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 Theory of Value: On Allen Wood's Kant's Ethical Thought

Karl Ameriks has recently devoted an entire volume to defending what he calls "orthodox" Kantianism against what he judges to be the "errors" of such post-Kantian idealists as K. L. Reinhold and J. G. Fichte and to exposing what he claims is the frequently unnoticed but always deleterious influence of post-Kantianism upon certain prominent strands of contemporary philosophy. In response, this paper challenges Ameriks' interpretation of Kantianism itself and of the "post-Kantian project", as well as his construal of transcendental idealism. This is followed by some remarks concerning Reinhold's and Fichte's actual "arguments" for transcendental idealism and a rejection of Ameriks' characterizations of the same. Ameriks' interpretation of "the primacy of the practical" within Fichte's philosophy is also analyzed and criticized, as are his unsubstantiated claims concerning the powerful "indirect" influence of the writings of Reinhold and Fichte upon contemporary philosophy.     

Kant's Modalities of Judgment

Abstract: This paper proposes a way to understand Kant's modalities of judgment—problematic, assertoric, and apodeictic—in terms of the location of a judgment in an inference. Other interpretations have tended to understand these modalities of judgment in terms of one or other conventional notion of modality. For example, Mattey (1986) argues that we should take them to be connected to notions of epistemic or doxastic modality. I shall argue that this is wrong, and that these kinds of interpretation of the modality of judgments cannot be reconciled with a key claim made by Kant, namely, that the modality of a judgment does not contribute to its content, and has nothing to do with the matter that is judged. I offer an alternative interpretation based upon Kant's explicating these modalities in terms of the location of a judgment in an inference, whereby the modality of a judgment is determined by the role a judgment plays in a given course of reasoning. If I am right, then Kant in fact presents an intriguing thesis pertaining to the inferential status and potential of all our judgments.     

Kant's Conception of Analytic Judgment

In the Critique of Pure Reason Kant appears to characterize analytic judgments in four distinct ways: once in terms of "containment," a second time in terms of "identity," a third time in terms of the explicative-ampliative contrast, and a fourth time in terms of the notion of "cognizability in accordance with the principle of contradiction." The paper asks which, if any, of these characterizations—or apparent characterizations—has the best claim to be Kant's fundamental conception of analyticity in the first Critique. It argues that it is the second. The paper argues, further, that Kant's distinction is intended to apply only to judgments of subject-predicate form, and that the fourth alleged characterization is not properly speaking a characterization at all. These theses are defended in the course of a more general investigation of the distinction's meaning and tenability.     

Kant on Informed Pure Judgments of Taste

Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste.     

Absolute Positing,the Frege Anticipation Thesis,and Kant's Definitions of Judgment

Abstract: Kant follows a substantial tradition by defining judgment so that it must involve a relation of concepts, which raises the question of why he thinks that single‐term existential judgments should still qualify as judgments. There is a ready explanation if Kant is somehow anticipating a Fregean second‐order account of existence, an interpretation that is already widely held for separate reasons. This paper examines Kant's early (1763) critique of Wolffian accounts of existence, finding that it provides the key idea in his mature model of existential judgment, which is in fact sharply opposed to the Fregean strategy. By relating this to Kant's theory of judgment in general—in particular, to his claim for an isomorphism between the assertoric function of judgment and the category of existence—a preliminary case is made that absolute positing, far from being a marginal special case, accomplishes the primary function of judgment. This argument shows the importance of distinguishing between contexts in which Kant is treating judgment as a vehicle for inference (e.g. pure general logic) and contexts in which he is treating it, more robustly, as the cognition of an object.     

Faultless Disagreement,Assertions and the Affective-Expressive Dimension of Judgments of Taste

Contextualists and assessment relativists neglect the expressive dimension of assertoric discourse that seems to give rise to faultless disagreement. Discourse that generates the intuition makes public an attitudinal conflict, and the affective-expressive dimension of the contributing utterances accounts for it. The FD-phenomenon is an effect of a public dispute generated by a sequence of expressing opposite attitudes towards a salient object or state of affairs, where the protagonists are making an attempt to persuade the other side into joining the other’s camp.     

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?     

Service Experiences and Satisfaction Judgments: The Use of Affect and Beliefs in Judgment Formation

Recalling a service experience may increase the accessibility of relevant beliefs and affect an individual's temporary mood. We examine the interplay of mood and accessible beliefs in the construction of satisfaction judgments. We find that episodically recounting the specific service encounter results in assimilation effects on the satisfaction ratings of both the service provider and a competitive company. Analytically recounting the service encounter, on the other hand, results in assimilation effects for judgments of the service provider and effects in the direction of contrast for judgments of the competitive company. In this case, beliefs about the service provider appear to provide a comparison standard against which the competitive company is judged. Implications of these findings for measuring and managing consumer satisfaction are discussed.     

Studies in the Principles of Judgments and Attitudes: I. Two Basic Principles of Judgment

The psychological test performance of 10 seven-year-old boys from an isolated, rural Guatemalan village was compared with ratings of their intelligence made by 42 adult village members. The adults' judgments were found to correlate strongly with the children's performance on the Embedded Figures, Verbal Analogies, and Memory-for-Designs Tests.     

A Dilemma for Kant's Theory of Substance

This paper poses a dilemma for applying the category of substance given Kant's different conceptions of substance in the Critique of Pure Reason. Briefly stated, if the category of substance applies to an omnipresent and sempiternal substance, then although this would ensure that all experiences of empirical objects take place in a common spatiotemporal framework, one could not individuate these empirical objects and experience their alterations. If the category of substance applies to ordinary empirical objects, however, then although one could individuate these substances and experience their alterations, the category would not pick out a common spatiotemporal framework for these experiences. I will argue that this dilemma can be overcome by examining the development of Kant's conception of substance in his final work, the Opus postumum.