Kant's Works in Aesthetics

The Southern Journal of Philosophy, Volume 60, Issue 2, Page 277-303, June 2022.

Karl Ameriks has recently devoted an entire volume to defending what he calls "orthodox" Kantianism against what he judges to be the "errors" of such post-Kantian idealists as K. L. Reinhold and J. G. Fichte and to exposing what he claims is the frequently unnoticed but always deleterious influence of post-Kantianism upon certain prominent strands of contemporary philosophy. In response, this paper challenges Ameriks' interpretation of Kantianism itself and of the "post-Kantian project", as well as his construal of transcendental idealism. (...) This is followed by some remarks concerning Reinhold's and Fichte's actual "arguments" for transcendental idealism and a rejection of Ameriks' characterizations of the same. Ameriks' interpretation of "the primacy of the practical" within Fichte's philosophy is also analyzed and criticized, as are his unsubstantiated claims concerning the powerful "indirect" influence of the writings of Reinhold and Fichte upon contemporary philosophy. (shrink)

In this collection of essays Béatrice Longuenesse considers the three aspects of Kant's philosophy, his epistemology and metaphysics of nature, his moral philosophy and his aesthetic theory, under one unifying standpoint: Kant's conception of our capacity to form judgements. She argues that the elements which make up our cognitive access to the world - what Kant calls the 'human point of view' - have an equally important role to play in our moral evaluations and our aesthetic judgements. Her discussion ranges (...) over Kant's account of our representations of space and time, his conception of the logical forms of judgements, sufficient reason, causality, community, God, freedom, morality, and beauty in nature and art. Her book will appeal to all who are interested in Kant and his thought. (shrink)

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

Kant's third Critique, the Critique of Judgement, is regarded as one of the most influential books in the history of aesthetics. This book is designed as a reader's guide for students trying to work their way, step-by-step, through Kant's text.

a relação entre razão e natureza envolve um dos principais aspectos da crítica da teleologia de Kant. Visando destacar esta relação, investigarei o conceito de técnica da natureza, tal como introduzida na Crítica da faculdade de julgar. De acordo com Kant, a técnica da natureza permite as leis da razão a representarem o acordo dos princípios transcendentais da razão com a natureza. Deste modo, o conceito da técnica da natureza assume um papel prolífico ao expor, através de uma analogia com (...) as faculdades humanas, a atividade produtiva da natureza, como se sua atividade fosse orientada a fins.The relationship between reason and nature embodies one of the main aspects of Kant‟s critique of teleology. In order to highlight this relation, I shall investigate the concept of the technique of nature, as it has been introduced in Critique of the Power of Judgment. According to Kant, the technique of nature allows the laws of reason to represent the agreement of the transcendental principles of reason with nature. Thus, the concept of the technique of nature assumes a fruitful role by exposing, through an analogy with human faculties, the productive activity of nature, as if its activity were oriented towards ends. (shrink)

The article reports discussions at an international conference of leading Kant scholars held at the University of Marburg (Germany) in 1998. The conference was concerned with both the current state and the need for revisions of the Academy edition of Kant's Gesammelte Schriften as well. As became clear, a complete revision is necessary in the case of Vols. XX-XXIV and XXVII-XXIX, since these can hardly be used for research. Improvements of various extent and content should be attempted in other volumes (...) as well-even in Vols. I-IX, Kant's published works, the best edited part of the edition. (shrink)

Review of Manfred Kuehn's outstanding biography on Immanuel Kant. A critical point I raise concerns Kuehn's discussion of Kant's relation to Hume. Scholars are divided over the questions of (a) whether Hume was an actual inspiration for Kant’s Critical philosophy, (b) whether Kant’s defense really addresses Hume’s problem of causality, and, of course, (c) whether Kant’s arguments provide a satisfactory solution to the problem. Sometimes these questions are not clearly distinguished by interpreters, part of the reason Kant scholarship appears so (...) intractable to outsiders. While Kuehn’s answers to questions (a) and (b) appear to be ”Yes”, and while his reasons for the Yes to (a) are convincing, those for Yes to (b) are not; and (c) isn't addressed at all. (shrink)

There are two ways of dealing with Kant's derogatory position on music. Either it is claimed that Kant's opinion is a result of biographical factors, or Kant is regarded as a mere predecessor of a more successful music aesthetics. While the first way mistakes Kant's personal preferences for a philosophical argument about the nature of sound, the second approach underestimates the close connection between his music aesthetics and his whole philosophical system. Against these approaches the article defends the proposition that (...) Kant's (like any other) music aesthetics can only be understood with reference to the concepts of „time“ and „movement“ in order to elucidate the ontology of sound objects. (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. 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)

A monograph devoted exclusively to Kant's theory of the sublime a subject currently witnessing a revival amongst European philosophers in relation to debates about the nature of postmodernism.

God has been called many things, but perhaps nothing so strange as the name of “lobster” which he receives in A Thousand Plateaus.1 Is this simple profanation a pendant to the gleeful anti-clericalism of Deleuze2, for whom there is no insult so wretched as that of “priest”?3 Certainly, on one level. But it is also a clue to Deleuze’s ability to use a traditional concern of theology, the name of God, to intervene in the most basic questions of Western philosophy, (...) in this case, the interchange of theology, biology and politics inherent in the question of nature and the organism. (shrink)

In contrast to rationalist views about beauty as a sort of perfection, Kant argues that judgements of taste about beauty are ‘entirely independent from the concept of perfection’ (5: 226).1 In the...

I try to identify the characteristic and distinguishing features of a theory of natural beauty (as opposed to the sublime) that can be found in Kant's Critique of Judgement. Lest this may seem superfluous, I argue first that, contrary to a common view, Kant's theory does not take the experience of beauty in nature as theoretically basic and that he does not deal with beauty in art only as a derivative case of aesthetic experience. I then try to understand what (...) it means to require, as Kant famously does, that beautiful nature has to look as if it were art. Does this commit him to a projectionist view, according to which we appreciate nature aesthetically only for what it really is not (namely art) rather than for what it is? Pursuing this question we find that for Kant nature can be the object of pure judgements of taste only insofar as nature can be explained scientifically, which in Kant's framework means purely mechanically. This ‘blind mechanism’ of nature plays an important role in Kant's explication of the moral significance the experience of beautiful nature has for us. (shrink)

I present a reading of Marx’s critique of what he terms ‘intuitional materialism’, an expression which suggests a close link to Kant’s account of intuition. On my account, Marx advocates a view of sensibility as active, whereas Kant’s account of sensibility has often been interpreted as passive. In so doing, I claim that Marx offers an implicit critique of the conventional distinction between the ‘higher’ and ‘lower’ faculties, encompassing Wilfrid Sellars’ attack on the myth of the given. Marx claims that (...) limiting the contribution of cognition to the abstraction of particulars into concepts is a symptom of alienation under capitalism, while unalienation consists in the aesthetic attunement of sensible activity to the particularity of experience. This view is importantly related, I claim, to the cue Marx and Engels took from Darwin in reconceiving biological science, including the study of human material life, as dynamic and organic rather than mechanical. (shrink)

Book review of Alexander Rueger, Kant on Pleasure and Judgment: A Developmental and Interpretive Account, Cambridge University Press, 2024.

Mit der Urteilskraft, die zuständig ist für das „Gefühl der Lust und Unlust“, wendet sich Immanuel Kant dem dritten unserer Erkenntnisvermögen zu. Aber auch diese lebendige Schrift, die einen Goethe noch so zu begeistern vermochte, wurde von der Akademie flugs „dem Kreis bekannter Vorstellungen eingegliedert“ und „in die Sprache ihrer Handbücher zurückübersetzt.“ (nach Cassirer) -/- Mittlerweile aber hat uns die Philosophie des 20. Jahrhunderts Werkzeuge an die Hand gegeben, auch unbändige Texte zu lesen - und eine These zu formulieren, die (...) so „steil“ nun nicht mehr ist: der Autor hat die Zweitauflage seiner „Urteilskraft“ absichtlich verzeichnet, um den Originaltext einer verfälschenden Aneignung durch seine Zeitgenossen zu entziehen. -/- 2500 Anmerkungen plus Randnotizen nebst visuellen Elementen zeichnen die Konturen der Erstausgabe der „Kritik der Urteilskraft“ von 1790 anhand von Kantens „Korrekturen“ nach. Dabei kommt manch ursprüngliche Intention zu Tage, deren naive Anmutung uns ein Argument verdächtig macht, das Schule machen sollte ! -/- . (shrink)

My dissertation defends a non-mechanistic interpretation of Kant’s philosophy of nature. Inspired by the picture of nature in the Critique of Pure Reason and Metaphysical Foundations of Natural Science, most readers align Kant with Early Modern mechanists, who claim that we can know that the internally purposive form of causality characteristic of organisms has no place in nature. To these mechanistic readers, Kant banishes internal purposiveness from nature. To moderate mechanistic interpreters, because we cannot know whether there are internally purposive (...) things in nature and we can demonstrate that mechanism applies to nature, Kant pushes us to believe that any seemingly internally purposive natural products will eventually be explained in mechanistic terms. To strong mechanistic interpreters, Kant gives us the tools to know that there is no room for the special kind of teleology organisms exhibit in nature. My non-mechanistic interpretation rejects this trend by arguing that Kant urges us to believe that the internally purposive activity characteristic of organisms exists in nature. Belief in this context is a firm, positive, and voluntary attitude that aligns with and serves a subject’s interests and ends, and that has implications for the subject’s rational action, assertion, and deliberation. Kant’s stated goal in the third Critique is to bridge the gulf between freedom and nature. My non-mechanistic interpretation offers a new account of how Kant promises to construct this bridge. (shrink)

What is the highest good actually good for in Kant’s third Critique? While there are well-worked out answers to this question in the literature that focus on the highest good’s practical importance, this paper argues that there is an important function for the highest good that has to do exclusively with contemplation. This important function becomes clear once one notices that coherent [konsequent] thinking, for Kant, was synonymous with "bündiges" thinking, and that both are connected with the highest good in (...) the third Critique’s moral proof for God’s existence. I show that the original meaning of "bündig," which is from the carpentry trade and has been forgotten, illuminates the stakes of the highest good in Kant’s system. For us, as proverbial carpenters of reason, coherence is essential for the intellectual activity of constructing a philosophical worldview in his transcendental idealism. I motivate the reading further by showing how this function can neatly reconstruct Kant’s proof for God’s existence in the third Critique. I conclude by sketching Kant’s reasons for why the project of creating a coherent worldview grounded in the highest good is worth the labor costs. (shrink)

In recent years, nonconceptual content theories have seen Kant as a reference point for his notion of intuition (§§ 1-3). This work aims to dismiss the possibility that intuition is provided with an autonomous function of de re knowledge. To this end, it will explore certain epistemological points that emerge from Garroni’s reading of the Third Critique in the conviction that they provide a suitable context to verify the presence of autonomous, epistemically nonconceptual content in the transcendental system (§§ 4-5). (...) It is here, in fact, that Kant discusses those cases where intuition is given without bringing into play the conceptual component. As Garroni posits, in this frame of reference, such content cannot subsist without the interplay between aesthetic and conceptual dimensions (§§ 6-7). Long before the development of the debate on Kantian nonconceptualism, and during the period in which the Kantian debate on the epistemic considerations contained in the Third Critique was developing deeply for the first time, Garroni had already identified a theoretical position on these issues, which can be labelled aesthetic conceptualism, thanks to his fundamentally epistemological reading of the Third Critique. (shrink)

Abstractabstract:Kant's treatment of infinity seems to be plagued by two contradictions. First, the Transcendental Aesthetic claims that space is an infinite given magnitude, whereas the First Antinomy argues that the spatial world cannot be infinite. Second, the Transcendental Aesthetic claims that the representation of infinite space belongs to sensibility, but the third Critique seems to argue, instead, that infinity is an Idea of reason. This paper resolves these apparent contradictions by noting that Kant groups his various conceptions of space into (...) three kinds: (1) merely subjectively given space, (2) objectively given space, and (3) objective space as a mere Idea. Attending to these three conceptions of space illustrates that the Transcendental Aesthetic, First Antinomy, and third Critique refer to different conceptions of infinite space and thus do not contradict one another, illuminating the importance of Kant's various conceptions of space for his critical project. (shrink)

In the 1780s Kant’s critique of rational cosmology clearly identified the limits of theoretical cosmology in agreement with the doctrine of transcendental idealism of space and time. However, what seems to be less explored, and remains still a desideratum for the literature, is a thorough investigation of the implications of transcendental philosophy for Kant’s view of cosmology in the 1790s. This contribution fills this gap by investigating Kant’s view of teleology and measurement in the Critique of Judgment, exploring their implications (...) for Kant’s late view of cosmology. Considering the historical and scientific context in which Kant developed his reflections motivates my proposal to read Kant’s late view of the universe in terms of “functional cosmology.” -/- . (shrink)

In this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the third Critique1 and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the first Critique; 2) concept-less schematism is schematism with no empirical concept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that (...) these judgements are full-fledged cognitive determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept. (shrink)

Nietzsche and Kant on Aesthetics and Anthropology is the third of a three-volume collection exploring Nietzsche’s relationship to the Kantian legacy in philosophy. This volume examines his relationship to Kant’s aesthetic and anthropological views, focusing on the traces of Kant’s third Critique and Anthropology from a Pragmatic Point of View that can be found in Nietzsche’s published and unpublished works. In this review, I offer a summary of each of its chapters, with some brief commentary, and underscore its major themes, (...) contributions, and omissions. In their introduction, Maria Branco and Katia Hay signal that the scope of this volume goes well beyond a strict understanding of aesthetics as the evaluation of... (shrink)

Passt der Mensch als moralischer Akteur in die Welt? Während in früheren Ansätzen Kants nur der aus den Bedürfnissen der Praxis gespeiste Glaube blieb, hofft er in der "Kritik der Urteilskraft" zeigen zu können, dass sich die Überzeugung von einer moralkompatiblen Welt unabhängig rechtfertigen lässt – aus Ästhetik und Biologie. Der Autor liefert zunächst eine systematische Analyse von Kants Problemstellung: Was motiviert die Suche nach einem solchen Übergang zwischen Theorie und Praxis und was kommt als Lösung infrage? Dann schlägt er (...) eine innovative Lesart der Rolle der Biologie im Übergangsargument vor: Sie ist nicht als positiver Beitrag, sondern als naheliegender Einwand gegen das angestrebte Argument zu verstehen. Das wirft neues Licht insbesondere auf die Antinomie der teleologischen Urteilskraft. -/- Does man fit into the world as a moral actor? In Kant's earlier approaches, only faith catering to the needs of human practice remained to supply an answer to this question. In the "Critique of Judgment", though, Kant attempts to show that the conviction concerning the existence of a morally compatible world can indeed be independently justified – namely from aesthetics and biology. The author first provides a systematic analysis of Kant's problem: What motivates the search for such a transition between theory and practice and what can be considered a satisfactory solution? He then proposes an innovative reading of the role of biology in the transition argument: It is not to be understood as a positive contribution, but as an obvious objection to the argument pursued in the first place. This sheds new light in particular on the antinomy of teleological judgement. (shrink)