David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Studies in History and Philosophy of Science Part A 39 (4):483-494 (2008)
Contrary to both his own intentions and the views of both older and more recent commentators. I argue that Kant's aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly 'a priori' or 'transcendental' in his claim that this state of mind is what causes our pleasure in beauty or other aesthetic properties. Nor did Kant establish a genuinely a priori or transcendental principle that all human beings have the same disposition to experience a free play of their cognitive powers, let alone in response to the same objects. This failure, however, in no way limits the continuing significance of Kant's aesthetic theory.
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References found in this work BETA
Ernst Cassirer (1951/1955). The Philosophy of the Enlightenment. Boston, Beacon Press.
Donald Davidson (1973). Radical Interpretation. Dialectica 27 (1):314-328.
Paul Guyer (1994). Kant's Conception of Fine Art. Journal of Aesthetics and Art Criticism 52 (3):275-285.
Paul Guyer (2006). The Harmony of the Faculties Revisited. In Rebecca Kukla (ed.), Aesthetics and Cognition in Kant's Critical Philosophy. Cambridge University Press.
Citations of this work BETA
Alessia Pannese (2012). A Gray Matter of Taste: Sound Perception, Music Cognition, and Baumgarten's Aesthetics. Studies in History and Philosophy of Science Part C 43 (3):594-601.
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