By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about particular (...) works of art. These presuppositions are sensible rather than intellectual because on Kant's view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant's view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. This last point is worth emphasizing, in order to correct an interpretation of Kant's account of aesthetic judgment in the Critique of Judgment that wrongly reads Kant as claiming that aesthetic judgments do not have to satisfy the same basic requirements of judgment that any other kind of judgment also must satisfy, such as the synthetic subsumption of such objects under certain necessary and hard-wired concepts of understanding, the internal coherence of such judgments with other, non-aesthetic ones of a more abstract and comprehensive character, the unified consciousness within which such judgments are intelligibly made, and the like. Of course Kant recognizes the special character of aesthetic judgments and unpacks it in the... (shrink)

By transcendental aesthetic, Kant means “the science of all principles of a priori sensibility” (A 21/B 35). 1 These, he argues, are the laws that properly direct our judgments of taste (B 35 – 36 fn.), i.e. our aesthetic judgments as we ordinarily understand that notion in the context of contemporary art. Thus the first part of the Critique of Pure Reason, entitled the Transcendental Aesthetic, enumerates the necessary presuppositions of, among other things, our ability to make empirical judgments about (...) particular works of art. These presuppositions are sensible rather than intellectual because on Kant’s view, all intellection that considers objects of any kind, whether abstract or concrete, must at base connect to actual, material objects with which we come into direct contact; and this we can do only through sensibility (A 19/B 33). Thus the following discussion explores what Kant claims must be true of us in order to make the sorts of aesthetic judgments we make, rather than any particular class or quality of aesthetic judgments itself. On Kant’s view, what must be true of us in order to make aesthetic judgments is not different from what must be true of us in order to make any other kind of judgment about empirical objects. (shrink)

The present work is a beautific monograph over Kant’s philosophy. It begins with the proper analysis of nature and significance of content copernican revolution. The author has systematically formulated the epistemic and non-epistemic implications of Kant’s Philosophy the epistemic implications cover the philosophical issues and seminal significance: the notion of space and time, the nature and function of categories, distinction of phenomena and noumena, refutation of idealism and Kantain transcendental idealism, transcendental unity of pure apperception, nature function and limitations (...) of reason (vernuft) and few more. The non-epistemic implication encompass: metaphysical, ethical and aesthetic implications. In metaphysical implication the author clearly demonstrated the limit of reason as a theoretical reason can’t venture into the realm of metaphysical(noumenal) entities such as God, Soul and cosmos- leading to reputation of metaphysics. The ethical implication is directed towards ,analysing the nature and good will, holy will and autonomous will, and apart from that a critical treatment is offered to categorical imperative postulated and maxims of morality. The aesthetics implication tries to analyse the content notion of beauty, sublime and teleology of nature. It is on account of the conceptual clarity, linguistic beauty and systematic exposition of the subject matter that book will receive the enthusiastic response from the students and scholars of philosophy. -/- This book is also Peer reviewed in JICPR, Volume XIX, No. 2, April-June, 2002 by Prof. Laksminarayan Lenka, Department of Philosophy, North Eastern Hill University, Shillong. (shrink)

Presenting the text of the transcendental deduction of the categories part by part, often only a few lines at a time, this book follows each part with explanation, commentary, and criticism where this is necessary in bringing out Kant's thought. It also contains chapters on the Transcendental Aesthetic and the Metaphysical Deduction, and a chapter on the contemporary philosophical relevance of Kant's arguments.

In considering Kant’s response to the Leibnizian theory of space in the Transcendental Aesthetic, scholars have overwhelmingly emphasized Kant’s response to Leibniz’s relationalism. They have largely missed the metaphysically realistic aspects of Leibniz’s theory with which Kant is primarily concerned. As such, scholars have failed to appreciate the threat Leibniz’s theory poses to Kant’s idealism, a point made publicly as early as 1786 by H. A. Pistorius. I argue that the Aesthetic does indeed contain a compelling argument against the Leibnizian (...) theory of space. This argument crucially depends upon Kant’s claim that space is monistic: that the whole of space is prior to the parts of space and, as such, spatial representations are not decomposable. (shrink)

This article focuses on the relationship between Kant’s reference to our own body in the context of problems of directionality and the type of resources that, according to him, are necessary to distinguish left and right and to orient ourselves in space. It challenges the almost universally accepted idea that the principle formulated in Dissertatio 15C (namely, that two incongruent counterparts cannot be distinguished by notae) is fatally flawed. While arguing that this principle is correct in its strongest formulation, (...) the article offers a unified line of reasoning that runs precisely from Dissertatio 15C to the presence of the body in 1768/1786 and extends to include several important features of the Transcendental Aesthetic of the first Critique. The final part of the paper explores some of the implications of this reading for Kant’s theory of space and its development. (shrink)

In the past few decades a remarkable change occurred in Kant scholarship: the "other" Kant has been discovered, i.e. the one of the doctrine of virtue and the anthropology. Through the rediscovery of Kant's investigations into the empirical and sensuous aspects of knowledge, our understanding of Kant's philosophy has been enriched by an important element that has allowed researchers to correct supposed deficiencies in Kant's work. In addition, further questions concerning the nature of Kant's philosophy itself (...) have been formulated: the more the "other" Kant comes to the fore, the stronger the question concerning the connection between pure philosophy and empirical investigation becomes. The aim of this study is to show that the psychological and anthropological interpretations of Kant's pure philosophy are not convincing and at the same time to illustrate some connections between his critical and anthropological investigations by means of an analysis of the theory of the faculties. Against both a "transcendental psychological" and an "anthropological" reading, the book presents Kant's theory of the facultiesas a constitutive part of his critical philosophy andshows that there is a close connection between Kant's pure philosophy and his moral aesthetic. (shrink)

This paper provides a novel reconstruction of Kant’s argument for transcendental idealism in the Transcendental Aesthetic. This reconstruction relies on two main contentions: first, that Kant accepts the then-ubiquitous view that all cognition is either from grounds or consequences, a view he props up by drawing a distinction between logical and real grounds; second, that Kant, like most of his contemporaries, holds that our representations are the most immediate grounds of our cognition. By stressing these elements, the most threatening objection (...) to Kant’s argument can be avoided, namely, the claim that Kant ignores the possibility that our representations of space and time are subjective in origin, but objective as regards their applicability. My reconstruction shows that this so-called neglected alternative objection is based on a conceptual confusion about the nature of a priori cognition. (shrink)

The problem of Kant’s Neglected Alternative is that while his Aesthetic provides an argument that space and time are empirically real – in applying to all appearances – its argument seems to fall short of the conclusion that space and time are transcendentally ideal, in not applying to any things in themselves. By considering an overlooked passage in which Kant explains why his Transcendental Deduction is ‘unavoidably necessary’, I argue that it is not solely in his Aesthetic but more so (...) in his Deduction where he intends to provide his argument for the transcendental ideality of space and time. His Deduction shows that space and time do not have a valid application to any things in themselves by arguing that the categories do have a valid application to everything in space and time, but that the categories do not have a valid application to any things in themselves. (shrink)

In the neglected 'Amphiboly of the Concepts of Reflection,' Kant introduces a new transcendental activity, Transcendental Deliberation. It aims to determine to which faculty a representation belongs and does so by examining the representation's relationships to other representations. This enterprise yields some powerful ideas. Some of the relationships studied have great interest, numerical identity in particular. Indeed, seeing Kant discuss it here, one wonders why he did not include it in the Table of Categories. Kant gives a solid argument for (...) the necessity of a sensible element in representations, something not found elsewhere in the Transcendental Analytic. (shrink)

This paper argues for a metacognitive reading of Kant’s doctrine of ‘aesthetic ideas’, according to which they enjoy the functional role of licensing a theory of art interpretation. I begin by offering a textualist reading of Kant’s doctrine of ‘aesthetic ideas’ and contest the received ‘semantic paradigm’ according to which aesthetic ideas either approximate the form or content of a rational idea. After showing the relationship between aesthetic ideas and artistic interpretation, I assess whether Kant’s theory delivers what we want (...) from a theory of artistic interpretation. I subsequently show how Schelling’s conception of artistic production and reception in the System of Transcendental Idealism (1800) draws from Kant’s doctrine of ‘aesthetic ideas’. After analyzing the relationship between Kant and Schelling’s accounts of art interpretation, I evaluate which account we ought to prefer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 447-448 [Access article in PDF] Brigitte Sassen, translator and editor. Kant's Early Critics: The Empiricist Critique of the Theoretical Philosophy. New York: Cambridge University Press, 2000. Pp. ix + 331. Cloth, $54.95. Brigitte Sassen has translated and edited an extremely useful collection of texts dating from the years 1782 to 1789. Most of the texts were written by Kant's (...) empirically minded critics, but a few are the work of defenders of the Critical philosophy. Although some have been translated before—e.g., the notorious Feder/Garve review of the first Critique that prompted Kant's vitriolic response in the Prolegomena, the original Garve review that served as the basis of the Feder/Garve review, and Jacobi's critique of Kant's transcendental idealism—the entire anthology is the first ever to be devoted exclusively to English translations of some of the first reactions to and defenses of Kant's theoretical philosophy. All of this makes for an exciting event in Kant studies.Sassen identifies three major trends in Kant criticism that began in 1782. The first is the empiricist reaction to Kant's theoretical writings. Sassen considers the year 1789 the endpoint of this trend, since critical attention, she argues, shifted around that time to the rationalist reaction to Kant's writings. The initial wave of rationalist criticism, which constitutes the second trend, lasted until 1793. The third and final trend, she says, is the more forward-looking one that eventually blossomed into the systems of post-Kantian thought.Given such a wealth of material, Sassen has focused on Kant's empiricist critics, choosing the writers and topics most representative of the overall empiricist critique of the 1780s. The selections are divided into five sections. The first consists of the Feder/Garve and Garve reviews (from 1782 and 1783, respectively). Since these were the very first reviews of the Critique of Pure Reason, they helped to formulate many of the classic objections to it. For example, not only does the standard charge of Berkeleyan idealism originate in these reviews, but Feder and Garve also express concerns about Kant's ability to distinguish between reality and illusion if nothing in sensation itself determines the understanding to combine sensations in one way as opposed to another. The second section contains discussions of the Transcendental Aesthetic, including an early version of the "neglected alternative" charge more famously made by Trendelenburg in the nineteenth century. Hermann Andreas Pistorius, one of the most sophisticated of Kant's empiricist critics, argues that Kant has not ruled out the possibility that space and time are both forms of sensibility and properties of things in themselves. The third section (especially Jacobi's famous critique) explores the relationship between appearances and things in themselves, the problem of affection, and other topics touching on the very nature of Kant's idealism. The fourth section deals with various issues involving the table of categories. For example, Kant's critics had doubts about its completeness, and they were also puzzled as to how a priori concepts could be applied to ordinary experience. The fifth and final section looks at the contrast between empiricism and purism, that is, the overall adequacy of empiricist and Kantian approaches to issues in metaphysics and epistemology. Here we find Pistorius once again writing thoughtfully about the Critical philosophy, this time in response to Carl Christian [End Page 447] Erhard Schmid, the author of a dictionary for the "easier use" of Kant's writings that went through several editions in the late 1780s and 1790s.This brief sketch of Sassen's book gives only an inadequate idea of its richness and usefulness. Her introduction, which is thorough and informative, patiently sorts out the various players in the debates of the 1780s, outlines their arguments with Kant and one another, and even describes the nature of periodical publication in late eighteenth-century Germany. The editorial apparatus includes short biographies of the participants in the debates as well as the other authors mentioned throughout the book... (shrink)

This book presents a paragraph-by-paragraph analysis of all of the major arguments and explanations in the "aesthetic" of Kant's Critique of Pure Reason. The first part of the book aims to provide a clear analysis of the meanings of the terms Kant uses to name faculties and types of representation, the second offers a thorough account of the reasoning behind the "metaphysical" and "transcendental" expositions, and the third investigates the basis for Kant's major conclusions about space, time, appearances, (...) things in themselves, and the cognitive constitution of the subject. A major goal of the work is to establish that Kant takes spatiotemporal form to be originally given through the constitution of the subject's receptive faculty, not generated through synthetic procedures of the imagination or understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Intuitionism: A Commentary on the Transcendental Aesthetic by Lorne FalkensteinManfred KuehnLorne Falkenstein. Kant’s Intuitionism: A Commentary on the Transcendental Aesthetic. Toronto, Ontario: University of Toronto Press, 1995. Pp. xxiii + 465. Cloth, $70.00.This is the most substantial book on Kant’s Transcendental Aesthetic to appear in a long time. Though the Transcendental Aesthetic takes up only thirty-five pages of the six hundred sixty-five pages of the Critique of (...) Pure Reason, it is most important. Kant’s theory of space and time belongs among his most provocative contributions to philosophy, and it is the centerpiece of his so-called transcendental idealism. As such, it has received a great deal of attention even in recent times, just not many book-length treatments.The book has three parts. The first deals with Kant’s terminology, and in particular with the distinctions between intuition and understanding, form and matter in intuition, and sensation and matter in intuition. Since Kant was far from clear in drawing these distinctions, Falkenstein’s sophisticated discussion adds considerably to a better understanding of them. Part II discusses Kant’s various Metaphysical and Transcendental Expositions. Falkenstein is for the most part sympathetic to Kant’s goals in the Metaphysical Expositions, believing that they go a long way towards establishing that space and time are intuitive or “prior to all processing” (279) and not the result of any kind of synthesis. He is more guarded in his evaluation of the Transcendental Expositions. Though they seem to establish the same conclusion as the Metaphysical Expositions, and though they even seem to strengthen these conclusions, the Transcendental Expositions start from premises that “many will not be able to grant,” like the claim that Euclidean geometry must be presupposed for “solid and enduring objects” (282). Furthermore, they also rely on results established in the Metaphysical Expositions. Thus, while the conclusions of the Metaphysical Expositions are weaker, they are more trustworthy. Falkenstein believes that “far too much attention” has been given to the subjectivity of the forms of intuition, “and far too little (in fact, none) has been focused on the weaker, but still important conclusion that space and time are orders in which sensations are originally received by us” (283). Falkenstein also calls space and time “presentational orders.” In the third part, he examines central claims, which, according to Kant, follow from his arguments, namely, (i) the subjectivity thesis, (ii) the non-spatiotemporality thesis, and (iii) the unknowability thesis. (i) is the claim that space and [End Page 326] time “do and must qualify all the objects of our sensory experience” (288); (ii) is the claim that space and time are “absolutely nothing” apart from intuition, and that things in themselves are neither spatial nor temporal; and (iii) is the claim that things in themselves are unknowable. Falkenstein argues that (i) is largely uncontroversial. It is a basic conclusion that follows from his arguments. While (ii) is controversial and might present great difficulties for Kant, it can be rescued, if it is understood simply as the “analytic claim that any order of things in themselves could not be a presentational order” (356). In this sense it is innocuous and follows from Kant’s arguments. The unknowability thesis (iii) seems to conflict both with the non-spatiotemporality thesis in the strong sense and with a number of things which Kant says about affection and the receptive constitution of the subject in intuition. However, it can also be rescued. If we understand (ii) in a mitigated sense, and if we dismiss Kant’s claims about affection and receptive constitution as vacuous, it also presents no fundamental problems. And Falkenstein argues that we should do just that. The claims about affinity and our receptive constitution do not do any work. They “translate Kant’s Critical Idealism into a naive realist paradigm” and are thus “needlessly confusing” (357).Falkenstein’s book offers a carefully argued and sophisticated account of the Aesthetic. No one concerned with this aspect of Kant’s theoretical philosophy (or indeed any other aspect of it) can afford to ignore it. The book should become an indispensable part of graduate seminars on Kant’s first... (shrink)

ABSTRACTKant is concerned to give meaning, depth and veracity to the notion of the subject, which he does on transcendental grounds, and also to shift it beyond purely cognitivist formulations. He opens the subject up to other dimensions of the world that he or she establishes – not only the cognitive, but also the political – ethical and the aesthetic. He does this by constructing and denoting different faculties and their principles that ought to be employed in the distinct domains (...) – the understanding, reason in its pure and practical orientations, and the imagination. Whilst practical reason is Kant’s main focus, the imagination is Kant’s unfinished business and is not limited to the issue of aesthetics. It is both reason’s “other”, and “an indispensable dimension of the human soul”, equal in power and capacity to the other faculties. (shrink)

This volume explores Husserl's theory of sensibility and his conceptualization of spatial and temporal constitution. The author maps the linkages between Husserl's 'transcendental aesthetic', the theory of pure experience in empirio-criticism, as well as Immanuel Kant's transcendental philosophy. The core argument in this analysis centers on the relationship between spatiality and temporality in Husserl's philosophy. The study interrogates Husserl's understanding of the relationship between spatiality and temporality in terms of stratifications, analogies and parallelisms. It incorporates a discussion of the (...) potentialities and limitations of such an understanding. It concludes that such limits can be overcome by adopting an understanding of spatiality and temporality as interwoven moments of sensible experience-a 'spatio-temporal intertwining'. This 'intertwining' is made explicit in a thorough inquiry into three central topics in the phenomenological analysis of sensible experience: spatio-temporal individuation, perspectival givenness and bodily experience. The book shows how such an inquiry can form the bedrock of a dynamic and relational understanding of experience as a whole. (shrink)

This paper is concerned with what I believe is the epistemological mission of Kant’s doctrine of taste. The third Critique inherits two problems from the first. The evident one is that the categorial constitution of nature must be complemented with the notion of purposiveness. The less evident one is that the transcendental theory of experience needs a common sense in order to secure a common objectivity. The judgment of taste, conceived of by Kant as a ‘cognition in general’ not restricted (...) to either the particular subject or the particular object, offers a solution. It turns out to be a judgment that cannot be made without assuming the purposiveness of nature and the uniformity of the cognizing subjects. (shrink)

In Difference and Repetition, Deleuze defines his transcendental empiricism as an “apodictic” aesthetics, by which he means a science not simply of the sensible, but of the being of the sensible. Yet, to the extent that the sensibility which is at stake in the Transcendental Aesthetics is a sensibility without sensation, Kantian aesthetics is not apodictic. Sensation is the only contact we have with the being of the sensible, namely that which is exterior with respect to the interior of representation. (...) But transcendental idealism is a subjectivism. Indeed, if one connects what Heidegger considers to be the greatest achievement of Kant’s Copernican revolution with the achievement that Kant held highest in this regard, then the two main precepts of Kant’s subjective phenomenalism fall into place. The first is that we cannot feel outside of us – this amounts to non-sensuous sensibility as transcendental idealism; the second is that we can feel inside – this amounts to non-sensuous sensibility as empirical realism. The aim of this article is to show how Kant's treatment of sensation prevented him from refuting Berkeley’s idealism. (shrink)

In the Critique of Pure Reason Kant appears to make incompatible claims regarding the unitary natures of what he takes to be our a priori representations of space and time. I argue that these representations are unitary independently of all synthesis and explain how this avoids problems encountered by other positions regarding the Transcendental Deduction and its relation to the Transcendental Aesthetic in that work. Central is the claim that these representations (1) contain, when characterized as intuitions and considered as (...) prior to any affections of sensibility, only an infinitude of merely possible finite spatial and temporal representations, and (2) are representations that are merely transcendental grounds for the possibilities for receiving or generating finite representations in sensibility that are determined (immediately, in the case of reception) by means of syntheses that accord with the categories. (shrink)

In this dissertation it is argued that Kant's critique of Leibniz as found in the amphiboly chapter of the Critique of Pure Reason derives from his theory of reflection. It is argued further that this unfocused and fragmentary amphiboly chapter, which contains the Leibniz-critique, can be seen to have a previously unsuspected unity to it. The keys to perceiving this unity are the appendix's purpose, structure and mosaic composition. ;The primary purpose of the appendix is not to present (...) class='Hi'>Kant's criticisms of Leibniz as is commonly thought, but rather it is to sketch his theory of reflection. Not only is this attested to by Kant himself , it is also made evident by the structure of the appendix. Structurally, the appendix is built around an introduction to the operation of transcendental reflection and a discussion of the concepts of reflection, this being the structure of each of the first three sections. By means of each pair of concepts of reflection Kant claims to summarize the basic tenets and origin of Leibniz's philosophy. Kant also claims that Leibnizls whole philosophy rests on one seminal error, which will be shown to be the omission of the operation of transcendental reflection. To be sure, Kant claims Leibniz made a number of other errors, but these various errors all derive from the omission of transcendental reflection. ;While this omission can be used to explain the other more well-known epistemological mistakes with which Kant charges Leibniz, it is undeniable that there are certain textual difficulties with the appendix. These can be dealt with by the hypothesis that the different sections were composed at different times and than pieced together without detailed revisions. If such a mosaic composition is granted, then some allowance can be made for the noticeable incongruities between these sections and for occasional problematic passages. This does not, however, warrant the claim that the appendix is not properly placed or unimportant. On the contrary, supplemented by clearer statements of Kant's theory of reflection and of his Leibniz-critique, the following interpretation shows that the appendix is properly placed and integral to the primary aims of the Critique of Pure Reason. (shrink)

My plan in this article is to begin by raising the question of the point of judgements of beauty, and then to examine Kant's account of beauty in the third Critique from the perspective opened up by that question. Having raised the question of the point, I will argue, first, that there is an implied answer to it in Kant's text, and, second, that the answer is ultimately unsatisfying in that it falsely assumes that there is a ‘need’, (...) or ‘task’, or ‘purpose’, that we all necessarily share, to conceptualize all that encounters us in our experience, and fit it into one unified and comprehensive system. It is only against this assumption of our transcendental cognitive interest that Kant can so much as seem to have a real story to tell about where the value that we claim for things in calling them ‘beautiful’ derives from. This, in effect, means that to the extent that Kant offers us any answer at all to the question of the point of judgements of beauty, that answer testifies to his general neglect of the question of the point of judgements. And my purpose is to draw attention to that neglect, and to begin to assess its significance for Kant's transcendental project in general and for his conception of beauty in particular. (shrink)

Kant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring (...) in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Günter Figal, Tom Huhn, Hans-Peter Krüger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi. (shrink)

This anthology consists of 20 chapters, many of which feature engagements between Kant and various Asian philosophers. Key themes include the nature of human intuition (not only as theoretical—pure, sensible, and possibly intellectual—but also as relevant to Kant’s practical philosophy, aesthetics, the sublime, and even mysticism), the status of Kant’s idealism/realism, and Kant’s notion of an object. Roughly half of the chapters take a stance on the recent conceptualism/non-conceptualism debate. The chapters are organized into four parts, each with five chapters. (...) Part I explores themes relating primarily to the early sections of Kant’s first Critique: three chapters focus mainly on Kant’s theory of the "forms of intuition" and/or "formal intuition", especially as illustrated by geometry, while two examine the broader role of intuition in transcendental idealism. Part II continues to examine themes from the Aesthetic but shifts the main focus to the Transcendental Analytic, where the key question challenging interpreters is to determine whether intuition (via sensibility) is ever capable of operating independently from conception (via understanding); each contributor offers a defense of either the conceptualist or the non-conceptualist readings of Kant’s text. Part III includes three chapters that explore the relevance of intuition to Kant’s theory of the sublime, followed by two that examine challenges that Asian philosophers have raised against Kant’s theory of intuition, particularly as it relates to our experience of the supersensible. Finally, Part IV concludes the book with five chapters that explore a range of resonances between Kant and various Asian philosophers and philosophical ideas. (shrink)

Dieter Henrich’s reconstruction of the transcendental deduction in "Identität und Objektivität" has been criticised (probably unfairly) by Guyer and others for assuming that we have a priori Cartesian certainty about our own continuing existence through time. In his later article "The Identity of the Subject in the Transcendental Deduction", Henrich addresses this criticism and proposes a new, again entirely original argument for a reconstruction. I attempt to elucidate this argument with reference to Evans’s theory of the Generality Constraint and (...) a remark of Strawson’s in Individuals. Its logical form of a sentence-operator requires that the "I think" be capable of accompanying every thought that we can form. Henrich seems to rely on this point, claiming in addition that we must be aware of this property of the "I think". I object that we cannot assume everyone to be capable of doing the philosophy of her own situation. (shrink)

Author demonstrates that Russell’s conception of space and time diverges from Kant’s transcendental aesthetics and leans towards logical and mathematical topology. Russell’s approach is grounded in analytical rather than synthetic judgments, contrasting with Kant’s perspective. The British philosopher develops a subjective-psychological model of space and time that complements the logical-mathematical model, serving as the foundation for human experience and cognition. This Russellian model considers the psychological aspects of perceptual and tactile space and time, highlighting their intersection in human perception, which (...) facilitates the experience. It represents a form of «return» to Kant’s subjective theory, albeit on psychological rather than transcendental principles. It is argued that Russell incorporates physical topology into subjective-psychological space and time because he views things as physical objects rather than a complex of sensory associations. This incorporation is indicative of Russell's commitment to neorealism. (shrink)

This dissertation engages critically with the metaphysical implications of the respective transcendentalisms of Husserl, Deleuze, and Kant in an attempt to disclose their largely untapped resources for a renewed consideration of the ability of science to grasp reality as it is in-itself. Chapter 1 examines the metaphysical implications of Husserl’s critique of natural scientific objectivity in his later transcendental philosophy in connection to his early formulations of phenomenological objectivity around the axis of the distinction between metaphysics as the science of (...) real Being and formal ontology as the science of Being in the most universal sense. I argue that Husserl’s phenomenological metaphysics constitutes a framework in which the ideal Being of the transcendental dimension of experience operates as the condition for the possibility of natural scientific objectivity. Chapter 2 scrutinizes Deleuze’s characterization of intensity as a transcendental concept rather than a scientific one against the background of his metaphysics of difference and his critique of the shortcomings of Kant’s transcendental idealism for addressing the transcendental conditions for the genesis of real experience. Through a reading of Deleuze’s metaphysics of difference and intensity in connection to his confinement of the creative productivity of scientific thought to a plane of reference, I argue that the creativity apropos to the scientific engagement with material reality necessitates that such creativity is conditioned by the same transcendental considerations operative in a metaphysics of difference at a broad scale. Against the backdrop of Husserl’s and Deleuze’s respective criticisms of the inadequacy of Kant’s transcendental idealism for articulating the material component of experience, Chapter 3 studies Kant’s later iv conception of ether as the simultaneously empirical and transcendental condition for the possibility and unity of experience. Through an examination of Kant’s renewed understanding of materiality as the necessary and sufficient condition for scientific objectivity in connection with the problematic objectivity of the transcendental ideas created by pure reason in Kant’s Critical philosophy, I suggest that Kant’s later articulation of materiality on transcendental grounds simultaneously addresses the objectivity and the creativity pertinent to the encounter of scientific Thought with material/physical reality. (shrink)

The article considers I.Kant's transcendental philosophy as a possible basis for further research in the field of artificial intelligence. It is demonstrated that the main criticism of transcendentalism associated with the exclusion of ontology "in its pure form" in I.Kant's philosophy is irrelevant if artificial intelligence is understood by "pure reason", since one of the features of the latter is the absence of an "ontological assumption". A number of I.Kant's propositions quite adequately describe the basic mechanisms of (...) artificial intelligence, and at the same time "pure reason" is considered in I.Kant's works not in isolation, but in connection with human consciousness as a whole, which makes his philosophy a productive basis for developments in the field of artificial consciousness. (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 a series of works published over the last thirty years, Rudolf Makkreel accomplished what can be called a hermeneutical rehabilitation of Kant’s Critique of Judgment. Such a rehabilitation has been formulated in explicit opposition to the negative hermeneutical image of Kant’s aesthetics which originated in the work of Hans-Georg Gadamer, and according to which the subjectivization of aesthetics perpetrated by Kant reduced aesthetic judgments to a mere communication of feelings, sanctioning thereby their hermeneutical irrelevance. In this essay I (...) do not intend to evaluate the legitimacy of Makkreel’s considerations about the hermeneutical importance of Kant’s Third Critique. Rather, I aim to question the pertinence of those considerations for Gadamer’s criticism of Kant, specifically in relation to the notion of sensus communis, which plays a central role both in Gadamer’s and Makkreel’s analyses. (shrink)

The article considers possibility of applying the concept of descriptive metaphysics to the project of Kant's transcendental philosophy. According to analytical philosophy, descriptive metaphysics is the description of structures of thinking about the world. The basis for describing acts of thinking about the world from Kant's point of view is the description of forms of intuition. Transcendental (descriptive) analysis of understanding must be preceded by transcendental (descriptive) aesthetics as an investigation of pure intuitions of space and time. Phenomenon (...) of time is considered as a condition for determining the concepts "judgment", "category of understanding", "pure understanding" and "object of knowledge". (shrink)

This paper disputes Habermas' accounts of labor as monological expressivist-aesthetic or instrumental action. It shows how tensions in Kant's account of experience, as developed by Fichte and Hegel, enable Marx to formulate two distinct intersubjective models of labor, teleological and structural. Marx elaborates the former in the 1844 Manuscripts, and the latter in the German Ideology. He combines the two models the two models in Capital. Each model has normative implications for theories of intersubjectivity and democracy.

Kant's concept of time forms an integral part of his mature system of transcendental idealism. That system is a critical response to his predecessors' treatments of time and related issues. Hence, a proper assessment of Kant's understanding of time requires an elaboration of its distinctive historical and systematic matrix. The aim of the dissertation is to examine critically Kant's mature conception of time in light of both the historical factors that shaped it and the role it plays (...) in Kant's doctrine of transcendental idealism. ;The most important discussion shaping Kant's thought on time is the Leibniz-Clarke Correspondence . The relevance of the Correspondence to Kant's mature view of time has, however, been overlooked by many commentators. The reason for this neglect can be traced in part to a misinterpretation of the question underlying the first antinomy in Kant's Critique of Pure Reason . According to that misinterpretation, the first antinomy revolves around the question whether time itself is finite or infinite. The correction of this mistaken, but common interpretation paves the way for a main task of this dissertation, namely, to reconstruct with historical and systematic accuracy the relation between the issue in the Correspondence underlying the first antinomy and Kant's concept of time. ;The dissertation is divided into four chapters. Chapter One examines the particular issue discussed in the Correspondence which had the greatest impact on Kant's notion of time, namely, the question whether time is absolute, as Clarke and the Newtonians held, or whether it is relational, as Leibniz held. Chapter Two explores how the concept of time in Kant's "Inaugural Dissertation" is influenced by this dispute between Leibniz and Clarke. Chapter Three considers the concept of time and its role in Kant's fully developed transcendental idealism, as articulated in the Critique of Pure Reason. Particular attention is paid to the "Transcendental Aesthetic" and the first antinomy. Finally, Chapter Four critically examines a central assumption of Kant's concept of time that he shares with his predecessors: the infinity of time. It is argued that this assumption overlooks the metaphysical significance of the "moving" present. (shrink)

Resumo: É comum a literatura secundária reduzir o ensaio kantiano Do Primeiro Princípio da Diferença das Regiões no Espaço a um ataque à concepção leibniziana de espaço relativo em defesa da concepção newtoniana de espaço absoluto. Até que ponto, porém, essa imagem não é obstáculo para compreender o Ensaio como um todo e o alcance de sua reflexão? A pergunta se impõe, porque não é claro o que o Ensaio pretende provar, uma vez que propõe quatro diferentes formulações de uma (...) prova que denomina evidente. Tampouco é claro, por isso mesmo, como pretende conduzir a demonstração segundo o método que denomina a posteriori. Para compreender o Ensaio, é necessário entender qual é o objetivo último da prova e o método de demonstração. Dessa investigação decorrem alguns pontos, de outro modo, insuspeitos: (1) Kant critica não apenas a concepção de espaço leibniziana, mas também princípios adotados pelos leibnizianos, em particular, o princípio de determinação completa como princípio de individuação para as coisas em geral; (2) o Ensaio propõe uma concepção inaudita de espaço absoluto como: conceito, radicado no corpo humano e primeiro fundamento das relações espaciais e de sua cognição; (3) assim entendido, o Ensaio kantiano mostra-se, do ponto de vista genético, estratégico para tornar compreensível a concepção, introduzida pela Estética Transcendental da Crítica da Razão Pura, de aparecimento (Erscheinung) como objeto indeterminado da intuição empírica. Palavras-chave: Kant; Leibniz; Baumgarten; Espaço; Princípio de determinação completa. Transcendental Aesthetic and the 1768 Essay: Space and Complete Determination Abstract: It is common for secondary literature to reduce Kant's 1768 essay On the First Ground of the Difference of Regions in Space to an attack on the Leibnizian conception of relative space in defense of the Newtonian conception of absolute space. To what extent, however, is this picture an obstacle to understanding the essay as a whole and the scope of its reflection? The question arises because it is not clear what the essay intends to prove, since it proposes four different formulations of a proof that it calls evident. Nor is it clear, therefore, how Kant’s essay intends to conduct the demonstration according to its a posteriori method. To understand Kant's argument, it is necessary to determine the ultimate objective of his proof and his method of demonstration. Some otherwise unsuspected points arise from this investigation: (1) Kant criticizes not only the conception of relative space but also the Leibnizian principle of thoroughgoing determination as a principle of individuation for things in general; (2) Kant proposes an unprecedented conception of absolute space as a fundamental concept, rooted in the human body, as the first ground of spatial relations and its cognition; (3) the Kant’s essay appears, from a genetic point of view, strategic to make comprehensible the conception introduced by the Transcendental Aesthetics of the Critique of Pure Reason, of appearance as an indeterminate object of empirical intuition. Keywords: Kant; Leibniz; Baumgarten; Space; Principle of thoroughgoing determination. Estética transcendental y el Ensayo de 1768: espacio y determinación completa Resumen: Es común en la literatura secundaria reducir el ensayo kantiano Del Primer Fundamento de la Diferencia de las Regiones del Espacio a un ataque a la concepción leibniziana de espacio relativo en defensa de la concepción newtoniana de espacio absoluto ¿Hasta qué punto, pero, esa imagen no es obstáculo para la comprensión del Ensayo en general y el alcance de su reflexión? La pregunta se impone, porque no es claro lo que el Ensayo pretende comprobar, una vez que propone cuatro diferentes formulaciones de una prueba que denomina evidente. Tampoco es nítido, por eso incluso, cómo pretende conducir la demostración, según el método que denomina a posteriori. Para comprender el Ensayo, es necesario entender cuál es el objetivo último de la prueba y el método de demostración. De esa investigación decurren algunos puntos, de otro modo, insospechados: (1) Kant critica no solamente la concepción de espacio leibniziana, sino también los principios adoptados por los leibnizianos, en particular el principio de determinación completa como: principio de individuación para las cosas en general; (2) el Ensayo propone una concepción inaudita de espacio absoluto como: concepto, radicado en el cuerpo humano y el primer fundamento de las relaciones espaciales y de su cognición; (3) de ese modo, el Ensayo kantiano se muestra, del punto de vista genético, estratégico para que se vuelva comprensible la concepción, introducida por la Estética Transcendental de la Crítica de la Razón Pura, de aparecimiento (Erscheinung) como objeto indeterminado de la intuición empírica. Palabras-clave: Kant; Leibniz; Baumgarten; Espacio; Principio de determinación completa. Data de registro: 30/07/2024 Data de aceite: 30/10/2024. (shrink)

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’, (...) entirely independent of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance. (shrink)

There is a second way in which the question is capable of a twofold interpretation. One might begin with a priori concepts which have no empirical reference and ask how they can apply to objects. Or, one might deny the dichotomy between the a priori and experience and inquire how synthetic a priori judgments about experience can be accounted for. Initially Kant regarded the problem of schematism in the former way as that of bringing together two divorced realms. From this (...) standpoint it is assumed: a) that a priori concepts are generated by mind independently of experience, and b) that objects are given in intuition However, Kant came to see that if the problem is stated in this way it is insoluble. Only a pre-established harmony would guarantee that a priori concepts apply to objects. He attempted to break down this dualism between intuition and thought, between objects and concepts by showing that the knowledge of objects requires both intuition and thought. Unfortunately the original statement of the problem recurs alongside of the revised formulation at many places in the Critique. A close study of the development of Kant's thought makes it sufficiently clear that it is the latter statement of the problem which alone represents his mature insight and is consonant with his transcendental method of proof. (shrink)

Among the extensive literature on the first Critique, very few commentators offer a thorough analysis of Kant's conception of inner sense. This is quite surprising since the notion is central to Kant's theoretical philosophy, and it is very difficult to provide a consistent interpretation of this notion. In this paper, I first summarize Kant's claims about inner sense in the Transcendental Aesthetic and show why existing interpretations have been unable to dissolve the tensions arising from the conjunction (...) of these claims. Secondly, I present my own reconstruction of Kant's model of inner sense, relying essentially on Kantian considerations found in the B-version of the Transcendental Deduction. My main idea is that inner sense, for Kant, is a passive faculty that gets affected by the understanding performing its figurative synthesis on material given in outer sense. In the remainder of the paper, I highlight a few consequences of my interpretation and outline ways to deal with some objections. (shrink)

In Kant’s Aesthetic Epistemology, Fiona Hughes argues that aesthetic judgment is exemplary of the subjective activity of judgment, the harmony of imagination and understanding, necessary for any cognition in general . Unlike ordinary empirical judgment, aesthetic judgment phenomenologically reveals to us the synthesizing activity of the power of judgment that remains concealed by the cognitive aim of ordinary empirical judgments . According to Hughes, aesthetic judgment is exemplary for cognition because, in aesthetic experience, the fit between mind and world, or (...) how a subject has a point of access to an external world of objects, is not merely inferred but experienced . From here follows Hughes’ provocative claim that Kant’s account of aesthetic judgment in the third Critique completes the general transcendental project of establishing the possibility of a priori synthetic judgments . Thus, in contrast to the dominant “impositionalist” interpretation of Kant’s critical project, according to which our knowledge ultimately amounts to the content of our own mind, Hughes places aesthetic judgment at the center of Kant’s. (shrink)

I argue for a novel, non-subjectivist interpretation of Kant’s transcendental idealism. Kant’s idealism is often interpreted as specifying how we must experience objects or how objects must appear to us. I argue to the contrary by appealing to Kant’s Transcendental Deduction. Kant’s Deduction is the proof that the categories are not merely subjectively necessary conditions we need for our cognition, but objectively valid conditions necessary for objects to be appearances. My interpretation centres on two claims. First, Kant’s method of self-knowledge (...) consists in his determining what makes our cognitive faculty finite in contrast to God’s infinite cognitive faculty. Second, Kant’s limitation of our knowledge to appearances consists in his developing an account according to which appearances and our finite cognitive faculty are conceived of in terms of each other and in contrast to noumena in the positive sense and God’s infinite cognitive faculty. (shrink)

In this paper, I use Kant’s theory of the aesthetic power of judgment to solve the problem of nonmoral value choice, which Kant himself did not deal with, and prove that my reconstruction can fit into Kant’s philosophy and function as a harmonization and unification of morality and happiness. First, I revisit Kant’s early view of intellectualized happiness to establish the feasibility of this project in Kant’s ethics. Second, by analogy with the contemplative judgment of taste and practical artistic creation, (...) I argue for the universal communicability of pleasure in value choice from the transcendental perspective, on the one hand, and explain the various choices by individuals in reality from the empirical perspective, on the other. Ultimately, I connect the pursuit of intellectual happiness with the fulfillment of the imperfect duty of one’s own perfection, through which a transition from nature to freedom can be accomplished in Kant’s philosophy. (shrink)

In what follows, I will detail Kant's criticism of the Leibnizian conception of mind as it is presented in key chapters of the Kritik der reinen Vernunft . Approaching Kant with such a focus goes against the current predominant in contemporary Kant scholarship. Kant's engagement with Leibniz in the KrV is often taken as limited to the refutation of the latter's relational theory of space and time in the Aesthetic and the general criticism presented in the Amphiboly chapter, (...) inasmuch as Kant is taken to be primarily concerned with addressing empiricist opponents (a focus particularly evident in the English-language commentary). In addition, the argument against rational psychology in the Paralogisms is taken as challenging an essentially Cartesian position. The first two chapters of this project will introduce the Leibnizian conception of the mind, contrasting it with its Cartesian predecessor, and consider the career of the Leibnizian conception in the schools of 18th century Germany. As I will show, it was the Leibnizian conception of mind that held sway, despite scattered challenges, and that would have primarily been on Kant's mind when he turned to consider the extravagant claims of metaphysical psychology. In chapters 3-5, I turn to Kant's criticism of this conception as presented in the Transcendental Analytic of the KrV . There, I show how the subjective and objective deductions, in addition to the Amphiboly chapter, all address the Leibnizian claim of a parallelism between the investigations of the mental and the physical. In chapters 6-8, I consider the case against the Leibnizian conception of mind as presented in the Transcendental Dialectic, claiming that the doctrine of transcendental illusion plays an important (though largely ignored) role in explaining the grounds of the Leibnizian conception as it is transmitted in the rational psychology of Wolff, Baumgarten, Crusius, and Kant himself in the 1770's. Moreover, I argue that the limits Kant sets to empirical psychology are consistent with his criticism of the Leibnizian conception of mind, and, significantly, are motivated by deeper practical concerns. (shrink)

Gabriele Gava's new monograph makes sense of Kant's obscure claim that the Critique of Pure Reason is a "doctrine of method" for the science of metaphysics. Gava does this by offering a reading of the whole Critique as aiming to show that metaphysics can become an "architectonic" science. The book shows impressive range; it covers diverse topics throughout the Aesthetic, Analytic, Dialectic, and Method, brings out appealing parallels between them, and relates them to the task of exhibiting metaphysic's architectonic (...) unity. But, I argue, it stops short of a full explanation of how the Critique is meant to outline or anticipate the whole of metaphysics in advance of actually completing that science. (shrink)

This article explores the surprisingly decisive role that Kant’s “incongruity theory” of laughter plays in his aesthetic and broader critical philosophy. First, laughter constitutes a highly specific form of aesthetic judgment in Kant. Laughter involves a discordant relation between the cognitive faculties characteristic of the sublime, but this relation obtains between the understanding and the imagination, the two faculties at play in judgments of taste on the beautiful. Second, laughter is the transcendental condition of possibility for both the beautiful and (...) the sublime. While most commentators dismiss laughter as an afterthought of Kant’s aesthetics, laughter in fact constitutes the most basic aesthetic judgment in Kant. Third, an account of aesthetic judgment that begins with laughter transforms how we understand Kant’s argument that judgment unites nature and freedom. Namely, it reveals how an empirical world at odds with the subject’s purposes can nevertheless advance the subject’s rational vocation to think and act beyond the empirical. I conclude by arguing that Kantian critical philosophy is itself a philosophy of laughter. (shrink)

Those familiar with the Critique of Pure Reason will not at all be surprised that Thomas C. Vinci has found it fitting to dedicate an entire book to the Transcendental Deduction of the Categories, a chapter of the CPR that is as important to Kant’s argument for Transcendental Idealism as it is difficult to decipher. The purpose of that section is to establish the objective validity of the categories—to show, that is, that the pure concepts of the understanding apply to (...) all objects of human experience. While the general goal of the TD may be easy enough to state, the argument strategy that Kant uses to establish the objective validity of the categories is hardly easy to understand.Vinci focuses on the.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cognition and Practice: Li Zehou's Philosophical Aesthetics by Rafal BankaJana S. Rošker (bio)Cognition and Practice: Li Zehou's Philosophical Aesthetics. By Rafal Banka. Albany, New York: SUNY, 2022. Pp. vii+ 230. Hardcover $95,00, isbn 978-1-4384-8923-4. In his book Cognition and Practice: Li Zehou's Philosophical Aesthetics, Rafal Banka delves into the cognitive philosophy of Li Zehou, one of the most significant and influential Chinese philosophers of our time. Banka not (...) only provides a deeper understanding of Li's work, but he also places his studies on beauty and aesthetic experience in close proximity to current international research in philosophical aesthetics that places great importance on the embodiment and embeddedness of the subject. By delving into Banka's analysis of the cognitive dimensions of Li Zehou's aesthetics, readers can gain a deeper understanding of how this philosopher approaches the intersection of aesthetics and cognition. Through Banka's interpretation, Li's specific view on the intricate relationship between sensory perception and mental processes is highlighted, offering readers the potential for a more nuanced conception of his philosophical perspective. Banka's contribution to our understanding of Li's theories of cognition is deeply intertwined with the methodological framework and theoretical approach used in his work. The former is based upon an analytical perspective that enables him to identify key themes and concepts in Li's cognition theory, as well as to critically evaluate the strengths and weaknesses of his approach. By employing this framework, Banka provides a comprehensive and nuanced analysis of Li's cognitive dimensions that is grounded in rigorous examination. In addition to the methodological framework, the comprehensive theoretical approach that Banka applies in his study is also integral to understanding Li Zehou's contribution to the theory of perception on an international level. The book is divided into three distinct parts, each of which explores a different aspect of Li's philosophy. In the first part, Banka examines Li's main sources of inspiration, specifically the philosophers and philosophies that have significantly influenced and contributed to his own work. This section primarily focuses on classical Confucianism, Marxist historical materialism, and Li's unique reinterpretations of Immanuel Kant's philosophies, particularly those presented in his second and third critiques. [End Page 1]In the first three chapters that constitute this first part, Banka offers a clear and comprehensive analysis of how Li Zehou has viewed Kant's apriorism through the lens of Confucianism and integrated it with Marxist materialist foundations, revealing the coherence with his theory of anthropological ontology. By highlighting the interconnectedness of these diverse influences, Banka illuminates the unique synthesis of ideas that form the foundation of Li's philosophy. Through his detailed analysis, Banka shows how Li Zehou managed to create a synthesis between the dynamic elements of historical materialism on the one hand, and Kant's transcendentalism on the other. In Li's system, the concepts of the empirical and the transcendental are interacting in a dynamic, correlative and mutually complementary way. They are both parts of a processual philosophy in which movement is always followed by a standstill. In such a worldview, they always appear as essentially interrelated and interdependent realms of life. Banka provides a comprehensive explanation of the theoretical foundations that underpin the interactive and complementary nature of these two systems. This has culminated in the development of Li's groundbreaking new theory on the transformation of the empirical into the transcendental. In the second part of the book, the author delves into Li's own philosophical system, specifically focusing on his concepts of "subjectality" and beauty. These concepts are not axiologically theorized but instead arise from subjective interactions between human beings and the external world. Through a detailed and logically consistent analysis, the author demonstrates how Li's aesthetics is compatible with contemporary experience-oriented theories that are redefining the discipline on an international level. In chapters 4 and 5, the much-discussed concept of subjectality is viewed from a highly productive perspective, starting from the very center of the notion itself, where a subject actively interacts with the external reality, which in turn shapes its inwardness. The author convincingly demonstrates... (shrink)

This paper considers how Descartes's and Hume's sceptical challenges were appropriated by Christian Wolff and Johann Nicolaus Tetens specifically in the context of projects related to Kant's in the transcendental deduction. Wolff introduces Descartes's dream hypothesis as an obstacle to his account of the truth of propositions, or logical truth, which he identifies with the 'possibility' of empirical concepts. Tetens explicitly takes Hume's account of our idea of causality to be a challenge to the `reality' of transcendent concepts in (...) general, a challenge he addresses by locating the source of this concept in the understanding rather than in the imagination. After considering this background, I turn to Kant's deployment of apparently traditional sceptical concerns at the outset of the transcendental deduction and argue that he does not there intend to introduce a global sceptical challenge and, accordingly, that there are historical grounds for doubting that the transcendental deduction is intended as an anti-sceptical argument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.3 (2002) 406-408 [Access article in PDF] Book Review Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment Henry E. Allison. Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. New York: Cambridge University Press, 2001. Pp. xvi + 424. Cloth, $69.95. Paper, $24.95. In his new book, Henry Allison provides a study of the (...) two introductions and the first half of Kant's Critique of the Power of Judgment to stand alongside his previous books on Kant's theoretical and practical philosophy, Kant's Transcendental Idealism (1983) and Kant's Theory of Freedom (1990). Those books showed Allison's commitment to the unity and coherence of Kant's thought, and it is the aim of the present book to demonstrate the connections between the two halves of Kant's third Critique, that is, Kant's aesthetics and his teleology, as well as to demonstrate the connections between Kant's aesthetic theory and both his theoretical and his practical philosophy. In order to defend the unity of the third Critique, Allison defends Kant's characterization of the judgment of taste as a species of reflective judgment, and argues that our judgments of beauty depend upon the principle of the purposiveness of nature that is also the basis for judgments about the systematicity of natural laws. To display the connections between Kant's aesthetics and his theoretical philosophy, [End Page 406] Allison uses the first Critique's distinction between the quid facti and the quid juris to explicate the relation between Kant's "analytic of the beautiful" and his "deduction of pure aesthetic judgment"; he then defends the success of Kant's strategy for the deduction of judgments of taste by grounding them in the general conditions of the possibility of cognition. Finally, in order to explain Kant's connection between aesthetics and morality, Allison interprets Kant's theory of the "intellectual interest" in the beautiful as evidence of nature's amenability to our achievement of the ends of morality, an assurance that we need not be motivated in the first place to act as morality requires, but rather to prevent our motivation to be moral from being undermined by our own predisposition to radical evil. He then defends Kant's thesis that all beauty, and thus natural as well as artistic beauty, can be seen as an expression of aesthetic ideas, and specifically of the morally requisite idea of nature's amenability to the achievement of our moral objectives.There is much in this approach with which I can agree, and some with which I cannot. I agree that there is much in Kant's general conception of reflective judgment that illuminates his conception of judgments of beauty, yet I do not think that the principle of taste is analogous to the principle of the purposiveness of nature, because it does not play a role in making particular judgments of taste analogous to the role the latter principle plays in the conduct of scientific inquiry. My own interpretation of Kant's model for making particular judgments of taste is not fundamentally different from that which Allison offers under the rubric of the quid facti, although we disagree about which of the four "moments" of the "Analytic of the Beautiful" are part of the meaning of a judgment of beauty and which function more as grounds for making judgments with such a meaning. But I am not persuaded by Allison's defense of Kant's deduction of pure judgments of taste, that is, his answer to the quid juris, from the objections that I and others have raised to it. Finally, although there are large areas of agreement between our interpretations of Kant's theory of intellectual interest in the beautiful, the claim that aesthetic experience is evidence of nature's amenability to the realization of the ends that we adopt in the name of morality is only part of the story that Kant develops in the Critique of Aesthetic... (shrink)

While not paramount among Kant scholars, issues in the philosophy of mathematics have maintained a position of importance in writings about Kant’s philosophy, and recent years have witnessed a rejuvenation of interest and real progress in interpreting his views on the nature of mathematics. My hope here is to contribute to this recent progress by expanding upon the general tacks taken by Jaakko Hintikka concerning Kant’s writings on geometry.Let me begin by making a vile suggestion: Kant did not have a (...) philosophy of mathematics. When Kant was writing about mathematics, essentially he was reporting the views of others. The texts provide sufficient evidence to make this suggestion plausible. Generally, when Kant writes about mathematics in his mature works, he does so in order to illustrate or argue for a philosophical point. There are important references to mathematical method in the preface to the 1787 edition of Critique of Pure Reason; however, Kant’s purpose is to describe those basic features of a method that he intended to incorporate in his theory of philosophical method: ‘our new method of thought, namely, that we can know a priori of things only what we ourselves put into them.’ Indeed, Kant makes it clear in this preface that he thought there to be no extant problems to be solved in mathematical methodology; such was the state of the science, he thought. It was for this reason that Kant felt some confidence in borrowing from this method to improve the state of metaphysics; it is also for this reason that one should not expect to find Kant engaging in basic research in mathematical methodology. Similarly, the material on syntheticity added to the second edition Introduction to Critique of Pure Reason occurs in the context of a discussion of the syntheticity of metaphysical principles; that the propositions of both disciplines are synthetic a priori lends credence to the extrapolation of some features from the mathematical method for use in developing a metaphysics. Many writers find a philosophy of mathematics in the ‘Transcendental Aesthetic’; it is clear, however, that in this section his concern is to support his theory of the nature of space, time, and sensation. What is said about geometry, for example, is restricted to those of its features relevant to the subjectivity of space. The other major discussion of mathematics and its method is found in the section, ‘Doctrine of Method.’ Here we find Kant’s fullest account of the mathematical method and of constructions. It must be borne in mind, though, that his purpose is to argue against views that the proper methods of mathematics and metaphysics are identical, that the disciplines differ in subject matter alone. The result of the discussion is not a theory of mathematical method, but an account of the method proper to the philosopher.2 Kant simply is mentioning certain features of mathematical method sufficient to support the claim that the philosopher cannot incorporate it lock, stock, and barrel.’ In short, we do not find a systematic theory of mathematics or its method described by Kant in the first Critique, nor do we find discussions of mathematics other than in contexts where philosophical positions are being developed. This holds for Kant’s other works, too. (shrink)

Konstantin Pollok's ambitious aim in this book is to formulate a unified theory of normativity that runs throughout Kant's three Critiques. Specifically, he argues that, on Kant's view, synthetic a priori principles structure "the space of reason" and determine the validity of our judgments. Such principles are constitutive of our epistemological, ethical, and aesthetic practices by setting the conditions for what makes a meaningful judgment in those areas, but they are also normative in that the particular judgments we (...) make can be right or wrong depending on whether we successfully apply the principles. For example, to be making knowledge claims, we must use the pure concepts of the understanding to interpret our... (shrink)

This is a monumental study of the transcendental deduction—that argument of legendary obscurity lying at the heart of Immanuel Kant’s Critique of Pure Reason. Allison begins from the methodological precept that “Kant’s argument can best be understood in light of the internal development of his thought”, and his book thus provides a systematic historical account of the deduction and its emergence from earlier texts. It begins with two chapters on the major pre-critical writings, which trace the emergence of Kant’s “methodological” (...) concerns with the limits and possibilities of metaphysical theorizing. However, this concern... (shrink)