This essay considers Kant’s concept of the highest good from a systematic point of view. The two spheres of freedom and nature—of the practical and theoretical—need to be brought into a causal relation for the highest good to be achieved. Kant seems to offer numerous possibilities for how human beings are able to think that it is possible for the highest good to be attainable. I argue that it is only in the third Critique, however, that Kant articulates an answer (...) that also establishes freedom and nature within a larger system. The third Critique does this by positing a third, independent and mediating sphere of human experience that allows a transition between freedom and nature to be effected. This answer to the problem of the highest good is distinctive because the causal efficacy of reason in attaining its own demands is preserved. I examine Kant’s view by way of an analysis of his discussion of ‘territory’ and ‘domain’ in the Introduction to the text. (shrink)

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 (...) ideas? I argue that Kant is drawing on the idealist conception of art, associated with Vasari, Bellori and Winckelmann, as presenting idealized spatial forms characteristic of natural kinds. He incorporates this conception into his analysis of the beauty of nature and adds that we have non-conceptual access to it. These idealized forms he names aesthetic normal ideas of natural species. §51 of Kant’s Critique of the Aesthetic Power of Judgment opens with an unexpected claim, described by readers as ‘puzzling’, ‘perplexing’ and even as a ‘notorious mystery’.1 1 Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful art this idea must be occasioned by a concept of the object, but 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_. 2 2 I will argue that, in this passage, Kant states that there are two types of aesthetic ideas—namely, aesthetic ideas expressed in beautiful art and aesthetic ideas expressed by beautiful nature. This distinction is surprising for, before this juncture, there is no explicit claim that there are different types of aesthetic ideas. In fact, although Kant offers several seemingly general characterizations of aesthetic ideas, in none of them does he indicate that there is a subdivision of the genus. Noteworthy, too, is the claim that the distinct pleasure we take in beautiful nature is independent of concepts; for strikingly, it can be considered as the expression of what the passage above expressly calls ideas. In his analysis of fine art, Kant draws the distinction between natural and artistic beauty—a distinction that is succinctly repeated in the passage above.3 3 But when he goes on to explicate the notion of an aesthetic idea, he refers only to aesthetic ideas expressed in art. This fact is taken to support the assumption that aesthetic ideas are connected solely to art. This is the heart of the mystery of the passage, for in it, Kant explicitly talks about aesthetic ideas expressed by beautiful nature. This raises a crucial question: Does the explication of aesthetic ideas in the sections on art apply to aesthetic ideas of beautiful nature?I maintain that the answer is negative. Although, in the passage above, Kant uses the same term in relation to both kinds of beauty, he has a clear distinction in mind: Beauty in art is an aesthetically or sensuously unified expression of the conceptual richness of an idea of reason; beauty in nature is an expression of a purely aesthetically or sensuously unified richness. Obviously, this distinction is connected to other significant differences between the two kinds of beauty. But it is important to point out at the outset that the two types of aesthetic ideas have in common only the quality of being a sensuously unified richness. It is in this sense that they are both species of a single genus. But what more precisely does Kant mean by aesthetic ideas expressed by beautiful nature, and what unified richness do they express and how precisely do they express it? It is to the historical genealogy of this notion of aesthetic ideas of beautiful nature and its implications for Kant’s theory of beauty that this paper is devoted. This historical genealogy will reveal a sense of the notion of aesthetic ideas that we easily overlook but would have been familiar to Kant and his contemporaries. (shrink)

Wittgenstein’s private language argument claims that language and meaning generally are public. It also contends with our appreciation of artworks and reveals the deep connection in our minds between originality and the temptation to think of original meaning as private. This problematic connection of ideas is found in Kant’s theory of fine art. For Kant conceives of the capacity of artistic genius for imaginatively envisioning original content as prior to and independent of finding the artistic means of communicating this content (...) to others. This raises the question of whether we can conceive of art as both original and meaningful without succumbing to privacy. (shrink)

This volume - the joint effort of the research groups on practical philosophy and the history of political thought of the Institute of Philosophy of the Research Centre for the Humanities of the Hungarian Academy of Sciences - brings together scholarly essays that attempt to face the challenges of the contemporary situation. The authors come from rather divergent disciplinary backgrounds, including philosophy, law, history, literature and the social sciences, from different cultural and political contexts, including Central, Eastern and Western Europe, (...) and belong to different generations. But they all share an interest to bravely answer the large topical issues concerning universal morality, here and now. (shrink)

: This paper consists of two sections. In section one, I explore Val Plumwood's description of the features of normative dualism, and briefly discuss how these features are manifest in Immanuel Kant's view of nature. In section two, I evaluate the claims of Holly L. Wilson, who argues that Kant is not a normative dualist. Against Wilson, I will argue that Kant maintains normative dualisms between humans/nature, humans/animals, humans/culture, and men/women. As such, Kant's philosophy is antithetical to the aims of (...) ecofeminism, which seeks to expose and dismantle such dualistic thinking. (shrink)

This paper consists of two sections. In section one, I explore Val Plumwood's description of the features of normative dualism, and briefly discuss how these features are manifest in Immanuel Kant's view of nature. In section two, I evaluate the claims of Holly L. Wilson, who argues that Kant is not a normative dualist. Against Wilson, I will argue that Kant maintains normative dualisms between humans/nature, humans/animals, humans I culture, and men/women. As such, Kant's philosophy is antithetical to the aims (...) of ecofeminism, which seeks to expose and dismantle such dualistic thinking. (shrink)

This paper examines Kant’s treatment of the design argument for the existence of God, or physicotheology. It criticizes the interpretation that, for Kant, the assumption of intelligent design satisfies an internal demand of inquiry. It argues that Kant’s positive appraisal of physicotheology is instead better understood on account of its polemical utility for rebutting objections to practical belief in God upon which Kant’s ethicotheological argument rests, and thus as an instrument in the transition from theoretical to practical philosophy. Kantian physicotheology (...) plays this role a) by criticizing alternative speculative accounts of the ground of nature, and b) by analogizing from the structure of finite rational agency in order to represent more clearly the action of an ideal agent. (shrink)

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

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)

Naturen erkendt af Kant og Løstrup – Hvor stor er forskellen?