Précis of _Kant and the Reorientation of Aesthetics_ and replies to comments by Samantha Matherne and Moran Godess-Riccitelli.

What is it that we encountered with in our aesthetic experience of natural beauty? Does nature “figuratively speaks to us in its beautiful forms”, 2 to use Kant’s phrasing in the third Critique, or is it merely our way of interpreting nature whether this be its purpose or not? Kant does not answer these questions directly. Rather, he leaves the ambiguity around them by his repeated use of terminology of ciphers when it comes to our aesthetic experience in nature. This (...) paper examines Kant’s terminology of ciphers in the Critique of Judgment and demonstrate through it the intimate link aesthetic experience in natural beauty has with human morality. A link whose culmination point is embodied in the representation of beauty as a symbol of morality. (shrink)

One main quandary that emerges in the context of Immanuel Kant’s moral ideal, The Highest Good, is that on the one hand Kant sets it as a moral demand, that is, as a principle that must be comprehended as an attainable end for man in practice while, on the other hand, it is set as a moral ideal, i.e. as something that cannot be concretized and realized within the empirical world. The main goal of this paper is to argue for (...) the realizability of the moral ideal by means of the principle of reflective judgment as a form of judgment that in fact clarifies human limitation. I assert that the very recognition of this limitation constitutes the possibility for hope in that ideal, or for striving towards it, and that this striving is the only way that the moral ideal can be concretized. I examine man’s recognition of self-limitation as a response to the moral demand to realize the moral ideal and the necessity of the power of imagination for this, used reflectively. Keywords: culture, final end, Highest Good, hope, imagination, Kant, moral ideal reflective judgment, ultimate end. (shrink)

A concise and accessible dictionary of the key terms and concepts in Husserl's philosophy, his major works and philosophical influences.

Ernst Cassirer (1874–1945) occupies a unique place in 20th-century philosophy. His view that human beings are not rational but symbolic animals and his famous dispute with Martin Heidegger at Davos in 1929 are compelling alternatives to the deadlock between 'analytic' and 'continental' approaches to philosophy. An astonishing polymath, Cassirer's work pays equal attention to mathematics and natural science but also art, language, myth, religion, technology, and history. However, until now the importance of his work has largely been overlooked. -/- In (...) this outstanding introduction Samantha Matherne examines and assesses the full span of Cassirer’s work. Beginning with an overview of his life and works she covers the following important topics: Cassirer’s neo-Kantian background; philosophy of mathematics and natural science, including Cassirer’s first systematic work, Substance and Function, and subsequent works, like Einstein’s Theory of Relativity; the problem of culture and the ground-breaking The Philosophy of Symbolic Forms; Cassirer’s ethical and political thought and his diagnosis of fascism in The Myth of the State; and Cassirer’s influence and legacy. -/- Including chapter summaries, suggestions for further reading, and a glossary of terms, this is an ideal introduction to Cassirer’s thought for anyone coming to his work for the first time. It is essential reading for students in philosophy as well as related disciplines such as intellectual history, art history, politics, and literature. (shrink)

Samantha Matherne defends a systematic interpretation of the philosopher Immanuel Kants theory of imagination. In contrast with more traditional theories of imagination, as a kind of fantasy that we exercise only in relation to objects that are not real or not present, Matherne argues that Kant theorizes imagination as something that we exercise just as much in relation to objects that are real and present. In short, she attributes to Kant a view of imagining as something that (...) pervades our lives. In order to bring out this pervasiveness, Matherne offers an account of what kind of mental capacity Kant takes imagination to be in general. She then explores Kants picture of how we exercise our imagination in perception, ordinary experience, the appreciation of beauty and sublimity, the production of art, the pursuit of happiness, and the pursuit of morality. However, she makes the case that Kants analysis of this wide range of phenomena is underwritten by a unified theory of what imagination is, as a remarkably flexible cognitive capacity that we can exercise in constrained and creative, playful and serious ways. (shrink)

In this paper I explore the influence of Kant's theory of imagination on a specific aspect of Heidegger and Merleau-Ponty's thought, viz., their theories of understanding. 1 argue that the theories of Verstehen that Heidegger presents in Being and Time and of comprendre that Merleau-Ponty presents in Phenomenology of Perception can be helpfully read as elaborations of Kant's account of imagination.

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)

In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...) view of aesthetic engagement, but also his distinctive account of individual and political freedom. In Part I, we develop a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom and in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

My aim in this paper is to offer a systematic analysis of a feature of Kant’s theory of perception that tends to be overlooked, viz., his account of how the imagination forms images in perception. Although Kant emphasizes the centrality of this feature of perception, indeed, calling it a ‘necessary ingredient’ of perception, commentators have instead focused primarily on his account of sensibility and intuitions on the one hand, and understanding and concepts on the other. However, I show that careful (...) attention to what he says about the nature of images, their connection to the imagination, and their role in perception in his Metaphysics Lectures, as well as in the Deduction and Schematism chapters of the first Critique reveals that Kant is working with a richer, more nuanced framework for perception than is often attributed to him. I contend that it is only once we have a revised framework for Kant’s theory of perception in place that we will be able to make further headway in debates, e.g., about whether or not he is a conceptualist about perception. (shrink)

In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...) view of aesthetic engagement, but also his distinctive account of individual and political freedom. Whereas in Part I, we developed a reconstruction of Schiller's view that aesthetic value is the only path to individual freedom, in Part II we analyze how Schiller connects aesthetic value to political freedom. In the end, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an aesthetic judgment cannot be grounded on the testimony (...) of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)

In light of the central role scientific research plays in Merleau-Ponty’s phenomenology, the question has arisen whether his phenomenology involves some sort of commitment to naturalism or whether it is better understood along transcendental lines. In order to make headway on this issue, I focus specifically on Merleau-Ponty’s method and its relationship to Kant’s transcendental method. On the one hand, I argue that Merleau-Ponty rejects Kant’s method, the ‘method-without-which’, which seeks the a priori conditions of the possibility of experience. On (...) the other hand, I show that this does not amount to a methodological rejection of the transcendental altogether. To the contrary, I claim that Merleau-Ponty offers a new account of the transcendental and a priori that he takes to be the proper subject matter of his phenomenological method, the method of ‘radical reflection’. And I submit that this method has important affinities with aesthetic themes in Kant’s philosophy. (shrink)

It has become typical to read Kant and Merleau-Ponty as offering competing approaches to perceptual experience. Kant is interpreted as an ‘intellectualist’ who regards perception as conceptual ‘all the way out’, while Merleau-Ponty is seen as Kant’s challenger, who argues that perception involves non-conceptual, embodied ‘coping’. In this paper, however, I argue that a closer examination of their views of perception, especially with respect to the notion of ‘schematism’, reveals a great deal of historical and philosophical continuity between them. By (...) analyzing Kant’s theory of schematism, the interpretation of it by the Neo-Kantian Pierre Lachièze-Rey, and Merleau-Ponty’s theory of the body schema, we find that aspects of Merleau-Ponty’s theory of perception are better understood as a development of Kant’s theory of perception. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending together a cognitivist (...) account of aesthetic judgment with an objectivist account of beauty, and that she builds an account of aesthetic normativity on this cognitivist and objectivist basis. I contend that her subtle and unified account of aesthetic demarcation and normativity has advantages over other competing hedonist and Kantian views and, as such, merits further consideration in contemporary debates. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

In order to explore the question of whether artists are phenomenologists, I consider the negative and affirmative answers defended by Edith Landmann-Kalischer and Maurice Merleau-Ponty, respectively. Through this comparison, I bring to light reasons why phenomenologists take themselves to share a subject-matter with artists, viz., lived experience. However, with this comparison I also highlight the ways in which the answer to this question turns on how we conceive of what phenomenologists do. If one endorses a more scientific conception of phenomenology, (...) as Landmann-Kalischer does, then it seems that the phenomenologist does something fundamentally different from the artist. But if one endorses a more aesthetic conception of phenomenology, as Merleau-Ponty does, then the phenomenologist’s efforts appear to be of a piece with those of the artist. In the end, I will not defend one position over the other; rather, my aim is to show that in order to answer the question, are artists phenomenologists, we must also answer the question, how should a phenomenologist be. (shrink)

One of the more striking aspects of Maurice Merleau-Ponty's Phenomenology of Perception (1945) is his use of psychological case studies in pathology. For Merleau-Ponty, a philosophical interpretation of phenomena like aphasia and psychic blindness promises to shed light not just on the nature of pathology, but on the nature of human existence more generally. In this paper, I show that although Merleau-Ponty is surely a pioneer in this use of pathology, his work is deeply indebted to an earlier philosophical study (...) of pathology offered by the German Neo-Kantian Ernst Cassirer in the third volume of the Philosophy of Symbolic Forms (1929). More specifically, I argue that Merleau-Ponty, in fact, follows Cassirer in placing Kant's notion of the productive imagination at the centre of his account of pathology and the features of existence it illuminates. Recognizing the debt Merleau-Ponty's account of pathology has to the Kantian tradition not only acts as a corrective to more recent interpretation of Merleau-Ponty's views of pathology (Dreyfus, Romdenh-Romluc), but also recommends we resist the prevailing tendency to treat Merleau-Ponty's philosophy as anti-Kantian. Instead, my interpretation seeks to restore Merleau-Ponty's place within the Kantian tradition. (shrink)

In recent discussions of two important issues in the philosophy of perception, viz. the problems of perceptual presence and perceptual constancy, Merleau-Ponty’s ideas have been garnering attention thanks to the work of Sean Kelly and Alva Noë. Although both Kelly’s normative approach and Noë’s enactive approach highlight important aspects of Merleau-Ponty’s view, I argue that neither does full justice to it because they overlook the central role that style plays in his solution to these problems. I show that a closer (...) look at the Phenomenology and several other texts from this period reveals that, on Merleau-Ponty’s account, we are able to perceive the absent features of objects as present, constant properties, and constant objects because we recognize that the objects we perceive have a unique style that persists through and unifies all their appearances. (shrink)

In this paper, I argue that in spite of suggestions to the contrary, Merleau-Ponty defends a positive account of the kind of abstract thought involved in mathematics and natural science. More specifically, drawing on both the Phenomenology of Perception and his later writings, I show that, for Merleau-Ponty, abstract thought and perception stand in the two-way relation of “foundation,” according to which abstract thought makes what we perceive explicit and determinate, and what we perceive is made to appear by abstract (...) thought. I claim that, on Merleau-Ponty's view, although this process can sometimes lead to falsification, it can also be carried out in such a manner that allows mathematics and natural science to articulate what we perceive in a way that is non-distortive and in keeping with the demands of perception itself. (shrink)

In spite of Ernst Cassirer’s criticisms of psychologism throughout Substance and Function, in the final chapter he issues a demand for a “psychology of relations” that can do justice to the subjective dimensions of mathematics and natural science. Although these remarks remain somewhat promissory, the fact that this is how Cassirer chooses to conclude Substance and Function recommends it as a topic worthy of serious consideration. In this paper, I argue that in order to work out the details of Cassirer’s (...) psychology of relations in Substance and Function, we need to situate it within two broader frameworks. First, I position Cassirer’s view in relation to the view of psychology and logic endorsed by his Marburg Neo-Kantian predecessors, Hermann Cohen and Paul Natorp. Second, I augment Cassirer’s early account of the psychology of relations in Substance and Function with the more mature view of psychology that he presents in The Philosophy of Symbolic Forms. By placing Cassirer’s account within these contexts, I claim that we gain insight into his psychology of relations, not just as it pertains to mathematics and natural science, but to culture as a whole. Moreover, I maintain that pursuing this strategy helps shed light on one of the most controversial features of his philosophy of mathematics and natural science, viz., his theory of the a priori. (shrink)

This book argues that the philosophical significance of Kant’s aesthetics lies not in its explicit account of beauty but in its implicit account of intentionality. Kant’s account is distinct in that feeling, affect, or mood must be operative within the way the mind receives the world. Moreover, these modes of receptivity fall within the normative domain so that we can hold each other responsible for how we are "struck" by an object or scene. Joseph Tinguely composes a series of (...) investigations into the philosophically rich but regrettably neglected topics at the intersection of Kant’s aesthetics and epistemology, such as how we orient ourselves in the world, whether tonality is a property of the subject or object, and what we hope to accomplish when we quarrel about taste. Taken together, these investigations offer a robust and defensible picture of mind, which not only resolves tensions in a Kantian account of intentionality but also offers a timely intervention into contemporary debates about the "aesthetic" nature of the way the mind is in touch with the world. Kant and the Reorientation of Aesthetics will appeal to scholars and students of Kant, as well as those working at the intersection of aesthetics and philosophy of mind. (shrink)

In the 1920s, Cassirer had the good fortune of participating in the intellectual community that gathered around the Warburg Library in Hamburg. 1This “dreamland of humanists” had a profound impact...

Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music (...) can be experienced as either agreeable or beautiful depending on the attitude we take toward it. Although it is tempting to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant's theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion? (shrink)

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...) not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

The Palgrave Handbook of Philosophy and Money surveys the role of money in the history of ideas. Volume 1: Ancient and Medieval Thought explores the worldviews of societies in the process of monetization. The volume is divided into sections on early Civilizations, classical Greece, the Roman era, and Medieval and Renaissance thought.

This paper discusses the relationship between Kantian idealism and Marxian materialism. Part I examines the reasons this relationship is misconstrued to be predominantly a matter of practical philosophy and turns to the neglected works of Alfred Sohn-Rethel and Richard Seaford to outline the importance of money for understanding Kant’s theoretical work. Part II considers an objection that Kant confuses the commodity form for the transcendental object of experience. I am ultimately concerned with defusing the accusation that the identity of the (...) commodity with a Kantian thing renders Kantian idealism “bourgeois” in the pejorative sense. Money is implicated, historically and conceptually, in the very intelligibility of metaphysics. In that case, Kantian idealism and Marxian materialism are two sides of the same coin. (shrink)

The Palgrave Handbook of Philosophy surveys the role of money in the history of ideas. Volume 2: Modern Thought examines the treatment of money in the writings of philosophers from the emergence of capitalism through the 20th century. The volume is divided into sections on Early Modernity, Late Modernity, and the Twentieth Century. Volume 2 presents an alternative history of modern philosophy in which monetary relations are both an explicit theme and an implicit condition of philosophical reflection.

Volume 98, Issue 1, March 2020, Page 202-205.

When the COVID-19 surge hit New York City hospitals, the Division of Medical Ethics at Weill Cornell Medical College, and our affiliated ethics consultation services, faced waves of ethical issues sweeping forward with intensity and urgency. In this article, we describe our experience over an eight-week period (16 March through 10 May 2020), and describe three types of services: clinical ethics consultation (CEC); service practice communications/interventions (SPCI); and organizational ethics advisement (OEA). We tell this narrative through the prism of time, (...) describing the evolution of ethical issues and trends as the pandemic unfolded. We delineate three phases: anticipation and preparation, crisis management, and reflection and adjustment. The first phase focused predominantly on ways to address impending resource shortages and to plan for remote ethics consultation, and CECs focused on code status discussions with surrogates. The second phase was characterized by the dramatic convergence of a rapid increase in the number of critically ill patients, a growing scarcity of resources, and the reassignment/ redeployment of staff outside their specialty areas. The third phase was characterized by the recognition that while the worst of the crisis was waning, its medium- and long-term consequences continued to pose immense challenges. We note that there were times during the crisis that serving in the role of clinical ethics consultant created a sense of dis-ease as novel as the coronavirus itself. In retrospect we learned that our activities far exceeded the familiar terrain of clinical ethics consultation and extended into other spheres of organizational life in novel ways that were unanticipated before this pandemic. To that end, we defined and categorized a middle level of ethics consultation, which we have termed service practice communication intervention (SPCI). This is an underappreciated dimension of the work that ethics consult services are capable of in times of crisis. We believe that the pandemic has revealed the many enduring ways that ethics consultation services can more robustly contribute to the ethical life of their institutions moving forward. (shrink)

As improvements in neuroscience have enabled a better understanding of disorders of consciousness as well as methods to treat them, a hurdle that has become all too prevalent is the denial of coverage for treatment and rehabilitation services. In 2011, a settlement emerged from a Vermont District Court case, Jimmo v. Sebelius, which was brought to stop the use of an “improvement standard” that required tangible progress over an identifiable period of time for Medicare coverage of services. While the use (...) of this standard can have deleterious effects on those with many chronic conditions, it is especially burdensome for those in the minimally conscious state, where improvements are unpredictable and often not manifested through repeatable overt behaviors. Though the focus of this paper is on the challenges of brain injury and the minimally conscious state, which an estimated 100,000 to 200,000 individuals suffer from in the United States, the post-Jimmo arguments presented can and should have a broad impact as envisioned by the plaintiffs who brought the case on behalf of multiple advocacy groups representing patients with a range of chronic care conditions. (shrink)

We consider a setting where a decision maker’s uncertainty is represented by a set of probability measures, rather than a single measure. Measure-by-measure updating of such a set of measures upon acquiring new information is well known to suffer from problems. To deal with these problems, we propose using weighted sets of probabilities: a representation where each measure is associated with a weight, which denotes its significance. We describe a natural approach to updating in such a situation and a natural (...) approach to determining the weights. We then show how this representation can be used in decision making, by modifying a standard approach to decision making—minimizing expected regret—to obtain minimax weighted expected regret. We provide an axiomatization that characterizes preferences induced by MWER both in the static and dynamic case. (shrink)

In this presentation I take a close look at Kant’s notion of “orientation” as it arises in a minor essay of 1786 in order to show how this relatively obscure moment forces us to reconsider the central division between epistemology and aesthetics. What makes Kant’s notion orientation difficult to place in a critical system that separates conceptually grounded cognition from the affective nature of aesthetics is that orientations turn out to be claims to knowledge which can not be had without (...) an irreducible aesthetic or “felt” discrimination. So what is philosophically at issue in examining Kant’s notion of orientation is the question of whether there are indeed some features of objects or states of affairs which are not properly recognized prior to or independently of feeling a certain way about them. In other words, are our feelings epistemologically relevant? The official Kantian answer is, of course, a resounding “no”. By reconstructing the logic of “orientation” as deployed in the 1786 essay I show where the attempt to separate cognition from feelings leads into a vicious “Kantian Circle”. This logical circularity anticipates similar problems in the third critique’s explanation of beauty and life. I end by returning to the notion of “orientation” in order to suggest a way out of this “Kantian Circle”. (shrink)

In his Letters on the Aesthetic Education of Man (1795), Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, “it is only through beauty that man makes his way to freedom.” However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only (...) his view of aesthetic engagement, but also his distinctive account of individual and political freedom. More specifically, we show that Schiller defends a non-hedonic, action-oriented, communitarian theory of aesthetic value and a theory of freedom that makes the aesthetic not just supererogatory but fundamental for any fully autonomous life. Although we have lost touch with this way of thinking about aesthetic value and freedom, we submit that it is illuminating for contemporary thinking about both. (shrink)

The purpose of this essay is to indicate the extent to which there is a privileged relationship between the experience of the death of a friend and an understanding of what it means to be a self or a subject. In particular this claim is raised against Heidegger who in ¶47 of _Being and Time_ seems to have raised and explicitly denied any such connection but on closer review turns out to have in fact ignored it altogether. This essay aims (...) to wrestle back from Heidegger the irreducible significance of an other’s death by casting light on a specific kind of intersubjectivity that Heidegger fails to consider: friendship. Drawing on the recently published course materials from Heidegger’s tenure in Freiburg, and in particular the 1921 lectures on Augustine’s _Confessions_, this essays points to a decisive turning point in Heidegger’s theory of Mitsein, if only by exposing a road not taken. The argument is that it is precisely because Heidegger, in fact, considers only the death of a “random stranger” rather than anybody that one actually cares for, that he has an easy time dismissing the significance of the death of another. Against Heidegger this essay will argue that when a friend dies one loses not only her friend’s presence but also something of her own. In so suggesting, this essay departs from the otherwise familiar critiques of Heidegger styled after Fichte, Hegel, or Levinas. (shrink)

The Routledge Handbook of Philosophy of the City is an outstanding reference source to this exciting subject and the first collection of its kind. Comprising 40 chapters by a team of international contributors, the Handbook is divided into clear sections addressing the following central topics: -/- • Historical Philosophical Engagements with Cities -/- • Modern and Contemporary Philosophical Theories of the City -/- • Urban Aesthetics -/- • Urban Politics -/- • Citizenship -/- • Urban Environments and the Creation/Destruction of (...) Place. -/- The concluding section, Urban Engagements, contains interviews with philosophers discussing their engagement with students and the wider public on issues and initiatives including experiential learning, civic and community engagement, disability rights and access, environmental degradation, professional diversity, social justice, and globalization. -/- Essential reading for students and researchers in environmental philosophy, aesthetics, and political philosophy, The Routledge Handbook of Philosophy of the City is also a useful resource for those in related fields, such as geography, urban studies, sociology, and political science. (shrink)