This review covers the content of reports and discussions at the 12th Kant Readings Conference held in April 2019 and organised by the research unit of the Academia Kantiana of the Immanuel Kant Baltic Federal University, Kaliningrad. Traditionally, Kant Readings have been thematically universal, embracing all the areas of Kant’s legacy. This time the conference focused on practical philosophy, i.e. the historical grounds and modern significance of Kant’s ethical thought as compared to other philosophical projects of the Enlightenment era. Due (...) attention was paid to the reception of the ethics of Kant and the Enlightenment by philosophers in Russia and the West. Breakout groups discussed aspects of interconnection between the Enlightenment ethics and esthetics as well as interdisciplinary problems at the interface of philosophy of politics and philosophy of education, including ways to counter various forms of intellectual enslavement. The possibilities of applying Kant’s ethical principles were discussed in close connection with the interpretation of the latest trends in the development of science and technology. It was noted that the intellectual and social communication environment of today has much in common with that of the Enlightenment era, which makes the philosophical strategy proposed during that era amenable to adaptation and development. (shrink)

The debate about Kantian conceptualism and non-conceptualism has completely overlooked the importance of Kant’s aesthetics. I show how this debate can be significantly advanced by exploring Kant’s aesthetics, that is, the theory of judgments of taste and the doctrine of the aesthetic genius of the third Critique. The analysis of judgments of taste demonstrates that non-conceptual mental content is a condition of the possibility of aesthetic experience. The subsequent discussion of the doctrine of the aesthetic genius reveals that (...) aesthetic ideas must also be conceived in terms of non-conceptual mental content. I finally restrict Kant’s aesthetic non-conceptualism to the way aesthetic perceivers cognitively evaluate artwork, while the doctrine of the genius cannot count as a viable form of aesthetic non-conceptualism. (shrink)

Kant’s Refutation of Idealism has often been assessed either from a realistic or from a transcendental point of view. Each of them proves to be unsufficient. The realistic approach wouldn’t it enough the tenets of the Transcendental Esthetics, and the transcendental approach doesn’t allow us to go beyond our representations. We put forward a logical and structural analysis of the famous paragraph from the System of all principles and its rewriting in the Preface to the Second edition of the first (...) Critique. Additional evidence from the Opus Postumum leads us to suggest that Kant more or less willingly endorses an equivocation on the phrase “existing outside me”, which wonderfully serves his double purpose of saving the transcendental deduction and facing the so-called “scandal of idealism.”. (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique , the Critique of the Power of Judgment . The latter contains two parts, the 'Critique of the Aesthetic Power of Judgment' and the 'Critique of the Teleological Power of Judgment'. They reveal a new principle, namely the a priori principle of purposiveness ( Zweckmäßigkeit ) of our power of judgment, and thereby offer new a priori grounds for (...) beauty and biology within the framework of Kant's transcendental philosophy. They also unite the previous two Critiques , the Critique of Pure Reason and the Critique of Practical Reason . Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis , genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

Kant’s anthropological lectures introduce scepticism about our psychological capacity to experience happiness conceived as gratification or contentment. Aesthetic experience is in a position to inform an alternative conception of happiness that not only is more adequate to the idea of happiness than either gratification or contentment but also may more easily conform to the moral law’s constraints than gratification. As an ‘ideal feeling’, pleasure in beauty serves as a model for how best to enjoy even sensual pleasures and otherwise ‘private’ (...) sensations. In the end, the thirdCritiquesuggests that this alternative conception is more ‘appropriate’ to humankind (§60, 5: 355). (shrink)

In 1764, Kant published his Observations on the Feeling of the Beautiful and the Sublime and in 1790 his influential third Critique, the Critique of the Power of Judgment. The latter contains two parts, the ‘Critique of the Aesthetic Power of Judgment’ and the ‘Critique of the Teleological Power of Judgment’. They reveal a new principle, namely the a priori principle of purposiveness (Zweckmäßigkeit) of our power of judgment, and thereby offer new a priori grounds for beauty and biology within (...) the framework of Kant's transcendental philosophy. They also unite the previous two Critiques, the Critique of Pure Reason and the Critique of Practical Reason. Besides contributing to general and systematic aspects within his transcendental philosophy, Kant's aesthetics also offers new insights into old problems. It deals with feeling versus experience, subjectivity versus objectivity, disinterested pleasure, aesthetic universality, free and adherent beauty, the sensus communis, genius, aesthetic ideas, beauty as the symbol of morality, beauty of nature versus beauty of art, the sublime, and the supersensible. In this article I will limit myself to this critical aesthetics of Kant. But I will also discuss the ugly and the possibility of beauty in mathematics and see whether Kant's theory can successfully explain or deal with them. I will also compare his theory with philosophical ideas from a very different tradition, namely from Confucius, not only as a challenge to Kant's theory, but also because there is a growing interest from the Chinese side in combining ideas from Confucius and Kant, an interest that might well become influential in both East and West during the 21st century. (shrink)

Drawing on resources from both the Analytical and Continental traditions, Form and World argues that a comprehension of Kant's aesthetics is necessary for grasping the scope and force of his epistemology. Fiona Hughes draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading the Critique of Pure Reason is finding a way of reading the text as one continuous discussion. This book offers a reading at (...) each stage of Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. This incisive study, arguing for the centrality of aesthetics in philosophy, and within experience in general, challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address questions (...) of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

In Critique of Judgment, Kant introduces a foundational theme in modern aesthetics by identifying the judgment of taste as a particular mode of attention. In distinction to the mode of attention in mundane experience that works by determining how an intuition can be subsumed under a concept, aesthetic attention celebrates the pleasure associated with the “unison in the play of the powers of the mind” confronted with “the manifold in a thing.” Aesthetic attention, in other words, is an aesthetic (...) subject’s attention to itself and to the pleasures derived from flexing the power of imagination. In this respect, Kant’s aesthetics reaffirms its cartesian core, the primordial positing of the thinking and reflective I as the necessary preposition for experience. This strict distribution of attention toward the secure epistemological architecture of object and subject seems to vacillate, however, in Kant’s brief discussion of artworks as purveyors of “aesthetic ideas.” This article discusses the de-limitation of attention instigated by the aesthetic idea. The aesthetic idea is associated with the artwork as an object, but it immediately transgresses the limits of the object through an array of analogical instantiations of “spirit.” On the other hand, aesthetic ideas are subjectively appreciated, but this appreciation similarly transgresses subjective cognition in an inexhaustible ramification of associative thinking. Developing these characteristics of the “aesthetic idea,” the article proposes to excavate from Critique of Judgment a mode of aesthetic sensibility that eventually challenges the Cartesian architecture of subject and object and thus reposits aesthetics in a field of relational interdependency. (shrink)

In _An Introduction to Kant’s Aesthetics_, Christian Wenzel discusses and demystifies Kant’s Critique of the Power of Judgment, guiding the reader each step of the way and placing key points of discussion in the context of Kant’s other work. Explains difficult concepts in plain language, using numerous examples and a helpful glossary. Proceeds in the same order as Kant’s text for ease of reference and comprehension. Includes an illuminating foreword by Henry E. Allison. Offers twenty-six further-reading sections, commenting briefly on (...) books and articles from the English, German, and French, that are relevant for each topic Provides an extensive bibliography and a chapter summarizing Kant's main points. (shrink)

This essay seeks to ascertain the philosophical status of revelation in Kant's critical philosophy so as to come to a better understanding of the use of Scripture in his religious writings, especially Religion within the Boundaries of Reason Alone . In doing so it remains faithful to Kant's hermeneutic strictures according to which the bible must be expounded according to morality, in the sense of the categorical imperative, and its attendant pure practical postulates. Taking as clues Kant's (...) repeated insistence in several critical works that revelation must function symbolically, and the Religion 's most detailed discussions of the nature of biblical language, I argue for the account of the philosophical status of Scripture's narrative content being supplied in the 3 rd Critique's discussion of analogical schematism, and that Kant thus regards Scripture as possessing an aesthetic content. I follow Henry E. Allison's work in interpreting Kant's cryptic account of analogy in terms of his theory of aesthetic ideas, and show how such a connection amply illuminates Kant's use of Scripture. Finally, I ask how understanding revelation in terms of aesthetic ideas complies with Kant's demands for the philosophical irreducibility of rational morality, and demonstrate how Kant remains strictly consistent on this score whilst also guaranteeing Scripture a properly aesthetic content. (shrink)

Diarmuid Costello has recently argued that, contra received opinion, Kant’s aesthetics can accommodate conceptual art, as well as all other art. Costello offers an interpretation of Kant’s art theory that demands from all art a minimal structure involving three basic “players” and three basic “actions” corresponding to those “players.” The article takes issue with the “action” assigned by Costello’s Kant to the artwork’s recipient, namely that her imagination generates a multitude of playful thoughts deriving from or in any other (...) way relating to the concept or idea that the artist has instilled in the artwork and that the artwork transmits to the recipient. It is argued that the “proper” recipient of conceptual art may very well have a multitude of thoughts that are all irrelevant to the concept or idea the artist has instilled in the artwork, even if the artwork has transmitted that concept or idea to the recipient. This shows that Kant’s art theory, as presented by Costello, cannot accommodate conceptual art. I conclude by suggesting that either one of two amendments to the theory’s account of the recipient’s experience could enable it to accommodate conceptual art. (shrink)

Drawing on resources from both the analytical and continental traditions, this book argues that a comprehension of Immanuel Kant's aesthetics is necessary for grasping the scope and force of his epistemology. It draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading ‘The Critique of Pure Reason’ is finding a way of reading the text as one continuous discussion. This book offers a reading at each (...) stage of Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. Arguing for the centrality of aesthetics in philosophy, and within experience in general, it challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

This paper interprets the Critique of Judgment as the culmination of Kant's contribution to our understanding of freedom--the human meaning of which is being-with-other-as-with-own. Central to that complex achievement and to the overarching role assigned by Kant to the aesthetic dimension (beauty, feeling, judgment, and art) is his revolutionary new way of seeing beauty and art as the expression of aesthetic ideas--a definition of them which carries him beyond formalism to illuminate also the modern and romantic search for freedom. (...) This move also brings Kant to the threshold of religious ethics as man's ultimate freedom, his being-with-the-infinitely-transcendent-as-with-own, is, in art and beauty, disclosed for imagination and made available for the life of feeling in this world. (shrink)

This article roots Kant’s concept of disinterestedness, as he uses it in the Critique of Judgment, in Aristotle’s notion of philia by establishing a path from ethics to aesthetics and back. In this way, the third Critique turns out to be one of the main sources for a new ideal of humanity: the ideal suitable for late Enlightenment. This article argues that Kant reaches this fruitful use of disinterestedness by giving to Aristotle’s concept of philia an aesthetic turn.

Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at (...) least in part, through adoption of the appropriate perspective – or attitude – when considering a particular aesthetic object, Kant offers us perhaps the most sophisticated view of disinterestedness of any, and as he does so he solidifies that tradition, bringing it to its culmination, and ushers in the beginning of its end. (shrink)

Mojca Kuplen connects 18th-century German aesthetics to contemporary theories of self-knowledge in order to highlight the unique cognitive value of art. She does this through revisiting Kant's account of aesthetic ideas, and demonstrating how works of art can increase our understanding of abstract concepts whilst promoting self-knowledge. Addressing some of the most fundamental questions in contemporary aesthetics and philosophy of art, this study covers the value and importance of art, the relationship between art and beauty, the role (...) of knowledge in art and the criteria for artistic excellence. It offers an insight into problems related to the apprehension of meaning and the cognitive processing of abstract representations that have been of interest to contemporary cognitive science. Kant's Aesthetic Cognitivism presents these arguments in a lucid and wide-ranging engagement with the history of aesthetics and current academic debates to understand what art is and why it is valuable. (shrink)

Organized around eight themes central to aesthetic theory today, this book examines the sources and development of Kant's aesthetics by mining his publications, correspondence, handwritten notes, and university lectures. Each chapter explores one of eight themes: aesthetic judgment and normativity, formal beauty, partly conceptual beauty, artistic creativity or genius, the fine arts, the sublime, ugliness and disgust, and humor. Robert R. Clewis considers how Kant's thought was shaped by authors such as Christian Wolff, Alexander Baumgarten, Georg Meier, (...) Moses Mendelssohn, Johann Sulzer, Johann Herder, Francis Hutcheson, David Hume, Edmund Burke, Henry Home, Charles Batteux, Jean-Jacques Rousseau, and Voltaire. His resulting study uncovers and illuminates the complex development of Kant's aesthetic theory and will be useful to advanced students and scholars in fields across the humanities and studies of the arts. (shrink)

Immanuel Kant was a German philosopher. He is a central figure of modern philosophy, and set the terms by which all subsequent thinkers have had to grapple. He argued that human perception structures natural laws, and that reason is the source of morality. His thought continues to hold a major influence in contemporary thought, especially in fields such as metaphysics, epistemology, ethics, political philosophy, and aesthetics.

This article gives a synopsis of one of the fastest expanding in the last few decades interdisciplinary scientific fields keeping aesthetic problems and questions in its core, that of sensory studies, in order to sift out and systematize their interpretation of Kant’s aesthetics from his Critique of Pure Reason, Critique of Judgement and Anthropology from a Pragmatic Point of View. On that basis, six general conclusions are drawn on the interpretability and actuality of Kant’s transcendental aesthetics, analytics of (...) the beautiful and the sublime, division of the fine arts, and his later observation on the outer senses – through the lens of sensory studies. (shrink)

Contrary to both his own intentions and the views of both older and more recent commentators, I argue that Kant’s aesthetics remains within the confines of eighteenth-century aesthetics as a branch of empirical psychology, as it was then practiced. Kant established a plausible connection between aesthetic experience and judgment on the one hand and cognition in general on the other, through his explanatory concept of the free play of our cognitive powers. However, there is nothing distinctly ‘a priori’ (...) or ‘transcendental’ in his claim that this state of mind is what causes our pleasure in beauty or other aesthetic properties. Nor did Kant establish a genuinely a priori or transcendental principle that all human beings have the same disposition to experience a free play of their cognitive powers, let alone in response to the same objects. This failure, however, in no way limits the continuing significance of Kant’s aesthetic theory.Keywords: Alexander Gerard; Henry Home, Lord Kames; Immanuel Kant; Beauty; Taste; Free play of the cognitive powers. (shrink)

Kant's analysis and theory of beauty is explained in this book by Salim Kemal. The author clarifies the nature of aesthetic claims, examines the scope of Kant's justification of their validity, and shows how these lead Kant to investigate the relationship between beautiful objects, morality and subjects.

In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according to which they can (...) present not only moral and purely rational concepts but also empirical concepts and emotions related to our ordinary experience. Although this latter class of experience-oriented aesthetic ideas has been neglected, I argue that recognizing the role it plays in Kant’s account is crucial for understanding his views not only of artistic production and our experience of art but also of the value he takes art to have for our ordinary experience of the world, others, and our own selves. What is more, insofar as the inclusive interpretation brings to light Kant’s acknowledgement of the close connection between experience and art, it reveals that his overall view of art is more plausible than is often thought, and recommends it as worthy of further consideration. (shrink)

This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: (...) the normativity of pure judgments of taste, and the moral and systematic significance of taste. The fourth part considers two important topics often neglected in the study of Kant's aesthetics: his conceptions of fine art, and the sublime. (shrink)

While Kant is perhaps best known for his writings in metaphysics and epistemology (in particular the Critique of Pure Reason of 1781, with a second edition in 1787) and in ethics (the Groundwork of the Metaphysics of Morals of 1785 and the Critique of Practical Reason of 1788), he also developed an influential and much-discussed theory of aesthetics. This theory is presented in his Critique of Judgment (Kritik der Urteilskraft, also translated as Critique of the Power of Judgment) of (...) 1790, a two-part work which deals successively with aesthetics and with the role of teleology (that is, appeal to ends or goals) in natural science and in our understanding of nature more generally. Although Kant's theory of teleology has traditionally been both less influential, and less widely discussed, than his aesthetic theory, its historical and philosophical importance is increasingly coming to be recognized. (shrink)

This reissue of Kemal’s introduction to the first half of the Critique of Judgment, first published in 1992, adds a new five-page Preface to the otherwise unchanged text. The author discusses several works on Kant’s aesthetic theory that have been published since the first appearance of his book. The most extensive treatment is given to John H. Zammito’s “The Genesis of Kant’s Critique of Judgment” and Paul Guyer’s “Kant and the Experience of Freedom: Essays on Aesthetics and Morality”. In (...) Kemal’s view, Zammito is right in hypothesizing a cognitive turn that would have led Kant to explore the nature of reflective judgments and in interpreting Kant’s position on art as part of Kant’s concept of culture. On the other hand, Kemal reproaches Zammito for having fragmented the third Critique and for failing to resolve several philosophical issues such as the relation between the cognitive and ethical turns as hypothesized by Zammito, and the nature and promise of art, the close association between genius and the sublime, and the differences between Kant and Herder on genius and the sublime. Kemal’s conclusion is that Zammito has overemphasized the process of constructing the third Critique at the expense of the theory presented there. With respect to Guyer, Kemal argues that Guyer makes an unwarranted assumption, based on an overly narrow understanding of Kant’s use of the word “nature,” namely, that the “Analytic of the Beautiful” had to be cast in terms of natural beauty. Kemal’s view is that Kant’s explanations of the nature of beauty in the “Analytic of the Beautiful” cover the objects of our experience and therefore include both natural beauty and fine art. Kemal argues that this is the basis of a misconstrual on Guyer’s part of his explanation described in chapter 6 of the distinctive interests and values that should be ascribed to fine art and natural beauty. (shrink)

Unquestionably, Kant wrote one of the most important works in aesthetics. Yet, in comparison with the amount of work philosophers have done in other areas of his philosophy, surprisingly little has been done with the aesthetics. Crawford’s book is a welcome and useful attempt to remedy this situation by presenting a sustained and critical exposition of the major argument in The Critique of the Aesthetic Judgment.

within western philosophy, there is a long and rich tradition of treating the beautiful and the good as closely related and mutually reinforcing.1 Different models of the relation have been proposed. An ‘identity’ model can be seen in Plato’s identification of the beautiful and the good in the Symposium and perhaps in the Greek notion of kalokagathia.2 Yet, according to Plato’s Republic, the form of the good illuminates, and differs from, the forms of beauty and truth: “both knowledge and truth (...) are beautiful things, but the good is other and more beautiful than they,”3 suggesting that beauty is a mode of the good. Likewise, according to Plotinus’s chronologically first treatise, “On... (shrink)

It is sometimes assumed that Kant’s claim that a judgement of taste is grounded in a pleasure ‘without concepts’ leaves little room for any credible account of critical judgements of art. I argue that even Kant’s conception of free (as opposed to dependent) beauty can provide the framework for an analysis of aesthetic judgements about art works. It is a matter of understanding what roles for concepts Kant prohibits in his analysis of pure judgements of taste: conceptual cognition must be (...) neither what gives rise to the subject’s pleasure nor part of the evidential basis for the subject’s judgement. But this does not entail that the subject encounters the object in a wholly ‘concept–free’ manner. Kant’s account of free beauty is quite different from Schopenhauer’s superficially similar theory, and is compatible with the thought that increased conceptual knowledge can enhance critical judgements of art. (shrink)