Pure Reason and the Critique of the Power of Judgment can be traced back a methodological problem in the natural history of the period – that of the possibility of a natural system of nature. Kant’s transformation of the methodological problem (...) |
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In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) |
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Though the notion of common-sense plays an important role in Kant’s aesthetic theory, it is not immediately clear what Kant means by this term. This essay works to clarify the role that common-sense plays in the logic of Kant’s argument. My interpretive hypothesis is that a careful examination of the way common-sense functions in Kant’s account of judgments of taste can help explain what this notion means. I argue that common-sense names the capacity to discern the relation between the cognitive (...) |
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This highly multidisciplinary collection discusses an increasingly important topic among scholars in science and technology studies: objectivity in science. It features eleven essays on scientific objectivity from a variety of perspectives, including philosophy of science, history of science, and feminist philosophy. Topics addressed in the book include the nature and value of scientific objectivity, the history of objectivity, and objectivity in scientific journals and communities. Taken individually, the essays supply new methodological tools for theorizing what is valuable in the pursuit (...) |
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Neo-Kantianism emerged over the course of the 1860s and it occupied a leading position in the German universities from the 1870s until the First World War. Demands for getting "back to Kant" had become common since the early 1860s, and these demands were discussed in the meetings of the Philosophical Society of Berlin (Philosophische Gesellschaft zu Berlin; PGB), which was the international organization of Hegelians. In this paper I address some reactions among the PGB members to the 1860s Kant revival. (...) |
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How do we form concepts like those of three, bicycle and red? According to Kant, we form them by carrying out acts of comparison, reflection and abstraction on information provided by the senses. Kant's answer raised numerous objections from philosophers and psychologists alike. "Kant e la formazione dei concetti" argues that Kant is able to rebut those objections. The book shows that, for Kant, it is possible to perceive objects without employing concepts; it explains how, given those perceptions, we can (...) |
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Anjan Chatterjee has promoted an analogy between the Bengalese finch and the human artist. With reduced selective pressure from females due to its domestication, the male finch’s song has become more elaborate. Similarly, art’s lack of a practical function facilitates the creative generativity shown by artists. I argue that this analogy is flawed on both sides. Only recently has some art been regarded as non-functional. And the elaboration of the finch’s song is an effect of female selection under the conditions (...) |
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Uno de los problemas que se le presentan a Kant en la Crítica de la facultad de juzgar es el de la aptitud de la naturaleza en su diversidad particular para ser conformada por las leyes del entendimiento. En este contexto, Kant defi ne los conceptos de naturaleza, materia y fi nalidad de una manera que antes no había tenido cabida en su sistema, y postula la idea de una técnica o arte de la naturaleza. En este artículo se analiza (...) |
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A well-rehearsed move among teleological realists in the philosophy of biology is to base the idea of genuinely teleological forms of organic self-reproduction on a type of causality derived from Kant. Teleological realists have long argued for the causal possibility of this form of causality—in which a whole is considered the cause of its parts—as well as formulated a set of teleological criteria of adequacy for it. What is missing, to date, is an account of the mereological principles that govern (...) |
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In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) |
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In his essay against Eberhard, Kant denies that there are innate concepts. Several scholars take Kant’s statement at face value. They claim that Kant did not endorse concept innatism, that the categories are not innate concepts, and that Kant’s views on innateness are significantly different from Leibniz’s. This paper takes issue with those claims. It argues that Kant’s views on the origin of the intellectual concepts are remarkably similar to Leibniz’s. Given two widespread notions of innateness, the dispositional notion and (...) |
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According to rationalist conceptions of moral agency, the constitutive capacities of moral agency are rational capacities. So understood, rationalists are often thought to have a problem with feeling. For example, many believe that rationalists must reject the attractive Aristotelian thought that moral activity is by nature pleasant. I disagree. It is easy to go wrong here because it is easy to assume that pleasure is empirical rather than rational and so extrinsic rather than intrinsic to moral agency, rationalistically conceived. Drawing (...) |
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Abstract Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to its (...) |
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El presente trabajo reconstruye algunos de los momentos principales del debate acerca del concepto de "raza humana" que tuvo lugar hacia finales del siglo xviii entre Kant, Forster y Herder. El objetivo de esta reconstrucción es mostrar, en una primera instancia, que esa polémica se hallaba determinada por la necesidad de adaptar las herramientas histórico-naturales heredadas a la emergencia de una concepción irreversible de la variable temporal. En un segundo momento, es analizada la posición asumida por Kant frente a los (...) |
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Abstract In the Critique of the Power of Judgment, Kant refers to the pleasure that we feel when judging that an object is beautiful as the pleasure of "mere reflection". Yet Kant never makes explicit what exactly is the relationship between the activity of "mere reflection" and the feeling of pleasure. I discuss several contemporary accounts of the pleasure of taste and argue that none of them is fully accurate, since, in each case, they leave open the possibility that one (...) |
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For Kant, ‘reflection’ is a technical term with a range of senses. I focus here on the senses of reflection that come to light in Kant's account of logic, and then bring the results to bear on the distinction between ‘logical’ and ‘transcendental’ reflection that surfaces in the Amphiboly chapter of the Critique of Pure Reason. Although recent commentary has followed similar cues, I suggest that it labours under a blind spot, as it neglects Kant's distinction between ‘pure’ and ‘applied’ (...) |
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A Crítica da faculdade de julgar foi recebida com entusiasmo pelos filósofos do idealismo alemão. No caso de Friedrich Schelling, as duas partes da obra foram influentes, de modo que não só a estética kantiana, mas também a teleologia foi marcante em sua trajetória filosófica. Observaremos como o filósofo de Leonberg acolhe, na Introdução às Ideias para uma filosofia da natureza, a noção kantiana de organismo como dotado de autocausalidade, mas pensa-a nos quadros de uma filosofia pós-kantiana, buscando prescindir das (...) No categories |
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The aim of this paper is to elucidate what Kant describes as the "free lawfulness of the imagination" in judgments of beauty in aesthetic terms, as called for by the distinctive nature of beauty. I argue that the aesthetic activity of the imagination differs from the theoretical activity of the imagination, and that the difference between the two has an aesthetic ground in terms of the special form of beautiful objects and the special value of beauty. In contrast to the (...) |
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According to Friedrich Schlegel: “The Romantic imperative demands [that] all nature and science should become art [and] art should become nature and science”; “[P]oetry and philosophy should be made unified”, and “life and society [should be made] poetic”. The aim of this paper is to explain why Schlegel believes that this is an imperative that constrains philosophy and ordinary life. I argue that the answer to this question requires that we regard the Romantic imperative as a response to the skeptical (...) |
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