Abstract

Immanuel Kant’s aesthetics invites us to think the intensity of aesthetic contemplation as freeing the mind of its “pathological” subordination to desires and other empirical interests. For Kant, what is at stake in contemplation can never be understood as merely sensory: it involves a special disposition (Stimmung) that directs the mind to the supersensible, which he determines as the idea that transcends all sensibility. Beyond interpreting the domain of the ideal as an immaterial, self-sufficient realm, this collection of essays opens up the question of its ‘life’, suggesting an interrelation with the pathological that is more intimate than Kant himself seems to have surmised.