The Subjective Basis of Kant's Judgment of Taste

Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to its qualities, and that, accordingly, feelings of pleasure or displeasure are no different from other representations, such as colors or smells. While I agree that the judgment of taste is best understood as asserting a claim about an object's qualities, I argue that the distinction Kant makes between feelings of pleasure or displeasure and other representations should not be ignored. I show that one's liking or disliking for an object is merely subjective in the sense that its significance depends on what one has made of oneself through one's aesthetic education. The judgment of taste, then, is merely subjective because one must first become the kind of person whose feelings have the right significance at the right time before one can determine whether an object's qualities make it beautiful.     

Kant's Expressive Theory of Music

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?     

‘For Beauty is nothing but the barely endurable onset of Terror’: Outline of a general psychoanalytic aesthetics

Even close to 80 years after Freud's words that psychoanalysis “has scarcely anything to say about beauty” (Freud, Civilization and its Discontents, SE 21, p. 82) the question of a specific psychoanalytic aesthetic is still faced with a deficit in theory. Since aesthetics is related to Aisthesis, the Greek word for ‘perception’, a psychoanalytic aesthetic can solely emerge from a psychoanalysis of perceptive structures. The term ‘kinaesthetic semantic’ is introduced in order to exemplify via music how perceptive experiences must be structured for them to be experienced as beautiful. The basic mechanisms – repetition of form (rhythm, unification) and seduction (deviation, surprise) – are defined. With the help of these mechanisms an intensive contact between perceiving object and kinetic subject, the physical self, is established. The intensive relatedness is a requirement for the creative process in art and also for psychic growth on the subject's level. The described basic mechanisms of the aesthetic process in music can also be encountered in painting and poetry. By the means of a self‐portrait by Bacon it will be examined how, in art, terror and traumatization are represented via targeted disorganization of beauty endowing mechanisms, hence finding an enabling form of confrontation and integration of fended contents.     

Aesthetic Judgment and Perceptual Normativity

I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of “perceptual normativity”. Perceptual experience, on this proposal, involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept‐acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept‐acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience.     

Getting More than You Paid For: The Parable of the Treasure and the Pearl as the Experience of Transformation

Matthew??s parables of the treasure and pearl are commonly interpreted as a call to give all one has for the kingdom. In this article, I argue that the experience brought about by the objects is instead the point of these parables. In psychoanalytic terms, the treasure and the pearl represent what Bollas (1987) calls the transformational object. The search for the transformational object is inspired by the infant??s earliest memory of the sudden internal and external transformation brought about by the ministrations of the mother. In adult life, it continues in a search for aesthetic or cultural objects that are identified with the metamorphosis of the self. From this perspective, I explore how the objects of treasure and pearl evoke an emotionally dense transformation to be experienced. The kingdom of heaven is like the surprising object, able to joyfully transform our world. Again, the kingdom of heaven is like the experience of surrendering to the beautiful object, for which we have sought.     

Schopenhauer on the Values of Aesthetic Experience

In this essay, I argue that Schopenhauer's view of the aesthetic feelings of the beautiful and the sublime shows how a “dialectical” interpretation that homogenizes both aesthetic concepts and reduces the discrepancy between both to merely quantitative differences is flawed. My critical analysis reveals a number of important tensions in both Schopenhauer's own aesthetic theory—which does not ultimately succeed in “merging” Plato's and Kant's approaches—and the interpretation that unjustly reduces the value of aesthetic experience to a merely preliminary stage of ethical will‐less salvation.     

Sibley on ‘Beautiful’ and ‘Ugly’

Abstract

Frank Sibley's ideas have been particularly influential among contemporary philosophers interested in aesthetics. Most studies, however, have focused only on his earlier works. In this essay, I explore Sibley's account of the adjectives ‘beautiful’ and ‘ugly’, paying particular attention to three papers that have only recently been published and that have not yet received adequate attention. In particular, I discuss his account of the adjective ‘beautiful’, which relies on the controversial notion of an aesthetic ideal. In addition, I discuss an account of how aesthetic judgements may change in relation to our coming to know the kind of object being judged and whether, as Sibley maintains, ‘beautiful’ and ‘ugly’ are asymmetric in the sense specified by the author.     

Losing Oneself (in a Good Way): On the Value of Full Attention

The present paper considers the question whether, and if so how, a subject's full attention to an object which she interacts with might have value. More specifically, I defend the claim that in order for a subject's activity to have value, it is sufficient that the subject give her full attention to the object towards which the activity is directed.     

Sublimity and the Ends of Reason: Questions for Deligiorgi

The sublime has come under severe criticism in recent years. Jane Forsey, for instance, has argued that all theories of the sublime “rest on a mistake” (2007, 381). In her article, “The Pleasures of Contra‐purposiveness: Kant, the Sublime, and Being Human,” Katerina Deligiorgi ( 2014 ) provides a rejoinder to Forsey. Deligiorgi argues—with the help of Kant—that a coherent theory of the sublime is possible, and she provides a sketch for such a theory. Deligiorgi makes good progress in the debate over the sublime. But here I raise two questions in relation to her account. The aim of these questions is to help clarify and augment her theory and thus extend the discussion about the tenability and relevance of the sublime. The first question is about the pleasure of the sublime. The pleasure, she claims, comes from our catching a glimpse of ourselves as agents in the world. But, I argue, Deligiorgi's conception of agency is insufficient for explaining the pleasure of sublimity, and this is because she does not take into account what I call (echoing Kant) the “ends of reason,” those ends that matter most to us as agents. The second question pertains to the phenomenology of the sublime. The worry here is that Deligiorgi overcomplicates the subject's experience and, in doing so, greatly restricts the scope of the sublime.     

Psychoanalysis as science

This work explores two “Copernican shifts” in the history of psychoanalysis. The first is Freud's recognition of the motives behind the constructions of psychic reality; the intrusion of the wish in the subject's perceptions. The author explores the roots of this recognition in the scientific tradition of Kant and Helmholtz, and suggests that these two predecessors were topical for Freud in their deviation from a theory of “immaculate perception”. The other theme of this work is what the author suggests is a contemporaneous “Copernican shift” in psychoanalytic theory. This shift consists in a recognition of the topicalness of the experience of reciprocity. Connections between this experience and the experience of the self are described, and implications for the theory of the psychoanalytic process are suggested.     

Aesthetic Testimony: What Can We Learn from Others about Beauty and Art?1

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted–even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. And yet he realizes clearly that other people's approval in no way provides him with a valid proof by which to judge beauty; even though others may perhaps see and observe for him, and even though what many have seen the same way may serve him, who believes he saw it differently, as a sufficient basis of proof for a theoretical and hence logical judgment, yet the fact that others have liked something can never serve him as a basis for an aesthetic judgment. Immanuel Kant, Critique of Judgment     

Kant on Truth-Aptness

Many scholars claimed that, according to Immanuel Kant, some judgements lack a truth-value: analytic judgements, judgements about items of which humans cannot have experience, judgements of perception, and non-assertoric judgements. However, no one has undertaken an extensive examination of the textual evidence for those claims.

Based on an analysis of Kant's texts, I argue that: ? according to Kant, only judgements of perception are not truth-apt. All other judgements are truth-apt, including analytic judgements and judgements about items of which humans cannot have experience.

? Kant sometimes states that truth-apt judgements are actual bearers of truth or falsity only when they are taken to state what is actually the case. Kant calls these judgements assertoric. Other texts ascribe truth and falsity to judgements, regardless of whether they are assertoric.

Kant's views on truth-aptness raise challenges for correspondentist and coherentist interpretations of Kant's theory of truth; they rule out the identification of Kant's crucial notion of objective validity with truth-aptness; and they imply that Kant was not a verificationist about truth or meaning.     

Aesthetic consciousness of site-specific art

The aim of this article is to examine Edmund Husserl's theory of aesthetic consciousness and the possibility to apply it to site-specific art. The central focus will be on the idea of the limited synthetic unity of the aesthetic object that is introduced by Husserl in order to differentiate positional and aesthetic attitude towards the object. I claim that strongly site-specific art, which is a work of art about a place and in the place, challenges the view that the synthetic unity of the aesthetic object is limited. Moreover, following Husserl's theory, it becomes questionable whether strongly site-specific art is art at all. I try to answer these objections by explaining how the artist prescribes the appearances and boundaries of a strongly site-specific object of art, thereby satisfying the demand for the limited- ness of the synthetic unity of the aesthetic object.     

Aesthetic Licence: Foucault's Modernism and Kant's Post-modernism

Recently criticism and theory have maintained that Kant's aesthetic theory is central to modernism, and have used Foucault's archaeology to interrogate that modernism. This paper suggests that archaeology ultimately cannot escape Kant's hold because it depends on Kantian theses. The first section will consider how a recent exponent of an 'archaeological' viewpoint characterizes Kant's theory and will set out the critical role Kant ascribes to art. The second section compares Kant and Foucault to argue that despite appearances their projects turn out to be substantially coterminal. My interest in comparing these critics is not only to be provocative but also to show that post-modernist thinking, at least in the guise of Foucault, needs and uses standards that Kant proposes.     

特征觉察器与康德的先验形式

康德主张对象必须符合主体的认识条件,即与特定的形式相符合,这与认知心理学上的特征觉察器相一致。特征觉察器是对特定的刺激物作出特定反应的高级神经元组织。康德的先验形式的问题可以用特征觉察器和特征捆绑等神经组织和神经过程来解释。特征觉察器可为审美先验形式提供生理心理基础,也可以使康德美学的主客之争得到相对缓解。     

Kant on Complete Determination and Infinite Judgement

In the Transcendental Ideal Kant discusses the principle of complete determination: for every object and every predicate A, the object is either determinately A or not-A. He claims this principle is synthetic, but it appears to follow from the principle of excluded middle, which is analytic. He also makes a puzzling claim in support of its syntheticity: that it represents individual objects as deriving their possibility from the whole of possibility. This raises a puzzle about why Kant regarded it as synthetic, and what his explanatory claim means. I argue that the principle of complete determination does not follow from the principle of excluded middle because the externally negated or ‘negative’ judgement ‘Not (S is P)’ does not entail the internally negated or ‘infinite’ judgement ‘S is not-P.’ Kant's puzzling explanatory claim means that empirical objects are determined by the content of the totality of experience. This entails that empirical objects are completely determinate if and only if the totality of experience has a completely determinate content. I argue that it is not a priori whether experience has such a completely determinate content and thus not analytic that objects obey the principle of complete determination.     

Understanding Kant's Distinction between Free and Dependent Beauty

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value.