Abstract

This paper develops a new interpretation of the “table of nothing” that appears at the end of the transcendental aesthetic in the Critique of Pure Reason. In contrast to previous interpretations, which have taken it to be part of Kant’s account of the failures of reason, this paper argues that it should be understood as proffering Kant’s positive account of the objects he will be concerned with in the transcendental dialectic, namely objects that, properly understood, are nothing. I examine the four nothings in turn, showing how Kant’s concern is to develop a positive account of each one that allows him to determine its object while recognizing that it in some sense is not. I introduce Allison’s distinction between error and illusion and argue that the table of nothing is Kant’s theoretical account of what illusions are as objects, and thereby explains how something like a transcendental dialectic is possible at all.