Kant: Aesthetics, Misc

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...) pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

In Selbstgefühl, Manfred Frank provides a detailed study of the eighteenth century origins and contemporary philosophical implications of a unique kind of direct selfawareness. The growing significance of this phenomenon is closely related to three interconnected developments in modern philosophy, which I describe as the 'subjective turn', the 'aesthetic turn', and the 'historical turn'. While following Frank in emphasising key concepts in the first of these two turns, I add a stress on the historical turn in post-Kantian philosophical writing.

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 (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)

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 (...) and how they relate to their instances—to have the same kind of significance that judgments of beauty have according to Kant. And then I argue that there are good reasons for being suspicious of the prevailing conception of concepts, and therefore good reasons for being suspicious of the proposed understanding of the significance of aspect perception—an understanding that has attracted many readers of Wittgenstein's remarks on aspects. This leads me to suggest that it is actually the philosophical appeal to ordinary language that has the kind of significance that the Kantian picture attributes to judgments of beauty and to the seeing of aspects. In this way, I offer a way to vindicate Cavell's second proposal. (shrink)

This new, completely revised and re-written edition of Aesthetics and subjectivity brings up to date the original book's account of the path of German philosophy from Kant, via Fichte and Holderlin, the early Romantis, Schelling, Hegel, Schleimacher, to Nietzsche, in view of recent historical research and contemporary arguments in philosophy and theory in the humanities.

1. „Schwache“ oder „freie Menschen“? „Weil es aber doch einem nachdenkenden und forschenden Wesen anständig ist, gewisse Zeiten lediglich der Prüfung seiner eigenen Vernunft zu widmen, hierbei aber alle Parteilichkeit gänzlich auszuziehen, und so seine Bemerkungen anderen zur Beurteilung öffentlich mitzuteilen; so kann es niemanden verargt, noch weniger verwehrt werden, die Sätze und Gegensätze, so wie sie sich, durch keine Drohung geschreckt, vor Geschworenen von seinem eigenen Stande verteidigen können, auftreten zu lassen.“ These: Wer diesen Text kritisch liest, stutzt – (...) was sollen die „schwachen Menschen“ hier? Ist nicht das bizarre „schwacher“ durch „freier“ zu ersetzen? Kant verbindet mit der Gerichtshofmetapher die gegen die Politik der Machtsprüche des Absolutismus, aber auch gegen die Gesetzlosigkeit des „status naturalis“ gerichtete Freiheit der Richter und Geschworenen, nicht aber deren Schwäche. Erst im Staat unter Freiheitsgesetzen könne ein Gerichtshof eingerichtet werden – „Zu dieser Freiheit gehört denn auch, seine Gedanken, seine Zweifel, die man sich nicht selbst auflösen kann, öffentlich zur Beurteilung auszustellen, ohne darüber für einen unruhigen oder gefährlichen Bürger verschrieen zu werden [„durch keine Drohung geschreckt“] Das liegt schon in dem ursprünglichen Rechte der menschlichen Vernunft, welche keinen anderen Richter erkennt, als selbst wiederum die allgemeine Menschenvernunft, worin ein jeder seine Stimme hat.“ Die Freiheit bezieht sich auf den Bürgerstand der Menschen und ihre Freiheitsgesetze. Wir befinden uns im Bereich einer Rechtsinstitution – was soll da der Appell an die Schwäche? Gibt es einen bürgerlichen Stand der Schwachen? Nein. Das Ergebnis der Gerichtsverhandlung wird sein, dass weder Satz noch Gegensatz gilt oder dass beide gelten könnten. Nun kommt hinzu, dass Kant zuvor den Menschen charakterisiert, der zwischen These und Antithese hin- und herschwankt – ein schwacher Mensch, dem der nachdenkende und forschende Mensch entgegengesetzt wird, der nun entschlossen vor dem Gerichtshof erfahren will, wie es um die Ansprüche der beiden Parteien steht. Auch im nachfolgenden Text wird emphatisch dafür argumentiert, dass der Mensch das Problem der Antinomie und seine Auflösung in seiner eigenen Vernunft findet und daher „die Verantwortung [Beantwortung?] nicht von sich abweisen und auf den unbekannten Gegenstand schieben kann“. (shrink)

The first comprehensive study of the roots of the concept of genius in Kant's understanding of nature and his notion of the artist.

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

In the third Critique, Kant argues that it is to take an immediate interest in natural beauty, because it indicates an interest in harmony between nature and moral freedom. He, however, denies that there can be a similarly significant interest in artistic beauty. I argue that Kant ought not to deny this value to artistic beauty because his account of fine art as the joint product of the of genius and the discipline of taste commits him to the claim that (...) artistic beauty expresses such a harmony between nature and freedom. (shrink)

Historicity and Intersubjectivity of the Aesthetic Experience: Between Jauß and Kant This article seeks to formulate a theory of aesthetic experience, which includes a historical dimension. It first takes some historical examples of aesthetic experience and looks for similarities amongst them. It then presents a personal reading of Jauß’s theory of aesthetic experience, which, though historicist, presents a general or universal structure. The article aims to demonstrate that Jauß’s theory is highly productive for the purpose of the current argument, but (...) offers no satisfying solution to the problem of intersubjectivity. To solve this problem, the author turns to a recent reading of Kantian aesthetics, providing a complement to a general theory of aesthetic experience, which includes a non-relativistic factor of historicity. (shrink)

First published in 1938. The aim of this book is to expound Kant’s _Critique of Judgement _by interpreting all the details in the light of what Kant himself declares to be his fundamental problem. _A Commentary on Kant’s Critique of Judgement _provides an excellent introduction to Kant’s third critique, and will be of interest to students of philosophy.

The present paper has the purpose of analyzing the notion of disinterest in Kant’s aesthetics. The first part focuses on Shaftesbury’s and Schopenhauer’s aesthetic approaches, wherein the presence of disinterest in relation to the appraisal of beauty is highlighted –albeit, as will be seen, in very different senses than the one proposed by Kant. The second part approaches the Analytics of beauty, around which some reflections about disinterest will be attempted in order to pay attention to disinterest as proposed by (...) Kant, not only as a negative element, but also with an open, positive, connotation that enables a relationship with the world different than usual. (shrink)

Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in (...) the criticism of Cubism. He also reassesses Clement Greenberg's famous reliance on Kant. The final chapter focuses on Kant's 'image', both in contemporary and posthumous portraits, with respect to his status as the image of philosophy within a disciplinary hierarchy. In Cheetham's reading, Kant emerges as a figure who has constantly erected and crossed the borders among art, its history, and philosophy. (shrink)

Kant on how certain experiences might give us considerations counting in favor of the real possibility of certain things. -/- .

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comWhat does it mean for a thing to be ugly, or perhaps better, for something to be judged as such? We should admit that the matter is not transparent. Maybe that seems odd, since we find things ugly all the time; should not this be plain as day, then? But usually, it is what seems (...) plainest that, in the end, is most obscure.So what, then, is ugliness? What does it mean to find something ugly? Looking to cast some light on the matter, we might consider using Kant’s well-known account of beauty as our starting point, since Kant—apparently following ‘common sense’ —says that ugliness is ‘contrary to beauty’.2 Assuming the adequacy... (shrink)

Introduction The General Bearings of Kant's Third Critique The Critique of Judgment may be broadly viewed as a work of philosophical diplomacy in which Kant ...

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

This paper analyzes the kantian aspects of greenberg's theory of modernism. It is argued first that the distinctiveness of greenberg's theory lies not in a kantian-Style aesthetic formalism, But rather in an intellectualist notion of aesthetic value which greenberg associates with a kantian-Style self-Critical method. It is then argued that greenberg's use of this kantian notion of self-Criticism in order to explain the development of modernist painting, Leads him into insuperable problems.

In his Critique of the Power of Judgement, Kant explicates the creation of works of fine art (schöne Kunst) in terms of aesthetic ideas. His analysis of aesthetic ideas claims that they are not concepts (Begriffe) and are therefore not definable or describable in determinate language. Nevertheless, Kant claims that aesthetic ideas are communicable via spirit (Geist), a special mental ability he associates with artistic genius. This paper argues that Kant's notion of Geist is central to his analysis of fine (...) art's expressive power. The notion of Geist constitutes a conceptual link between Kant's aesthetic theory and that of G. W. F. Hegel, for whose analysis Geist is the subject. (shrink)

Cet ouvrage est le premier d'une série de quatre études consacrées aux liens que Kant, Hegel, Nietzsche et Freud établissent entre éthique et esthétique.