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    Kant’s Mereological Account of Greater and Lesser Actual Infinities.Daniel Smyth - 2023 - Archiv für Geschichte der Philosophie 105 (2):315-348.
    Recent work on Kant’s conception of space has largely put to rest the view that Kant is hostile to actual infinity. Far from limiting our cognition to quantities that are finite or merely potentially infinite, Kant characterizes the ground of all spatial representation as an actually infinite magnitude. I advance this reevaluation a step further by arguing that Kant judges some actual infinities to be greater than others: he claims, for instance, that an infinity of miles is strictly smaller than (...)
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  2. Infinity and givenness: Kant on the intuitive origin of spatial representation.Daniel Smyth - 2014 - Canadian Journal of Philosophy 44 (5-6):551-579.
    I advance a novel interpretation of Kant's argument that our original representation of space must be intuitive, according to which the intuitive status of spatial representation is secured by its infinitary structure. I defend a conception of intuitive representation as what must be given to the mind in order to be thought at all. Discursive representation, as modelled on the specific division of a highest genus into species, cannot account for infinite complexity. Because we represent space as infinitely complex, the (...)
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  3.  4
    Intuition in Kant: the boundlessness of sense.Daniel Smyth - 2024 - New York, NY: Cambridge University Press.
    In this book Daniel Smyth offers a comprehensive overview of Immanuel Kant's conception of intuition in all its species – divine, receptive, sensible, and human. Kant considers sense perception a paradigm of intuition, yet claims that we can represent infinities in intuition, despite the finitude of sense perception. Smyth examines this heterodox combination of commitments and argues that the various features Kant ascribes to intuition are meant to remedy specific cognitive shortcomings that arise from the discursivity of our intellect Intuition (...)
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  4.  31
    Ontology and Atrocity: Teaching Heidegger's Philosophy of Art.Daniel Smyth - 2021 - Journal of Aesthetic Education 55 (2):15-35.
    This article sketches a strategy for teaching Heidegger’s essay “The Origin of the Work of Art” (“Origin”). I illustrate how one can address Heidegger’s Nazi affiliation while simultaneously engaging his philosophy of art on its own terms—goals that often work at cross purposes in the classroom. Like many, I read “Origin” together with Meyer Schapiro’s critique of Heidegger’s interpretation of a van Gogh still life of shoes, which figures so prominently in “Origin.” My innovation is to pair the Heidegger/Schapiro dispute (...)
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